This volume provides new, ground-breaking perspectives on the globally renowned work of the Tanztheater Wuppertal and its iconic founder and artistic director, Pina Bausch. The company's performances, how it developed its productions, the global transfer of its choreographic material and the reactions of audiences and critics are explained as complex, interdependent and reciprocal processes of translation. This is the first book to focus on the artistic research conducted for the Tanztheater's international coproductions and features extensive interviews with dancers, collaborators and spectators and provides first-hand ethnographic insights into the work process. By introducing the praxeology of translation as a key methodological concept for dance research, Gabriele Klein argues that Pina Bausch's lasting legacy is defined by an entanglement of temporalities that challenges the notion of contemporaneity.

Das Buch entwickelt eine Kulturtheorie des Pop und legt dabei ein besonderes Augenmerk auf Korperinszenierungen. Auf der Grundlage einer empirischen Untersuchung der Jugendkultur Techno wird eine an Bourdieu und den Cultural Studies angelehnte theoretische Skizze der Popkultur vorgestellt, die die lebensweltliche Relevanz globalisierter Kulturen, wie es jugendliche (Pop)Musikkulturen seit ihren Anfangen sind, herausarbeitet. Das Buch gibt Antworten auf die Fragen, warum Techno wie keine andere Jugend- und Popkultur zuvor, eine Tanzkultur war und ist und welche Rolle die Korpertechniken und -inszenierungen in dieser Jugendkultur spielen.

Als Sollkonzept, das die Basis fur die Entwicklung zukunftiger Standards fur internationale Rechnungslegung und Konzernabschlusse bilden soll, praferiert Gabriele Klein ein monofunktionales System im Sinne informationsorientierter Vorschriften, die auf die Ermittlung einer wahlrechts- und widerspruchsfreien Gewinngrosse abstellen.

Wer ist fur wen schwer vermittelbar? Die Autoren hoffen, mit ihren Beitragen den Blick von Politikern und Wissenschaftlern, Burokraten und Betroffenen fur die Ursachen und das Ausmass, fur die Formen, Folgen und Bekampfung der Langzeitarbeitslosigkeit zu scharfen. Aus der Verortung der Langzeitarbeitslosen zwischen diskontinuierlichen Erwerbsverlaufen und sozialer Selektion ergeben sich folgende Themenschwerpunkte: soziologische und okonomische Erklarungsansatze, gesellschaftliche Brennpunkte: Jugend, politische Radikalitat, Alkoholismus und Isolation sowie Konzepte und Erfahrungen bei der Bekampfung der Langzeitarbeitslosigkeit."

"We Got the Water" is the story of the Klein family: Herman and Bertha, and their three children, Lilly, Oli and sixteen-year-old Gabi. In the spring and summer of 1944, along with more than 400,000 other Hungarian Jews, they were forced from their homes, rounded up, and sent to Auschwitz. The Kleins were aboard one of the very first trains of this mass deportation. Author Jill Gabrielle Klein follows her father, his sisters and their mother through Auschwitz and into slave labor camps in Poland and Germany, providing a narrative-both harrowing and inspirational-of resilience in the face of terror. As it charts the author's personal quest to reconstruct the past, the book also documents the inexorable disappearance of living Holocaust survivors, whose first-person accounts illuminate this dark period and inscribe it in our collective memory.

Both the identity of dance and that of theory are at risk as soon as the two intertwine. This anthology collects observations by choreographers and scholars, dancers, dramaturges and dance theorists in an effort to trace the multiple ways in which dance and theory correlate and redefine each other: What is the nature of their relationship? How can we outline a theory of dance from our particular historical perspective which will cover dance both as a practice and as an academic concept? The contributions examine which concepts, interdependencies and discontinuities of dance and theory are relevant today and promise to engage us in the future. They address crucial topics of the current debate in dance and performance studies such as artistic research, aesthetics, politics, visuality, archives, and the "next generation."

The concept of "worldmaking" is based on the idea that "the world" is not given, but rather produced through language, actions, ideas and perception. This collection of essays takes a closer look at various hybrid and disparate worlds related to dance and choreography. Coming from a broad range of different backgrounds and disciplines, the authors inquire into the ways of producing "dance worlds": through artistic practice, discourse and media, choreographic form and dance material.The essays in this volume critically reflect the predominant topos of dance as something fleeting and ephemeral - an embodiment of the Other in modernity. Moreover, they demonstrate that there is more than just one universal "world of dance", but rather a multitude of interrelated dance worlds with more emerging every day.