Gerald Siegmund Entscheide dich: Rekonstruktion als Befund der Gegenwart Make a decision: Reconstruction as an indication of the Future 1. Der Historie verfallen? Rekonstruktion hat Konjunktur, Und das schon seit mehr als zehn Jahren, Dass die 2. Biennale Tanzausbildung sich nun diesem komplexen und widerspriichlic Thema annimmt, scheint nur folgerichtig. Als sich Ende der 1990er Jahre junge Cho graphen und Ténzer wie Thomas Plischke, Martin Nachbar, Jérome Bel oder die fra sische Gruppe Le Quatuor Albrecht Knust mit wichtigen Pe nicht mehr im Hérsaal, sondern auf der Buhne auseinanderzusetzen begannen, hat r das Phinomen als Endzeitphanomen gedeutet. Das Neue, Ober das sich der Tanz seit Moderne definiert hat, schien aufgebraucht. Vor der Zeitenwende des neuen Jahrtause versichert sich der Tanz seiner eigenen Geschichte. Die Bewegung sei, von vielen K ‘mentatoren kurzsichtig beklagt, zum Stilstand gekommen, das Projekt Modeme erschi Doch der Trend hat sich im neuen Jahrtausend sogar noch verstarkt, Von Endzeitstimrn keine Spur. Mit der Vervielfiltigung der Versuche, sich Positionen der Tanzgeschichte nithem, hat sich auch die Anzahl der Begriffe, die zur Beschreibung dieser Phanomene wendet werden, vervielfacht, lst eine Einstudierung schon ein Rekonstruktion, Balleitk panien dahor schon per definitionom eine Sache der Vergangenheit? Was unterschei sie von der Wiederauinahme oder gar von einem Reenactment? Ziel dieses Textes ist es, Vorschliige zu machen, wie eine inhaltliche Unterscheidung schen den einzeinen Begriffen und Konzepten méglich ware, Einstudierung, Wieder nahme, Reenactment und Rekonstruktion artikulieren jeweils unterschiedliche Verhaltni zujenem Original, das wieder/hergestellt werden soll, Sie treffen jeweils andere Aussay ber die Arten und Weisen der Vermittlung, die wiaderum die Dramaturgie des Sti ionen der Tanzgeschic bestimmen. Alle vier Begrife formulieren ein bestimmtes Verhalinis zu unserer Gegenw Rekonstruktion im allgemeinen Sinn hat wenig mit der Vergangenheit zu tun, datir aber die These, umso mehr mit unserer eigenen Gegenwart. 2, Gedichtnisarbeit Claudia Jeschke hat in ihrer Auseinandersetzung mit rekonstruktiven Praktiken die Ur scheidung der Gediichtnistheorie zwischen einem ,kommunikativen* und einem ,kult len" Gedichtnis aufgegritfen und diese im Hinblick auf den Tanz zu definieren versu Groift man auf diese Unterscheidung zurtick, so entfallen auf jede der beiden Formen Gedachtnisses je zwei der hier vorgesteliten Konzepte. Im kommunikativen Geckich besteht noch ein lebendiger Zusammenhang mit der Geschichte, der in erster Linie du die miindliche und kérpertiche Weitergabe von Wissen durch Lehrer garantiert wird. zu tekonstruierenden Auffhrung wird also noch eine Bedeutung ftir die aktuelle Art und das Selbstverstindnis einer Gruppe oder Kompanie zugesprochen, Hierunter last sich die Einstudierung und die Wiederaufnahme fassen. Das kulturelle Gectichtnis hic gen verweist auf weiter zuriickliegende oder aktuell vemachlassigte Praktiken, mit der kein lebendiger Austausch (mehr) unterhalten wird. Dies impliziert eine andere Form « ‘Archivs. Nicht mehr die lebendige Kérperpraxis und die im Tanz so wichtige miindlic Ubertiaferungstradition kénnen hier veranschlagt werden. Ist eine Auffihrung einmal1. Fallen for history? Recanstruction is booming. And that has been th case for over ten ye: that the second Biennale Di cation should de it only seems logic nplex and contradictory topic. When, at the end of the 1990s, young choreagraphers and dancers such as Thomas Plischke, Martin Nachbar, Jéréme Bel or the Fre Le Quatuor Albrecht Knust be tant pi dance history on of lecturer auditoriums, th ge inste: phenomenon was interpreted as an end time one, The ni v development with which dance has identified itself since modem times [i seemed to be exhausted. Before the turn of the millennium, dance is sure of its own history. N the merous ¢ entators myopically complained abo vement having come to a halt and the mod usted. Yet the tendency has times project ing exh intensified in the new millennium. No ntiment. With of end time or apocalyptic ihe duplication of the attempts to approach the positions of dance history, the number of notions used to desc Does this mean jibe these phenomena has increased as we reconstruction and can ballet companie ast? What by definition be 1m th as an event fi rprel istinguishes ling or evel from a re-enactment? This text aims at ible to distinguish bet- sking proposals as to how it would be pa the different notion and concepts, Production, reopening, re-enactment and re n each articulate a different relation to the original to & a different state nt about the different ways of conveyance, which in tum determine the piece's dramaturgy. All four notions constitute a certain connection to the present, Reconstruction in general hai litle relation with the past, but, according to the at deal to d sa gre o with our own present. 2. Working with memory her examination of reconst ods, Claudia Jeschke picks up on the differen ion between a mmunicative” and a “cultural” memory in m anda tempted to Jefine it in terms of dance. Should this dif tion be impleme here, it becomes obvious that ach of the two memory forms can be associated with two of the concepts 1 the presented here. Where co! ‘ative memory is concemed, faranteed by oral and is a vivid connection to history, which is above all physical & mance to be reconst is thus jawledge transfer by teachers, Th also attributed with signiticance for the current work and the self-conception of a group or company. This is true for production and reopening. The cultural memory on the othe1 hand refers to practices that date hurt neglected, with whichthore is no (longer) a lively discourse. This implies another form of archive. Neither the vivid body practice nor oral tradition that is sa important in dance can be used here. When a performance has passed into the cultural memory, the connection is severed, With it, the significance of historic practice for the present is no longer evident as well. Here, the archive of body kn / with the archive of documents. Thus, wledge is confronts re-enactment or redoing, which is the same thin and reconstruction have to att buted to the cultural 2.a. The production of a choreog) id on a notation 2s well as on hy is the work of the dancers in the ballroom with people that are Il familiar with the perfor: mance practice of the piece. The production of a cl ostly be seen as horeography can im k, which means that the consu fed notations or sources such as video recordings or texts do not become part of the performance's dramatu gy. The objectives fr of a production can be varied. When restricting oneself to the topi nory work, on can say that a production always is an interpretation of the piece as well, revealing what the pieces themselves c diffe not yet know at ir date of origin, but wh can appear in nt historic circumstances. 2.b, After a piece has been produced and performed, it can be reopenet ter along ab- sence from the playing schedule. Therefore, reopeni g refers above all to the repertory of a company, who thus nourishes its own memory. In the process, it can happen that roles are cast different apply. With the new dancers are i ly. This can be cor npared to production, as the sa he help of other dancer ballet masters, co-tutors and/ video recordings, rod d to the vivid tradition of the piece and are put in the po: sition to embody it. 2.c. The notion of re-enactment focuses on the moment of performance. A scenic pro~ 85 is once again carried out in a physical way in front of an audience. This phrase implies that at one point, this process was not carried out, which means that there must have been a pause, a longer break in the perlormanc: practice. This is the reason why we are dealing with the cultural memory here. For @ long time, the notion of re-enactment had been used almast exclusively for reproductions of productions that have always ta ken place in a resiricted time frame, Pas ion plays may serve as a example here, as they casions, at a certain location for a cert were only performed on special o n time, suc as for Easter on the marketplace of a certain township. Thus re-en signities the f reproduction of the plays.Yet on th other hand, it also implies the revival of a form or a tradition, the continuance of which had once been radically terrupted, when the plays did not take place lor several decades, The reproduction is also co} nected to a possible change in context and location. Maybe now the formance can take place at another lime than Easter orat a location that is not sacred. Furthermore, it can take place for other seasons than religion. Focussing on the vivid moment of performance principally turns every performance of a repertory piece into a re-enactment, Meanwhile, drat have agreed on the differentiation of the twa notions of staging and performance, Whi thes ing of a piece or choreography refers to in fangement of the