Veröffentlichung von Gerko Egerts Artikel »Operational Choreography. Dance and Logistical Capitalism«

Als Teil der 7. Ausgabe von Performance Philosophy zum Thema »Power and Powerlessness in Performance« (Nr. 1), herausgegeben von Georg Döcker, Eve Katsouraki und Gerald Siegmund erscheint im Frühjahr 2022 Gerko Egerts Beitrag Operational Choreography. Dance and Logistical Capitalism.

Inhaltsbeschreibung der Zeitschriftenausgabe
This editorial is an introduction to power / powerlessness, theatre and performance conceived as an intervention piece in three parts written by each of the three editors of this issue. The first part is an extended analysis of power and powerless in performance developed by Georg Döcker. The second part, developed by Eve Katsouraki, discusses the implications of a powerless theatre, especially during times of crisis such as the recent pandemic, and urges us to consider a new resilient model of theatre. Finally, the third part, by Gerald Siegmund, focuses on the interface between powerlessness and the aesthetics of theatre and performance. All the three interventionist parts of this introduction offer a conceptual framework upon which the articles of this issue can be seen to develop their examinations. We decided against offering descriptions of the articles themselves since each author has provided an abstract of their article.

Zusammenfassung von Gerko Egerts Beitrag Operational Choreography. Dance and Logistical Capitalism
The paper adresses dance in regard to logistical capitalism and its operational politics. Operational politics denotes the control of processes from their inside, regulated and modulated by their very own logic. Instead of subsuming processes to external regulators such as pregiven scripts, goals or acting and moving subjects, operational politics is based on the logic of process itself and its regulation via immanent techniques. In regard to movement, operational politics started to gain hold in the field of logistics in the 1960s. Over the last decades, these operational choreographies proliferated into all realms of society, creating a logistical regime that comprises modes of thinking as much as modes of existence and action. It governs the movements of economic production as much as the way we perceive, live and move. Dance – seen as a practice in which new modes of thinking, moving and acting as well as new forms of subjectivity are explored in a physical manner – became an integral part of this logistical regime: In dance, the logic of operations is exercised beyond the realm of business organization. The study of operational choreography in dance as it is proposed in the paper is therefore twofold: On the one hand, it offers an analysis of the modes of logistical power at work in performances. On the other hand, it reveals how performances investigate the logistical regime itself and its operational politics on a bodily level.

Performance Philosophy, 7. Ausgabe, Nr. 1 erscheint im Frühjahr 2022. Die Ausgabe der Zeitschrift ist in digitaler Version kostenfrei verfügbar.