Scoring Scenography 2 - a montage


Day 62. Scoring scenography, stayling in motion, being critical. "Even if the score is a scholarly construction, it stays in motion, and there will always be spaces open for additional contributions, associations, creations and try outs of for example your (the reader's) choice. A way of conceptualizing the activity of making the score is to think of it as the creation of a "knowledge montage" full of findings but also of gaps, jumps and harrowing connections (Humberman 2004, von Rosen 2018). This is useful because there will clearly always be an openness for new input. I have tested this participatory research model in my work with Rubicon, and it was much appreciated by the practitioners, otherwise locked out from the research. The montage allows, for example, for dancers and choreographers to dance a response to the archive, rather than contributing a written text. Here is an example from the DACH-archive of such a response created by choreographer and artist Ami Skånberg Dahlstedt ("


Georges Didi-Huberman, "Knowledge: Movement (the man who spoke to butterflies)", i Aby Warburg and the image in motion, red. Philippe-Alain Michaud, (New York: Zone Books), 2004, 16.

Astrid von Rosen, "Radikal empati i dansarkivet: Omsorg om den ryska dansaren Anna Robenne", I avantgardets skugga: Brytpunkter och kontinuitet i svensk teater kring 1900, edited by Rikard Hoogland, LIR skrifter 2018 (under utgivning).