The international conference "TRACING CREATION" provides a platform for genetic research on the performing arts. It is specifically targeted at scholars who examine the manifold creative processes that, strictly speaking, precede the moment a performance is staged but which nevertheless leave their mark on its form, structure, or content. The conference's overarching theme is subdivided into "Genetics, Genes, and Genealogies," which are presented as three anchor points around which investigations into creative processes can be clustered.
1) GENETICS: In contrast to the study of literature, which has a well-established tradition in genetic research, theatre scholars have only recently begun to inquire into the genetics of performance. Since this is a relatively young strand of research, there is a pressing need to develop solid methodologies that can enhance the genetic study of the performing arts.
2) GENES: Analysing performance from a genetic point of view raises the issue of how live performance relates to its material documentation: how can various means of notation, recording, and archiving adequately chart how a given work was created as well as enable its future restagings? Rather than reinforcing the essentialist idea that live performance exists exclusively in and as embodied practice, the topic of genes promotes an expanded understanding of performance’s being by scrutinizing how changing media and intermedial modes of presentation affect the appearance of performance.
3) GENEALOGIES: The genetic study of the performing arts also calls for new perspectives on how their histories are written, told, or recorded. Scrutinizing how performance comes into being entails that grand narratives make place for seemingly trivial anecdotes or sketchy details that may bear unexpected importance on the creation of the work. Genetic research on performance is therefore likely to inspire a form of historiography that is close to Michel Foucault’s notion of genealogy.