The impact of the audience on the actresses
(2023)
author(s): Dalida Shaheen
published in: Stockholm University of the Arts (SKH)
Welcome to Dalida Shaheen's exposition Master's candidate in acting program and actress. Firstly, in 2019, I played a role of a woman who got married to a married man, after the series aired to the public the role fired back on me. I observed audience's reaction exceeded everyone’s expectations. The audience is divided into two parts the first part is about the women who expressed their anger in a very aggressive and strong way, and the second part who was exciting to the character. The first part of the audience used several offensive, strong, and insulting words. The audience’s reaction was very emotional, and they used all the tools to express their feelings for example, they used social media platforms and verbal violence when they see me in the street. Hayat is the character I have created to explore my questions in my short fil.
The film is the method I used to explore my questions of what would happen when the audience can’t distinguish between the role and the actor’s real character, What is the impact of the audience on the actresses?
Searching for possibilities - Exploring the potentials of my Qanun performance
(2022)
author(s): Shafeeq Alsadi
published in: Research Catalogue
Over the course of many years of playing the qanun; a trapezoidal middle eastern zither-like stringed instrument, I have noticed how often the instrument has been played within its modal traditional framework, leading me to a perception that the qanun and myself are prevented from discovering more techniques and new potentials. I, hence, have been attempting to explore the traditional manners of treating the instrument with regard to timbre, playing techniques, and different harmonic orientations - while trying to maintain its true qualities and not losing sight of its traditional soul. My aspiration, as well as my method, is to be open to what one can do with the instrument rather than to take a specific approach. The qanun had shown an untapped capacity for expanded techniques and a broader range of sounds that enrich and revitalize the instrument's sounds library. This research has enabled me to stretch my boundaries and explore unknown possibilities, which has helped in the expansion of my own self-expression as a composer. It also paved the way for me to investigate further unexplored potentials of the instrument as this research emphasizes to show the qanun’s enormous capabilities that have yet to be realized.
Translation of Middle Eastern & Balkan rhythms and meters in my set up, consisting of darbuka, cajon, bendir attached to full drum-set
(2016)
author(s): Ioannis Rizopoulos
published in: Codarts
This paper focuses on the structure of a practical method that facilitates the transition from traditional elements towards the modern expression of performing on percussion. The primal aim behind this idea is to enrich the performer’s experience by, not only exercising on odd meters and rhythms seen in traditional music of the Middle East and the Balkans, but also using a variety of instruments on the same time for getting the required acoustic outcome. On the other hand the main instrument on which the full combination of the percussion-set was based, the drum-set, is giving the perfect match on a try-out to combine different music practices of the East and the West. Conducting a study like that sets the start for experimentation on combinations of music styles and their representative instruments.
The scope and significance of this research is described in the first section, highlighting the importance of the research question under examination in its final phase. In addition possible ways and primal findings that helped on finalizing the build up of a distinct set-up are commented. Technical matters leading to the desired musical outcome are outlined in the second section, along with the important aspects discovered during the implementation of the study. Results, findings and limitations of the study are described below. The next section, which forms the bulk of the paper, turns to the
description of the data under examination, structured into the 3 intervention cycles of research.
Sections 4, 5 and 6 all discuss in more detail the technical, notative procedure used and how it was transformed, during the research period, in order to strengthen the significance and application of the approach under examination; basically how to transfer Middle Eastern and Balkan rhythms and meters on a set up that consists of M. Eastern percussion and the drum set. The paper ends with a brief conclusion and the more detailed description of the resulted methodology.
Mastering the Curtains
(last edited: 2019)
author(s): Els Vanden Meersch
This exposition is in progress and its share status is: visible to all.
Mastering the Curtains is a photographic research of 2 perspectives in the Islamic Republic of Iran: on the one hand the public and transparent, on the other hand the hidden.
The first approach focuses on the content and implementation in the public space of the old popular and politicized street theatre Tazi’yeh.
The second approach explores the hidden world of the Sufis and their political difficulties within the current policy.
Originally, these seeming opposites have common ground in Iranian collective memory through a rendition of social and spiritual resistance.
The four-year research process involved continuous oscillation between exploration and self-reflection.
Reflections on religion, other and I, position and opposition, private and public, transparency and control are combined with series of images as in a 'flow of consciousness’.
This results in a multi-media use of text, images and sound that boosts the simultaneity of places and times.
The social potential of secular mysticism is distilled from this research.
The book Mastering the Curtains is published by Art Paper Editions.