Suchergebnisse

Abstract
Children engage in sociodramatic pretend play to develop strategies for dealing with the dangers and uncertainties of their everyday live. This paper examines the path into joint pretend play by a child therapist and her young patient through fine-grained conversation analysis and the usage of the PRAAT-Software. Interactants don't follow a linear path from the real world into play but are rather negotiating their ideas of how the play might/should unfold. In a second part, this paper deals with the patients' aggressive behavior as a result of pretended mother-child interactions enacted by the therapist. A special light is shed on how recurrent interactional constellations in the pretend play lead to a development of structures of expectations.

Abstract
Im Folgenden werden in einem Dreischritt zunächst 1) die Perspektiven aus einem Rückblick auf unsere Arbeitsweise, 2) weiterführende Gedanken zu Rhythmuskonzepten sowie 3) ein methodischer Ausblick auf die künftige Zusammenarbeit präsentiert.

Abstract
As shown in my text in Part I of this volume, the Boston theory, Goffman, and some parts of mentalization theory all address the phenomenon of special "moments". These theories value the role of conversation very differently. Goffman's theory comprises most; conversation is what makes "moments" possible but "moments" are not the goal of every "talk-in-interaction". More specified conditions of "moments" will be described with the goal to apply them to a transcribed interviewed with a Holocaust survivor. Conversation analysis in the future will have to develop concepts for what has been termed "noticeable absence" (Harvey Sacks). After analysis of what is said and (interactively) done, there remains the question how to deal with what is silenced.

Abstract
This paper gives a reading and an interpretation of a psychotherapeutic session between a child (5 year old Ina) and her therapist, drawing on the theory of re-enactment and dramaturgy in performance and theatre studies. The main thesis is that in their interaction child and therapist re-enact the trauma of the abandoned baby in a "play within the play". Thus significant moments of meeting – in crossing the borders between (mimetic) play and reality – reveal how aggressive emotions are re-enacted and dissolve the rhythms and impact of their negative power.

AbstractThis chapter presents "Scenic Narrative Microanalysis" and its potential contribution to research on significant interactive moments. It discusses the method's roots at the intersection of two paradigm shifts. The first is the interactive turn in psychoanalysis, which itself is situated within the overarching cultural context of a performative turn. Second, as an approach addressing short-term interactions (moments), SNMA points to the temporal turn in sociology, economics and technology, the background for microanalytic infant research approaches that have been influential since the 1970s. Finally, the future prospects of interdisciplinary method triangulation within the research group are discussed.

AbstractThis article analyzes how aesthetic experience arises. Referring to Pina Bauschs Kontakthof, I examine the following issues: performance and performativity, Kontakthof as play, comic: disappointed expectations, missing gestures, clothes and objects as actants, music and resonance, gender battle still in old age, repetition and ritualization, rhythm, aesthetic experience through mimetic processes.

AbstractThe interactional quality of Pina Bausch's staged dance performance challenges the perception and the expectations of social interaction that follow it. Through repetition and combinations of words and movements new expectations and new social roles are created. This shows not only how fragile interaction processes can be disturbed but also how we are prone to make sense out of interactions through observation.

Abstract
In the following paper, Scenic Narrative Microanalysis (Hamburger 2015) is applied to a 50-minutes session of a long-term child psychoanalytic play therapy. The aim of the study was to extract Now Moments respectively Moments of Meeting (Stern 2004) in the playful interaction between the psychotherapist and her four-year-old girl-patient. Results of the individual ratings of the transcript, as well as the group's consensus discussion are critically discussed and related to the psychodynamic content of the session itself and in addition to the results of the other chapters in this section.

Abstract

This essay is about a short sequence of Pina Bausch's Kontakthof with ladies and gentlemen over 65. It discusses the hypothetical question as to "how to dance tango without dancing a tango?" I argue that the principle movement topics and practices of the Argentine Tango such as leading and following or the cruz are transformed by choreographic modes. In this way they constitute the structure of the Pina Bausch stage sequence.

Abstract
The aim of this essay is to investigate "moments of meeting" (Stern 2005) and rhythms of interruption in Pina Bausch's piece "Kontakthof" (i.e., the version "Kontakthof with Ladies and Gentlemen over »65«", 2007). Combining the perspective of microanalysis and a close reading of two significant scenes of the piece with a macroanalysis of dance aesthetics and questions of framing in theatre theory, contextualising "Kontakthof" within the history of "Tanztheater" (the 70s/80s in post-war Germany), the article shows how the composition and bodily articulation of movement interactions are constituted between the dancers and the audience. The "Ponyriding" scene is based on rhythms of transgression touching the boundaries both between male and female dancers and between performers and audience. A close reading of the "Tango-Scene" shows how the rhythms of moving together and the disbalances between interruption in the movements and gestures of a "tango" can be compared with performative processes of turn-taking in language interaction.