(OM COTEUREN) Regifunktion i omvandling genom samskapandets processer
(2024)
author(s): Carina Reich
published in: Stockholm University of the Arts (SKH)
The aim of this documented artistic research project is to investigate functions of directing within an expanded understanding of co-created performing arts. My main question concerns the following. What practices and principles of directing in co-created performing arts are revealed in the sample narratives, expositions and final productions of the thesis, and what do these say about transformations within different spatial and social contexts? The project process consists of four documented stagings and a final performance. It is this way I develop the concept “The Coteur” which stands for a directorial function combining a unique, biographical director function (The Auteur) with the openness of a co-created process formed around place, collaborators and contexts, where the development of an original work start without a script. Here I am interested in what I call ”staged absence” which I consider to be an artistic principle based on the removal of “the expected”. What happens, for example when the lead vocalist and the music are taken out of a popular song to leave behind a group of beat counting back-up singers, looking for their cue and a rhythm. Or when boxers are taken out of the ring and only the choreography of the referee remains. In my artistic research project I want to challenge the premises of co-creative performing art, and the director function, by also using forms for seminars and association meetings, to stage collective readings aloud, from manuscripts. This is combined with autobiographical and reflective writing, influenced by the principles for knowledge in practice, to uncover and develop artistic principles for a co-creative director function.
Death to the Welfare State: An Exposition on Political Discourse and Artistic Collaboration
(2023)
author(s): Kent G R Olofsson, Jörgen Dahlqvist
published in: VIS - Nordic Journal for Artistic Research
Död åt välfärdsstaten (Death to the Welfare State) was a theatre performance for actors, dancers, and musicians that dealt with a concern that the welfare system in Sweden was about to be dismantled. To explore this worry political speeches were superimposed with a narrative inspired by George Orwell’s novel Animal Farm to examine how perceptions of welfare in Sweden have changed from the early 1900s to the present. This artistic research exposition elaborates on the process of developing the theatre piece. It unpacks how the relation between discourse and narrative informed the text and music, and how it allowed for a dramaturgical structure that included all the various performative elements and artistic expressions. Furthermore, the exposition discusses how the performance was composed through a collaboration that was characterised by an open-ended dialogue between the artists and how this enabled distributed decision making, as well as artists performing in other ways than they are used to. The exposition explores the open format of Research Catalogue. Through text and video documentation it builds on the dramaturgical structure of the performance itself: an introduction, five parts and an epilogue. The ambition of the exposition has been to make yet another iteration of the performance.
"ART THOU PAYING ATTENTION?" - PRESENCE AND SUSTAINABILITY IN THE PERFORMING ARTS
(2023)
author(s): Camilla Damkjaer
published in: Research Catalogue, Stockholm University of the Arts (SKH)
This essay is reflection on the research project “ Presence and sustainability in the Performing arts” conducted by Camilla Damkjaer and Johanna Garpe at Stockholm University of the Arts 2021-2023.
The project started from the idea that the premise of the performing arts is to capture people’s attention. At the same time our attention is under pressure through experience economy, digitalisation and work-life conditions. We wanted to explore ways of creating sustainable relations to attention within this field. The purpose was of the project was therefore to develop a more sustainable relation to attention within the performing arts, in the meeting with meditative practices.
The Ecology of Artistic Research
(2023)
author(s): Elizabeth Torres
published in: Research Catalogue
In the past decade, artistic research has emerged as a prominent means of generating new knowledge while addressing pressing issues such as sustainability and environmental concerns. However, due to its relative newness, the field lacks a clear mainstream understanding regarding its potential, meaning, structures, and limitations. The Ecology of Artistic Research is an interdisciplinary investigation that aims to explore the multifaceted dimensions of the field, with a particular focus on the significance of artistic research to researchers and practitioners themselves, and how they perceive, process, and embody knowledge through their practice. This project seeks to identify sustainable approaches to artistic research, demystify and clarify the language of artistic research for lay audiences, visualize the mechanisms of the field, and visibilize structures and networks that pay closer attention to the narratives of our world in transformation.
The investigation is conducted through a cycle of conversations and artistic responses, with a particular focus on the Nordic countries of Finland, Sweden, Norway, and Denmark. Through engaging contemporary artistic practitioners, academic institutions and researchers in conversations, the project seeks to gain insight into their work, concerns, and personal experiences. The output of this research takes various interdisciplinary forms, including audiovisual interviews, articles, and a multimedia exposition.
On Mother Tongues: fall 2022, B58, Stckhlm
(2023)
author(s): Caterina Daniela Mora, andrea isabella diaz ghiretti, Stella Kruusamägi, Mariana De oliveira costa, Martin Sonderkamp, Robert Malmborg, yari stilo
published in: Stockholm University of the Arts (SKH)
Description [en]
Collaborative exposition with CC4r license in the frame of a workshop focus on monther tongues, performer skills, translations, translinguicism.
As a first proposal, caterina's invitation to the workshop stated this: "This proposal invites you as co-researcher to develop a workshop about mother tongues and translations. Aiming to reflect on the performer skills, from our mother tongues to trans-linguicism, the sessions will develop obfuscated story-telling to deal with questions around the untranslatable."
Documentation of the 'On Mother Tongues' workshop.
On Mother Tongues happened as a result of an invitation from caterina daniela mora jara to spend some hours in the same dance studio with Mariana Costa, Stella Kruusamägi, Andrea Diaz, Yari Stilo, Robert Malmborg and Martin Sonderkamp. The workshop took place the first week of the fall semester 2022, from 29th August to 3rd September (14h till 17h), and 1st October (11-16h) in the Department of Dance, located at Brinellvägen 58, 114 28 Stockholm, Sweden.
Rehearsal for A Play in Two Acts
(2020)
author(s): Zoe Panagiota (aka Betty) Nigianni
published in: Research Catalogue
Play in the format of the philosophical dialogue, 2019
Drama is pretense. But, unlike fiction, a theatrical play is not a pretended representation of a state of affairs; rather it is the pretended state itself, in which the actors pretend to be the characters doing the pretending in the actual performance of the theatrical play. The actor is in this way irrealised in the character. Aside from writing the play, which consists largely in pseudo assertions, the playwright gives the actors directions on how to pretend to make assertions and to perform actions. Therefore, the playwright is writing a recipe for pretense. Instead of pretending to write assertions, the playwright gives directions to the actors on how to enact a pretense.
The philosophical dialogue has been an established, although uncommon, method of philosophical writing, which usually deploys fictional characters to present a discussion between several divergent viewpoints on a topic of ordinary or philosophical interest. The juxtaposition and debating of opinions in ordinary uses of language, without prioritizing any opinion, endows the dialogue with open-endedness instead of conclusiveness. As McKeon (in Prince, 1996: 3) argues:
"Dialogue is statement and counterstatement, based on ordinary ways of life and ordinary uses of language, with no possible appeal to a reality beyond opposed opinions except through opinions about reality. Truth is perceived in perspective, and perspectives can be compared, but there is no overarching inclusive perspective."
In this exposition, I exploit the dialogic format to expose the views of Jean-Paul Sartre, a well known philosopher and father of the existentialist philosophical and literary movement, and Maurice Blanchot, a rather obscure philosopher of literature and literary critic. Notably, both Sartre and Blanchot were active in the post second world war period, which significantly shaped their philosophical insights; specifically on modes of writing, including fictional prose, about a variety of topics, from politics, to ethics and aesthetics. Because referencing is rarely used in philosophical dialogues, here I employ full bibliographical referencing in the end. The dialogue presents an advantage for reaching a wider readership, beyond the confines of those with strictly philosophical and academic interests.
Prince, Michael, "Philosophical Dialogue in the British Enlightenment: Theology, Aesthetics and the Novel", Cambridge: Cambridge University Press, 1996.
CALL ME WHEN YOU'RE HOME
(last edited: 2020)
author(s): Francesco Collavino
This exposition is in progress and its share status is: visible to all.
L’idea di questo lavoro è quella di utilizzare l’immagine degli astronauti e delle loro esplorazioni come metafora di un rapporto umano che si realizza nella spazio di una separazione.
Il titolo infatti è una frase che viene detta sulla soglia, nella partenza, è una formula di protezione che ci accompagna per tutto il viaggio come una grande dichiarazione d’amore.
In un altro livello riflettiamo sulla crisi del linguaggio di situazione satura, dove la comunicazione si è ormai rappresa, il linguaggio crolla su se stesso e cessa il dialogo. Si parla, ma non ci si comprende più perciò è necessario partire, lasciarsi per trovare modalità di comunicazione più efficaci.
In scena saranno presenti due interpreti, due individui, tra i quali non ci sarà una vera e propria interazione, se non la relazione che si viene a creare tra i loro corpi sospesi in uno spazio comune.
Il lavoro è impostato come fossero due soli distinti, ma che muovendosi possano creare un’unica opera d’insieme e magari questo porterà anche a un incontro.
ARTISTIC PORTFOLIO
(last edited: 2017)
author(s): Esa Kirkkopelto
This exposition is in progress and its share status is: visible to all.
Tämä on taiteellinen portfolioni / This is my personal artistic Portfolio