Universität Wien

170540 UE (Non-)consensual practices: Intimacy Coordination in rehearsal processes (2025S)

5.00 ECTS (2.00 SWS), SPL 17 - Theater-, Film- und Medienwissenschaft
Continuous assessment of course work
Moodle
Sa 10.05. 10:00-16:00 Seminarraum 2 2H415 UZA II Rotunde

Registration/Deregistration

Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).

Details

max. 30 participants
Language: German

Lecturers

Classes (iCal) - next class is marked with N

  • Saturday 12.04. 10:00 - 16:00 Seminarraum 3 2H467 UZA II Rotunde
  • Sunday 11.05. 10:00 - 16:00 Seminarraum 2 2H415 UZA II Rotunde
  • Saturday 17.05. 10:00 - 16:00 Seminarraum 3 2H467 UZA II Rotunde
  • Sunday 18.05. 10:00 - 16:00 Seminarraum 3 2H467 UZA II Rotunde

Information

Aims, contents and method of the course

“The Last Tango of Paris”, controversies surrounding various cases of abuse of power at city and state theaters, #metoo and #metwo - What was not yet public in 1972 will be controversially discussed a few decades later - social ideas and debates about consensual or invasive behavior have changed significantly and also shape the intimate spaces of the staging work on and at the rehearsal and are ultimately reflected in their artifacts.
In the text-based part of the exercise we deal with the queer-feminist praxeological investigation of rehearsal work. A major change can currently be observed within the field of rehearsal work. What is particularly striking is the appearance of a new figure and form of work: intimacy coordination. Their methods (such as “safe sets” or “safe words”) are based on the adoption of practices from sex-positive subcultures and can be traced back to the movement-political history of (queer) feminism and the sex worker movement, including the post-porn genre locate.
In the exercise, we investigate these questions practically and examine the (non-) consensual communication methods of artistic rehearsal processes, traditional and experimental strategies of staging based on the work of intimacy coordination and deal with practical forms of appointments in different rehearsal cultures.

The aim is to jointly analyze what does the contemporary adoption of such procedures mean in the rehearsal context of artistic practices (in theater, media and film)? What effects does it have on the director-actor team structure and on collectives? What aesthetic changes does such a way of working entail? And what conclusions can be drawn with regard to the introduction of the concept of “consensuality” in theater theory?

The seminar imparts basic knowledge of theater praxeological rehearsal research. To this end, cultural studies theories from queer studies and gender studies are taken into account and placed in connection with theater and media studies positions on processuality and the aesthetics of the making-of. In addition, we look at excerpts from currently existing guide books, such as “Staging Sex” (Pace, 2020) or “The Intimacy Coordinators Guidebook” (Haney, 2024).

Assessment and permitted materials

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Hinweis der Studienprogrammleitung: Wir möchten faire Bedingungen für alle Studierenden sicherstellen. Im Zuge der Beurteilung kann eine Plagiatssoftware (Turnitin in Moodle) zur Anwendung kommen. Die Verwendung von KI-Tools (z. B. ChatGPT) für die Produktion von Texten ist nur dann gestattet, wenn dies ausdrücklich eingefordert wird. Alle Informationen zu Ihren Rechten und Pflichten finden Sie in der Satzung, https://satzung.univie.ac.at/studienrecht/.

Minimum requirements and assessment criteria

In order to complete the course, attendance at the first session is mandatory. A maximum of 2 absences (90 minutes each) are possible for health, professional or private reasons.
To complete the course, a positive assessment of all individual achievements is required.
The seminar performance consists of active and regular participation (30%), independent material research prepared for the exercise as a Powerpoint/video/similar (30%) and an independently (possible in small groups) guided physical/perception exercise (10-15 min) (40%) together.

By participation I mean presence, active participation, reading the theoretical texts covered in the course and participation (with consent) in practical exercises.

1 (very good) = full participation and active participation in all meetings, above-average fulfillment of the assigned tasks, contributions that enrich the discussion and respond to others and active implementation of all exercise tasks, development of an independent, critical attitude towards the exercise content, solidarity cooperation with co-workers. students
2 (good) = full participation and regular participation in all meetings, appropriate fulfillment of the assigned tasks, contributions that enrich the discussion and are relevant to others and active implementation of all exercise tasks, development of an independent, critical attitude towards the exercise content, solidarity-based cooperation with co-students
3 (satisfactory) = Participation and regular participation in all meetings, satisfactory completion of the assigned tasks, contributions that enrich the discussion and respond to others and adequate implementation of most of the exercise tasks, sufficient development of an independent, critical attitude towards the exercise content, solidarity cooperation with co-workers students
4 (sufficient) = participation and sufficient cooperation in most meetings, moderate completion of the assigned tasks, simple verbal contributions and sufficient implementation of all exercises, solidarity-based cooperation with co-students
5 (poor) = participation and cooperation in most meetings, inadequate fulfillment of the assigned tasks, little participation in discussions and few meaningful contributions, inadequate implementation of the exercises, no solidarity-based cooperation with co-students

Examination topics

In order to complete the course, attendance at the first session is mandatory. A maximum of 2 absences (90 minutes each) are possible for health, professional or private reasons.
To complete the course, a positive assessment of all individual achievements is required.
The seminar performance consists of active and regular participation (30%), independent material research prepared for the exercise as a Powerpoint/video/similar (30%) and an independently (possible in small groups) guided physical/perception exercise (10-15 min) (40%) together.

Reading list

Bauer, Robin: Queer BDSM Intimacies: Critical Consent and Pushing Boundaries. Springer 2014.
Haney, Brooke M. (Hg.). The Intimacy Coordinators Guidebook. Taylor & Francis: 2024.
Hänzi, Denis. Die Ordnung des Theaters. Eine Soziologie der Regie. Bielefeld: Transcript Verlag 2013.
Hinz, Melanie und Jens Roselt (Hg.): Chaos und Konzept: Proben und Probieren im Theater. Berlin: Alexander Verlag 2011.
Hinz, Melanie. Das Theater der Prostitution. Transcript 2024.
Löffler, Juliane. Missbrauch, Macht und Medien. Penguin 2024.
Matzke, Annemarie: Arbeit am Theater eine Diskursgeschichte der Probe. Transcript 2012.
Pace, Chelsea. Staging Sex. Routledge: 2020.
Schiel, Lea-Sophie: Sex als Performance. Theaterwissenschaftliche Perspektiven auf die Inszenierung des Obszönen. Bielefeld: Transcript 2020.
Schmidt, Anja: Pornographie Im Blickwinkel der feministischen Bewegungen, der Porn Studies, der Medienforschung und des Rechts. Baden-Baden: Nomos Verlag 2016.
Schmidt, Thomas: Macht und Struktur im Theater Asymmetrien der Macht. Springer VS 2019.
Stüttgen,Tim (Hg.): Post/porn/politics: symposium/reader: queer-feminist perspective on the politics of porn performance and sex-work as culture production. Berlin: b_books 2009.

Association in the course directory

Last modified: Fr 11.04.2025 16:07