Research Catalogue

Focaris parte de la conexión entre el fuego y el hogar como espacios de encuentro, protección y transformación. La obra se desarrolla a través de un diálogo entre la expresión individual y el encuentro colectivo, representado por la reunión en torno a una mesa o una hoguera. Cada bailarín expresa su "fuego interno" en solos apoyados por el grupo, generando conexiones y contrastes a través de la coreografía. La narrativa de la obra está construida bajo la estructura del teatro griego, donde el coro acompaña, enfatiza y dialoga con las acciones individuales. La accesibilidad está integrada en la dramaturgia, transformando la LSC, la audiodescripción y los elementos visuales en recursos estéticos.

This exposition gathers a series of visual and linguistic investigations in which signs, form, and the space between them construct expressions that invite multiple interpretations. Here, propositions are understood as attempts, movements, and modes of thought. Between sign and form, a space emerges where meaning can be brought into play – where rhythm, structure, wonder and quietness may interact as an expanded practice of seeing, reading, and listening.

The EcoSomatics Conversations Series invites sharing of engagement, practices and thinking around environmental awareness through embodiment activities, dance and art. It posits a definition of EcoSomatics as of the body-mind-ecology and takes the form of open public dialogues between two (or more) people: independent artists, practitioners, and academics. The project was conceived by Dr Polly Hudson, (Royal Birmingham Conservatoire, Birmingham City University), and the conversations are co-convened with Dr Karen Wood, (Birmingham Dance Network and C-DaRE). The conversations took place virtually with a large international audience, and the podcasts are audio recordings of the live events. It is supported by funding from ADM Faculty Research Investment Scheme, Birmingham City University. Image by Ming de Nasty.

When does the singer become an artist? We ran an opera laboratory at the Department of Opera at Stockholm University of the Arts, during the years 2017-2020. With the searchlight focused on the creativity of the singer, we wanted to explore the borderland between the rehearsed and the spontaneous, in the art of performing opera. Our basic questions were: -when does the performance of the opera singer, which requires a high level of technical perfection, open up towards the unpredictable, creative moment? -Where is the border line between interpretation and improvisation, does it even exist? We commissioned a mini-opera to use as working material;Camilles irrfärder & äventyr, composed by Petter Ekman to a libretto by Tuvalisa Rangström. Windows for improvisation were included in the score, where the performers can play with text, rythm, melody or structure in different ways. In the work we alternated between artistic experiments and reflection. The ensemble reflected on how the different games and methods opened or closed the creative flow, and how the improvisations affected the performers' relationship to the material. A parallel focus was how the singers were inspired to change or expand their voices. We have found new methods in the work of developing the creative ability and force of the opera singer. We have applied the methods in different ways in higher education for Opera singers, developing new pedagogic approaches in the process.

Masterprosjekt for Tiril Eirunn Einarsdotter våren 2025

A dice roll is the very image of randomness. Every day since September 1, 1994, I have rolled a set of six dice, written down the number combinations and collected the numerical material in an ever-growing physical archive. The project is entitled "one and one hundred dice rolls a day". I use this numerical material as a starting point for transformations by translating each number, 1 to 6, into one sign, shape, sound or word, and by creating rules for how these translations will be used further. This method shapes the concrete outcomes and results in series or other forms of progressions and connections. What unites the different sub-projects that stem from the dice roll project is an exploration of the inherent nature of this special material and its potential for form, expression, and visibility, as well as a fascination with the diversity and variations generated, and with results I cannot fully predict. In this exposition, I will describe, make visible, and reflect on the working method, process, and the development of the formal language and expressions that have emerged from this ongoing, and in many ways interconnected, artistic project. The project is seen from a place (that of me, the artist's perspective) and is developed from a point (the dice rolls with dots representing numbers).