Hostname: page-component-586b7cd67f-tf8b9 Total loading time: 0 Render date: 2024-11-28T02:05:14.488Z Has data issue: false hasContentIssue false
  • English
  • Français

Do’s, Don’ts, and the Rhythms of the Urban Everyday

Published online by Cambridge University Press:  16 June 2022

Alexandra Kolb
Get access Rights & Permissions [Opens in a new window]

Abstract

Rimini Protokoll’s Do’s and Don’ts (2018) takes spectators on tours through cities in a disused truck to observe contemporary urban life. Commentary from nonprofessional (yet “expert”) performers and video interludes dissect and challenge the rules and norms of the 21st-century metropolis. Lucinda Childs’s 1964 Street Dance frames and historically contextualizes the discussion of performance “in” and “of” the city.

Type
Article
Information
TDR , Volume 66 , Issue 2 , June 2022 , pp. 81 - 100
Copyright
© The Author(s) 2022. Published by Cambridge University Press for Tisch School of the Arts/NYU

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

References

Balme, Christopher B. 2014. The Theatrical Public Sphere. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
Banes, Sally. 1977. Terpsichore in Sneakers: Post-Modern Dance. Middletown, CT: Wesleyan University Press.Google Scholar
Blomley, Nicholas. 2007. “How to Turn a Beggar into a Bus Stop: Law, Traffic and the ‘Function of the Place.’” Urban Studies 44, 9:1697–1712. doi.org/10.1080/00420980701427507.CrossRefGoogle Scholar
Boenisch, Peter M. 2008. “Other People Live: Rimini Protokoll and their ‘Theatre of Experts.’” Contemporary Theatre Review 18, 1:107–13.Google Scholar
Brady, Sara. 2007. “ Cargo Sofia: A Bulgarian Truck Ride through Dublin.” TDR 51, 4 (T196):162–67.CrossRefGoogle Scholar
Brighenti, Andrea Mubi, and Kärrholm, Mattias. 2018. “Beyond Rhythmanalysis: Towards a Territoriology of Rhythms and Melodies in Everyday Spatial Activities.” City, Territory and Architecture 5, 4. doi.org/10.1186/s40410-018-0080-x.CrossRefGoogle Scholar
Childs, Lucinda. 1973. “Lucinda Childs: A Portfolio.” Artforum 11 (February):50–56.Google Scholar
Childs, Lucinda. 1975. “Notes: ’64–’74.” TDR 19, 1 (T65):33–36. doi.org/10.2307/1144965.Google Scholar
Childs, Lucinda. 1978. “Lucinda Childs: Edited transcript of an interview with Lucinda Childs.” In Contemporary Dance, ed. Livet, Anne, 58–75. New York: Abbeville Press.Google Scholar
Coates, Emily. 2021. “Yvonne Rainer’s Archive.” TDR 65, 4 (T252):84–102.CrossRefGoogle Scholar
Dreysse, Miriam, and Malzacher, Florian. 2007. Experten des Alltags: Das Theatre von Rimini Protokoll. Berlin/Cologne: Alexander Verlag.Google Scholar
Ellickson, Robert C. 1996. “Controlling Chronic Misconduct in City Spaces: Of Panhandlers, Skid Rows, and Public-Space Zoning.” Yale Law Journal 105, 5:1165–248. doi.org/10.2307/797175.CrossRefGoogle Scholar
Foellmer, Susanne. 2016. “Choreography as a Medium of Protest.” Dance Research Journal 48, 3:58–69. doi.org/10.1017/S0149767716000395.CrossRefGoogle Scholar
Foster, Susan Leigh. 2003. “Choreographies of Protest.” Theatre Journal 55, 3:395–412. www.jstor.org/stable/25069277.CrossRefGoogle Scholar
Foucault, Michel. (1975) 1979. Discipline and Punish: The Birth of the Prison. Trans. Sheridan, Alan. New York: Vintage Books.Google Scholar
Gardiner, Michael E. 2012. “Henri Lefebvre and the ‘Sociology of Boredom.’” Theory, Culture and Society 29, 2:37–62. doi.org/10.1177/0263276411417460.CrossRefGoogle Scholar
Hobbes, Thomas. (1651) 1968. Leviathan, ed. Macpherson, C.B.. Harmondsworth: Penguin.Google Scholar
Jackson, Shannon. 2011. Social Works: Performing Art, Supporting Publics. London: Routledge.CrossRefGoogle Scholar
Jones, Phil, and Warren, Saskia. 2016. “Time, Rhythm and the Creative Economy.” Transactions of the Institute of Berlin Geographers 41, 3:286–96. doi.org/10.1111/tran.12122.CrossRefGoogle Scholar
Jordan, Stephanie. 1993. “ Agon: A Musical/Choreographic Analysis.” Dance Research Journal 25, 2:1–12.CrossRefGoogle Scholar
Kärrholm, Mattias. 2009. “To the Rhythm of Shopping: On Synchronization in Urban Landscapes of Consumption.” Social & Cultural Geography 10, 4:421–40. doi.org/10.1080/14649360902853254.CrossRefGoogle Scholar
Lambert-Beatty, Carrie. 2008. Being Watched: Yvonne Rainer and the 1960s. Cambridge, MA: The MIT Press.Google Scholar
Lefebvre, Henri. 1968. La Vie quotidienne dans le monde moderne. Paris: Gallimard.Google Scholar
Lefebvre, Henri. (1970) 2009. “Reflections on the Politics of Space.” In State, Space, World: Selected Essays, ed. Brenner, Neil and Elden, Stuart, 167–84. Minneapolis: University of Minnesota Press.Google Scholar
Lefebvre, Henry. 1988. “Toward a Leftist Cultural Politics: Remarks Occasioned by the Centenary of Marx’s Death.” In Marxism and the Interpretation of Culture, ed. Grossberg, Lawrence and Nelson, Cary, 75–88. Urbana: University of Illinois Press.CrossRefGoogle Scholar
Lefebvre, Henri. (1992) 2013. Rhythmanalysis: Space, Time and Everyday Life. Trans. Elden, Stuart and Moore, Gerald. London: Bloomsbury.Google Scholar
Lefebvre, Henri. 1996. Writings on Cities. Ed. and trans. Kofman, Eleonore and Lebas, Elizabeth. Oxford: Blackwell Publishers.Google Scholar
Lepecki, André. 2001. “Undoing the Fantasy of the (Dancing) Subject: ‘Still Acts’ in Jérôme Bel’s The Last Performance .” In The Salt of the Earth: On Dance, Politics and Reality, ed. de Belder, Steven and Tachelet, Koen, 43–48. Brussels: Vlaams Theater Instituut.Google Scholar
Männel, Juliane. 2022. Email communication with author, 25 January.Google Scholar
Mee, Erin B. 2014. “Standing Man and the Impromptu Performance of Hope: An Interview with Erdem Gündüz.” TDR 58, 3 (T223):69–83. doi.org/10.1162/DRAM_a_00373.CrossRefGoogle Scholar
Paxton, Steve. 2003. “PASTForward Choreographers’ Statements.” In Reinventing Dance in the 1960s: Everything Was Possible, ed. Banes, Sally, 206–07. Madison: University of Wisconsin Press.Google Scholar
Perec, Georges. (1975) 1982. Tentative d’épuisement d’un lieu parisien. Paris: Christian Bourgois.Google Scholar
Perrin, Julie. 2019. “The Archeology of Street Dance by Lucinda Childs.” Danza e ricerca 11, 11:93–109. doi.org/10.6092/issn.2036-1599/10294.Google Scholar
Rainer, Yvonne. 1965. “Some Retrospective Notes on a Dance for 10 People and 12 Mattresses Called ‘Parts of Some Sextets,’ Performed at the Wadsworth Atheneum, Hartford, Connecticut, and Judson Memorial Church, New York, in March, 1965.” The Tulane Drama Review 10, 2 (T30):168–78. doi.org/10.2307/1125242.CrossRefGoogle Scholar
Reynolds, Dee. 2007. Rhythmic Subjects: Uses of Energy in the Dances of Mary Wigman, Martha Graham and Merce Cunningham. Southwold, Binsted: Dance Books Ltd.Google Scholar
Protokoll, Rimini. 2018. Do’s and Don’ts: Eine Fahrt nach allen Regeln der Stadt. “Video - Documentation.” Accessed 20 April 2020. https://www.rimini-protokoll.de/website/de/project/do-s-don-ts.Google Scholar
Protokoll, Rimini. 2019. Do’s and Don’ts program notes. Künstlerhaus Mousonturm, Frankfurt.Google Scholar
Schivelbusch, Wolfgang. (1988) 1995. Disenchanted Night: The Industrialization of Light in the Nineteenth Century. Trans. Davies, Angela. Berkeley: The University of California Press.Google Scholar
Siegel, Marcia B. 2007. “Dancing on the Outside.” The Hudson Review 60, 1:111–18. www.jstor.org/stable/20464678.Google Scholar
Simmel, Georg. (1903) 1969. “The Metropolis and Mental Life.” In Classic Essays on the Culture of Cities, ed. Sennett, Richard, 47–60. Englewood Cliffs, NJ: Prentice Hall.Google Scholar
Smirnova, Tatjana. 2016. “Sound of a slogan: Appealing to audiences in the global market.” Procedia — Social and Behavioral Sciences 236:125–30.CrossRefGoogle Scholar
White, Matthew. 2009. “The rise of cities in the 18th century.” British Library: Georgian Britain. 14 October. Accessed 14 May 2020. www.bl.uk/georgian-britain/articles/the-rise-of-cities-in-the-18th-century.Google Scholar
Withnall, Adam. 2015. “EU migrant crisis: 50 refugees found ‘suffocated’ in the back of single lorry in Austria.” The Independent, 28 August. www.independent.co.uk/news/world/europe/austria-lorry-migrants-eu-refugee-crisis-50-asylum-seekers-found-dead-lorry-10474464.html.Google Scholar
Zimmer, Elizabeth. 1977. “The Small Dance: An Interview with Steve Paxton.” Contact Quarterly 1, 3:11.Google Scholar

TDReadings

Brady, Sara. 2007. “ Cargo Sofia: A Bulgarian Truck Ride through Dublin.” TDR 51, 4 (T196):162–67. doi.org/10.1162/dram.2007.51.4.162.CrossRefGoogle Scholar
Hahn, Daniela. 2014. “Performing Public Spaces, Staging Collective Memory: 50 Kilometres of Files by Rimini Protokoll.” TDR 58, 3 (T223):27–38. doi.org/10.1162/DRAM_a_00371.CrossRefGoogle Scholar
Jakovljevic, Branislav. “The Space Specific Theatre: Skewed Visions’ The City Itself .” TDR 49, 3 (T187):96–106. doi.org/10.1162/1054204054742453.Google Scholar
Schipper, Imanuel. 2014. “City as Performance.” TDR 58, 3 (T223):18–26. doi.org/10.1162/DRAM_a_00370.CrossRefGoogle Scholar