Research Grants by Susanne Granzer
From the very beginning of European philosophy in ancient Greece the relation between philosophy ... more From the very beginning of European philosophy in ancient Greece the relation between philosophy and arts has been highly problematic. On the one hand we find “artist-philosophers” like Plato or Nietzsche, whose philosophical investigations used artistic practices to demonstrate their thoughts; on the other hand philosophy has been extremly hostile to such practices, especially since Plato himself banned a wide range of arts from his ideal state ruled by philosophers. Philosophers, since then, have often even opposed arts, claiming that they were doing science (reasoning) rather than “art”––which they equal with “poetry”, based on fiction and pure imaginations.
Through his conception of the “Künstlerphilosoph” (artist-philosopher), Nietzsche probably questioned this Socratic image of philosophy most profoundly, since this conceptual persona longs for a new kind of post-Socratic “philosophers to come” who are ready to do philosophy in an almost “anti-Platonic” manner by precisely crossing-over the disciplines of arts and science. Not to mind their gap, but in order to find a new (anti-Platonic) relation between philosophy and arts that will produce a different kind of philosophy and new forms of philosophy-based art in the end.
In accordance with this historical demand, our PEEK-project aims to develop a research performance in which philosophy is methodologically and conceptually demonstrated as a matter of arts-based research rather then a “pure” science.
This aim ought to be realized by organizing a research-festival “Philosophy On Stage#4” at Tanzquartier Vienna, in the context of which artists, philosophers and scientists will collaborate to demonstrate on stage their theoria on Zarathustra. The Artist Philosopher both in a scientific and an artistic manner. Thereby they will have to demonstrate anwers to research questions such as: What happens to the traditional image of philosophy and arts, once philosophers and artists are called to stage their thoughts and implement arts-based research practices for the demonstration of their ideas? Can Nietzsche’s notion of the artist-philosopher help us to understand what performing philosophy as a kind of arts-based research could mean?
This project will be carried out in close co-operation between the University of Applied Arts Vienna, University of Music and Performing Arts Vienna (MRS), University of Bremen, University of Surrey, Zurich University of Fine Arts and Tanzquartier Vienna. It will consolidate and enhance the international research of the worldwide growing network working on the edge of Philosophy & Performance.
National co-operationspartners:
Univ.Prof. Dr. Susanne Valerie Granzer, Full Professor for Performing Arts at the esteemed Max
Reinhardt Seminar, University of Music and Performing Arts Vienna Walter Heun (Artistic Director of Tanzquartier Wien)
Dr.habil. Krassimira Kruschkova (Head of Theorie Department Tanzquartier Vienna)
Sandra Noeth (Head of Dramaturgy Tanzquartier Wien)
Post-Doc-position:
Dr. Elisabeth Schäfer (University of Applied Arts Vienna)
International co-operationspartners:
Dr. habil. MAS Jens Badura: Head of the research unit “Performative Practice” at Zurich University
of the Arts (ZHdK)
Dr. Laura Cull: Senior Lecturer in Theatre Studies and Director of Postgraduate
Research for the School of Arts, University of Surrey
Dr. Alice Lagaay: Senior Lecturer in Philosophy at Bremen University"
Ein Hauptanliegen unseres Forschungsprojekts beruht darin, den prekären Status der Materie im Zug... more Ein Hauptanliegen unseres Forschungsprojekts beruht darin, den prekären Status der Materie im Zuge der aktuellen Realisation von Intentionen zu analysieren. Es gilt aufzuzeigen, dass Materie nicht nur eine organische Vollzugsbedingung von Akten ist, sondern auch eine entscheidende Rolle bei der Bestimmung der Bedeutung eines Aktes spielt.
Lebensweltlich sind wir gewohnt, unsere Körper primär als Werkzeuge zu gebrauchen, um bestimmte Vorhaben realisieren zu können. Dieses instrumentelle Verhältnis zu unseren eigenen Körpern bringt es mit sich, dass unsere Körper schließlich nur noch als “unsichtbare”, transparente Medien fungieren, deren “Eigen-Sinn” darin aufzugehen scheint, von uns aktuell gebraucht zu werden. Unserer physischen Konstitution werden wir uns jetzt nur noch dann inne, wenn die Realisation eines Vorhabens ins Stocken gerät und die Körper sich damit in ihrem unverfügbaren “Eigensinn” selbst widerständig zu melden beginnen.
Den Geltungsanspruch dieser These gilt es in unserem Forschungsprojekt jedoch nicht nur theoretisch zu beweisen. Wir haben uns außerdem vorgenommen, Lecture-Performances zu realisieren, in denen die Gültigkeit unserer Theorie von WissenschaftlerInnen am eigenen Leib praktisch erprobt und on stage demonstriert werden soll. In speziell eingerichteten Art-Laboratorien werden sie in Kooperation mit führenden KünstlerInnen Lecture-Performances entwickeln, die aufzeigen sollen, dass die Art und Weise, wie eine wissenschaftliche Theorie physisch demonstriert wird auf den “ideellen” Bedeutungsgehalt derselben einen signifikanten Einfluss ausübt. Die Lecture-Performances werden im Rahmen der Veranstaltung “Philosophy On Stage #3” aufgeführt und von der Wiener Kulturwerkstätte Grenzfilm auf DVD dokumentiert.
Dieses multimediale Dokument soll sinnlich demonstrieren, dass die Idee von Lecture-Performances für die Kulturwissenschaften in dem Moment methodisch notwendig wird, in dem die klassische Unterscheidung zwischen dem “idealen” Bedeutungsgehalt eines Urteils und dem realen Akt seiner Äußerung zu implodieren beginnt. Eine epochale Zäsur in den Kulturwissenschaften, die uns zwingt, den Translationsaspekt als signifikanten Bestandteil kulturwissenschaftlicher Forschung in Zukunft methodisch ernst zu nehmen und in unsere Forschungstätigkeit einzubeziehen.
Das Forschungsvorhaben wird im Zuge einer engen Forschungskooperation zwischen den Philosophischen Instituten der Universitäten Wien und Klagenfurt, dem Max Reinhardt Seminar sowie dem Tanzquartier Wien realisiert. Im Zuge der wissenschaftlichen Auswertung des Performance-Archivs im Tanzquartier Wien wird zudem ein Archiv eines Denkens in Bewegung entstehen, das es in Europa so noch nicht gibt.
Papers by Susanne Granzer
Palgrave Macmillan UK eBooks, 2016
The strange event, the acting student's paradoxical emotional reaction gives rise to a question. ... more The strange event, the acting student's paradoxical emotional reaction gives rise to a question. Why break out in tears of refusal in the very moment of creative, felicitous play? We are left thinking. What is the nature of the young actor's fear? What powers was she exposed to on stage? Did they trigger a memory from her childhood? What was going on inside her?
Palgrave Macmillan UK eBooks, 2016
For weeks, a young acting student has been struggling unsuccessfully with a monologue from Schill... more For weeks, a young acting student has been struggling unsuccessfully with a monologue from Schiller's The Maid of Orleans. Everyone is wondering whether to end rehearsals. It seems only a question of time. But then, unexpectedly, a change occurs. She finally begins to play the role well. It is a pleasure to watch. And then, just as things are looking good, there is a second shift. The student breaks into tears and no longer wants to act. What has happened?
transcript Verlag eBooks, Dec 31, 2014
Palgrave Macmillan UK eBooks, 2016
Here we begin to delve into the true heart of the art of acting. If theater is no longer understo... more Here we begin to delve into the true heart of the art of acting. If theater is no longer understood as a theater of representation, then what takes place on stage is a transformation at play with truth. Heiner Müller called it a symbolic death, the most central event of the theater. Its most fundamental and most intimate impact stems from the fear, shared by audience and actors, of the caesura of death and the horror of the definitive loss of ourselves as subjects. But does the fascination of theater not draw from the pleasure of metamorphosis, from gain, surplus, and the joy of the singular rightness of conditions? This interpretation ends in an ethical expectation of theater in which the stage becomes a site that reminds us what we, qua our existence, might have become. Such a foolish fable of felicitousness seems anachronistic. But the time of theater is outside of our time, it is a time of promises.
Palgrave Macmillan UK eBooks, 2016
This chapter concerns a child's fascination and fear at experiencing the theater for the first ti... more This chapter concerns a child's fascination and fear at experiencing the theater for the first time, where the uncanny erupts and enthralls.
Palgrave Macmillan UK eBooks, 2016
Why do you want to be an actor? For many very different reasons. But also and more than anything ... more Why do you want to be an actor? For many very different reasons. But also and more than anything for this reason: Why should we pay homage to the marionette lying broken in the corner? A dead puppet with a cold heart. But why shouldn't it, just for fun, take an extra skip, a jump in the air, a jump for joy, and thumb his nose at nihilism? Transformed into a fool, he basks in the sun in a forest clearing and, whispering, memorizes the fable of amor fati, which is to open soon.
Palgrave Macmillan UK eBooks, 2016
Actors and the Art of Performance opens with a cascade of contradictory motives for becoming an a... more Actors and the Art of Performance opens with a cascade of contradictory motives for becoming an actor. These motives converge in the particular fascination of theater, in which ethics are realized in the aesthetic.
Palgrave Macmillan UK eBooks, 2016
In Part II, the anachronistic conclusion is drawn that actors' exposure on stage, while they are ... more In Part II, the anachronistic conclusion is drawn that actors' exposure on stage, while they are engaged in the creative act, automatically catapults them into an awareness of the pathos of human existence. Actors, creatures of fable in a manner of speaking, affirm this knowledge and give themselves over to it on stage. As a result, actors become accountable for their art. The question becomes more pointed: why would one want to be an actor?
transcript Verlag eBooks, Dec 31, 2021
Zenodo (CERN European Organization for Nuclear Research), Dec 22, 2022
This panel is structured by two performance lectures (20 minutes each) presenting two artistic re... more This panel is structured by two performance lectures (20 minutes each) presenting two artistic research projects, followed by a dialogue between the panelists. The performance lectures introduce baseCollective, a residency program for Artistic Research and Arts-Based-Philosophy in South India, and creative (mis)understandings, a project about methodologies of inspiration with indigenous people in Taiwan. The panel will discuss implications on the definition of artistic research (AR) when dealing with diverse cultural contexts.
Hysterical Methodologies in the Arts, 2021
In this transcript of a lecture performance that Arno Bohler and Susanne Valerie Granzer have pre... more In this transcript of a lecture performance that Arno Bohler and Susanne Valerie Granzer have presented at the conference #masshysteria. hysteria, politics and performance strategies, which can be firmly set within the framework of performing philosophy and philosophy as arts-based research. Bohler starts with a philosophical analysis of how one could contextualize Nietzsche as the first to interpret rationality as a hysteric reaction of men, before Susanne Valerie Granzer then introduces the character of Arthur Schnitzler’s “Fraulein Else”. Granzer reads Else as a literary example of hysteria, a young woman performing a kind of theatrical self-staging in the form of an inner monologue. Bohler and Granzer touch in their lecture performance on pressing questions of desire and consent, and this piece must be accurately read against the backdrop of the #MeToo movement that was gaining international momentum during the time it was performed in 2018.
KörperKulturen, 2014
Die Frage »Wissen wir, was ein Körper vermag?« ist für Spinozas Ethik zentral, weil sie die leibl... more Die Frage »Wissen wir, was ein Körper vermag?« ist für Spinozas Ethik zentral, weil sie die leibliche Fundierung geistiger Tätigkeiten in den Blick kommen lässt. Immer wieder fragt er seine philosophischen Gegner, wie sich die »schlafwandlerische Kreativität« der Natur verstehen lässt, kraft der sie komplexe Gebilde hervorbringt, ohne sich diese im Vorhinein mental vorgestellt zu haben. Der Band geht dieser Frage in drei Hinsichten nach: Wie kommt die nachtwandlerische Kraft der Natur in religiösen Diskursen zur Sprache? Wie zeigt sie sich in Performance-Praxis und -Theorie? Welches Bild von Denken wird durch ein solches Denken der Körper generiert? Mit Beiträgen von Brian Massumi, Erin Manning, Marcus Steinweg u.a.
GLOBArt, 2009
Das hochst aktuelle Thema der elften GlobArt Academy Sommer 2008 im Kloster Pernegg hies Entschle... more Das hochst aktuelle Thema der elften GlobArt Academy Sommer 2008 im Kloster Pernegg hies Entschleunigung. Der Philosoph Arno Bohler und ich waren eingeladen, die Einstimmung zu gestalten, — und wir nannten unseren Part „Verspielte Zeiten“:
Rhizomatische Körper in Religion, Kunst, Philosophie
See What You Hear Staging Philosophy susAnne vAlerie (knocking at the microphone): One, two, thre... more See What You Hear Staging Philosophy susAnne vAlerie (knocking at the microphone): One, two, three. Do you hear me? Do you see me?-Fine. First of all, I would like to thank you, Charlotte, for the invitation to speak about our research activities Philosophy On Stage in front of the new association CRASSH. 1 Arno Böhler: Hello, I'm Arno. I'm a so-called philosopher because I teach philosophy at the University of Vienna, Department of Philosophy. I too would like to express my thanks to Charlotte, our host, and all the others who showed such a great interest in this new forum for Research through Art and Creativity. To start thinking with the ritualized form of thanking is maybe an intrinsic feature of artistic research. Because of the experimental, highly risky character one embraces in this discipline: Sometimes-something-works. But most of the time we are in a state of search, or even in a research mode in this field. One finds oneself in the dark. One learns to be a friend of the dark, of a docta ignorantia, of not knowing. Thereby one learns to be moderate. Searching for light in the dark, over and over again. And being thankful, over and over again could be a sort of definition even of what it means to take, for example, philosophy in itself as an artistic research practice. A form of life, in which one is called to think, without knowing exactly what one is doing, while one is following such a "call".
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Research Grants by Susanne Granzer
Through his conception of the “Künstlerphilosoph” (artist-philosopher), Nietzsche probably questioned this Socratic image of philosophy most profoundly, since this conceptual persona longs for a new kind of post-Socratic “philosophers to come” who are ready to do philosophy in an almost “anti-Platonic” manner by precisely crossing-over the disciplines of arts and science. Not to mind their gap, but in order to find a new (anti-Platonic) relation between philosophy and arts that will produce a different kind of philosophy and new forms of philosophy-based art in the end.
In accordance with this historical demand, our PEEK-project aims to develop a research performance in which philosophy is methodologically and conceptually demonstrated as a matter of arts-based research rather then a “pure” science.
This aim ought to be realized by organizing a research-festival “Philosophy On Stage#4” at Tanzquartier Vienna, in the context of which artists, philosophers and scientists will collaborate to demonstrate on stage their theoria on Zarathustra. The Artist Philosopher both in a scientific and an artistic manner. Thereby they will have to demonstrate anwers to research questions such as: What happens to the traditional image of philosophy and arts, once philosophers and artists are called to stage their thoughts and implement arts-based research practices for the demonstration of their ideas? Can Nietzsche’s notion of the artist-philosopher help us to understand what performing philosophy as a kind of arts-based research could mean?
This project will be carried out in close co-operation between the University of Applied Arts Vienna, University of Music and Performing Arts Vienna (MRS), University of Bremen, University of Surrey, Zurich University of Fine Arts and Tanzquartier Vienna. It will consolidate and enhance the international research of the worldwide growing network working on the edge of Philosophy & Performance.
National co-operationspartners:
Univ.Prof. Dr. Susanne Valerie Granzer, Full Professor for Performing Arts at the esteemed Max
Reinhardt Seminar, University of Music and Performing Arts Vienna Walter Heun (Artistic Director of Tanzquartier Wien)
Dr.habil. Krassimira Kruschkova (Head of Theorie Department Tanzquartier Vienna)
Sandra Noeth (Head of Dramaturgy Tanzquartier Wien)
Post-Doc-position:
Dr. Elisabeth Schäfer (University of Applied Arts Vienna)
International co-operationspartners:
Dr. habil. MAS Jens Badura: Head of the research unit “Performative Practice” at Zurich University
of the Arts (ZHdK)
Dr. Laura Cull: Senior Lecturer in Theatre Studies and Director of Postgraduate
Research for the School of Arts, University of Surrey
Dr. Alice Lagaay: Senior Lecturer in Philosophy at Bremen University"
Lebensweltlich sind wir gewohnt, unsere Körper primär als Werkzeuge zu gebrauchen, um bestimmte Vorhaben realisieren zu können. Dieses instrumentelle Verhältnis zu unseren eigenen Körpern bringt es mit sich, dass unsere Körper schließlich nur noch als “unsichtbare”, transparente Medien fungieren, deren “Eigen-Sinn” darin aufzugehen scheint, von uns aktuell gebraucht zu werden. Unserer physischen Konstitution werden wir uns jetzt nur noch dann inne, wenn die Realisation eines Vorhabens ins Stocken gerät und die Körper sich damit in ihrem unverfügbaren “Eigensinn” selbst widerständig zu melden beginnen.
Den Geltungsanspruch dieser These gilt es in unserem Forschungsprojekt jedoch nicht nur theoretisch zu beweisen. Wir haben uns außerdem vorgenommen, Lecture-Performances zu realisieren, in denen die Gültigkeit unserer Theorie von WissenschaftlerInnen am eigenen Leib praktisch erprobt und on stage demonstriert werden soll. In speziell eingerichteten Art-Laboratorien werden sie in Kooperation mit führenden KünstlerInnen Lecture-Performances entwickeln, die aufzeigen sollen, dass die Art und Weise, wie eine wissenschaftliche Theorie physisch demonstriert wird auf den “ideellen” Bedeutungsgehalt derselben einen signifikanten Einfluss ausübt. Die Lecture-Performances werden im Rahmen der Veranstaltung “Philosophy On Stage #3” aufgeführt und von der Wiener Kulturwerkstätte Grenzfilm auf DVD dokumentiert.
Dieses multimediale Dokument soll sinnlich demonstrieren, dass die Idee von Lecture-Performances für die Kulturwissenschaften in dem Moment methodisch notwendig wird, in dem die klassische Unterscheidung zwischen dem “idealen” Bedeutungsgehalt eines Urteils und dem realen Akt seiner Äußerung zu implodieren beginnt. Eine epochale Zäsur in den Kulturwissenschaften, die uns zwingt, den Translationsaspekt als signifikanten Bestandteil kulturwissenschaftlicher Forschung in Zukunft methodisch ernst zu nehmen und in unsere Forschungstätigkeit einzubeziehen.
Das Forschungsvorhaben wird im Zuge einer engen Forschungskooperation zwischen den Philosophischen Instituten der Universitäten Wien und Klagenfurt, dem Max Reinhardt Seminar sowie dem Tanzquartier Wien realisiert. Im Zuge der wissenschaftlichen Auswertung des Performance-Archivs im Tanzquartier Wien wird zudem ein Archiv eines Denkens in Bewegung entstehen, das es in Europa so noch nicht gibt.
Papers by Susanne Granzer
Through his conception of the “Künstlerphilosoph” (artist-philosopher), Nietzsche probably questioned this Socratic image of philosophy most profoundly, since this conceptual persona longs for a new kind of post-Socratic “philosophers to come” who are ready to do philosophy in an almost “anti-Platonic” manner by precisely crossing-over the disciplines of arts and science. Not to mind their gap, but in order to find a new (anti-Platonic) relation between philosophy and arts that will produce a different kind of philosophy and new forms of philosophy-based art in the end.
In accordance with this historical demand, our PEEK-project aims to develop a research performance in which philosophy is methodologically and conceptually demonstrated as a matter of arts-based research rather then a “pure” science.
This aim ought to be realized by organizing a research-festival “Philosophy On Stage#4” at Tanzquartier Vienna, in the context of which artists, philosophers and scientists will collaborate to demonstrate on stage their theoria on Zarathustra. The Artist Philosopher both in a scientific and an artistic manner. Thereby they will have to demonstrate anwers to research questions such as: What happens to the traditional image of philosophy and arts, once philosophers and artists are called to stage their thoughts and implement arts-based research practices for the demonstration of their ideas? Can Nietzsche’s notion of the artist-philosopher help us to understand what performing philosophy as a kind of arts-based research could mean?
This project will be carried out in close co-operation between the University of Applied Arts Vienna, University of Music and Performing Arts Vienna (MRS), University of Bremen, University of Surrey, Zurich University of Fine Arts and Tanzquartier Vienna. It will consolidate and enhance the international research of the worldwide growing network working on the edge of Philosophy & Performance.
National co-operationspartners:
Univ.Prof. Dr. Susanne Valerie Granzer, Full Professor for Performing Arts at the esteemed Max
Reinhardt Seminar, University of Music and Performing Arts Vienna Walter Heun (Artistic Director of Tanzquartier Wien)
Dr.habil. Krassimira Kruschkova (Head of Theorie Department Tanzquartier Vienna)
Sandra Noeth (Head of Dramaturgy Tanzquartier Wien)
Post-Doc-position:
Dr. Elisabeth Schäfer (University of Applied Arts Vienna)
International co-operationspartners:
Dr. habil. MAS Jens Badura: Head of the research unit “Performative Practice” at Zurich University
of the Arts (ZHdK)
Dr. Laura Cull: Senior Lecturer in Theatre Studies and Director of Postgraduate
Research for the School of Arts, University of Surrey
Dr. Alice Lagaay: Senior Lecturer in Philosophy at Bremen University"
Lebensweltlich sind wir gewohnt, unsere Körper primär als Werkzeuge zu gebrauchen, um bestimmte Vorhaben realisieren zu können. Dieses instrumentelle Verhältnis zu unseren eigenen Körpern bringt es mit sich, dass unsere Körper schließlich nur noch als “unsichtbare”, transparente Medien fungieren, deren “Eigen-Sinn” darin aufzugehen scheint, von uns aktuell gebraucht zu werden. Unserer physischen Konstitution werden wir uns jetzt nur noch dann inne, wenn die Realisation eines Vorhabens ins Stocken gerät und die Körper sich damit in ihrem unverfügbaren “Eigensinn” selbst widerständig zu melden beginnen.
Den Geltungsanspruch dieser These gilt es in unserem Forschungsprojekt jedoch nicht nur theoretisch zu beweisen. Wir haben uns außerdem vorgenommen, Lecture-Performances zu realisieren, in denen die Gültigkeit unserer Theorie von WissenschaftlerInnen am eigenen Leib praktisch erprobt und on stage demonstriert werden soll. In speziell eingerichteten Art-Laboratorien werden sie in Kooperation mit führenden KünstlerInnen Lecture-Performances entwickeln, die aufzeigen sollen, dass die Art und Weise, wie eine wissenschaftliche Theorie physisch demonstriert wird auf den “ideellen” Bedeutungsgehalt derselben einen signifikanten Einfluss ausübt. Die Lecture-Performances werden im Rahmen der Veranstaltung “Philosophy On Stage #3” aufgeführt und von der Wiener Kulturwerkstätte Grenzfilm auf DVD dokumentiert.
Dieses multimediale Dokument soll sinnlich demonstrieren, dass die Idee von Lecture-Performances für die Kulturwissenschaften in dem Moment methodisch notwendig wird, in dem die klassische Unterscheidung zwischen dem “idealen” Bedeutungsgehalt eines Urteils und dem realen Akt seiner Äußerung zu implodieren beginnt. Eine epochale Zäsur in den Kulturwissenschaften, die uns zwingt, den Translationsaspekt als signifikanten Bestandteil kulturwissenschaftlicher Forschung in Zukunft methodisch ernst zu nehmen und in unsere Forschungstätigkeit einzubeziehen.
Das Forschungsvorhaben wird im Zuge einer engen Forschungskooperation zwischen den Philosophischen Instituten der Universitäten Wien und Klagenfurt, dem Max Reinhardt Seminar sowie dem Tanzquartier Wien realisiert. Im Zuge der wissenschaftlichen Auswertung des Performance-Archivs im Tanzquartier Wien wird zudem ein Archiv eines Denkens in Bewegung entstehen, das es in Europa so noch nicht gibt.