Research Catalogue

an international database for artistic research

• 0. X-position Stockholm University of the Arts publication series: X-Position, ISSN 2002-603X;3
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  0. Published expositions Published expositions by Stockholm University of the Arts.

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  ARCHAEOLOGIES OF DESTRUCTION (2024) author(s): Santa published in: Stockholm University of the Arts (SKH)
  On the 13th of April 2024 an archaeological action in the 2º Torrão neighborhood was carried out, in collaboration with the Almada Archaeology Centre. The objective was not an excavation, it was not prospecting, but an activity that would make the residents, through the participation of the children who live there, aware of their recent past, their identity and the importance of what is happening in their neighborhood, for themselves and others. 2º Torrão is a self-built neighborhood located a few km from the center of Trafaria where approximately 2000 people live.
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  (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.
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  Circus as Practices of Hope: A Philosophy of Circus (2024) author(s): Marie-Andrée Robitaille published in: Stockholm University of the Arts (SKH)
  This exposition provides a spherical exposition of the research processes through a repository of images, texts, and diagrams, and contains the exegesis—a critical textual articulation of the doctoral artistic research project Circus as Practices of Hope: A philosophy of Circus. Abstract My doctoral artistic research project, Circus as Practices of Hope: A Philosophy of Circus, responds to the growing complexities emerging from the convergence of the fourth industrial revolution, the sixth mass extinction, and the eco-socio-political turmoil of our time. What does it mean to be human today? What does it mean to be a circus artist today? How is circus relevant in today’s context? Core to this inquiry is the assertion that although circus arts hold the potential to foster significant knowledge, they simultaneously perpetuate outdated worldviews that restrict their transgressive potential. With this research, I investigate alternatives to regressive models of thoughts and modes of composition, aiming to identify and articulate circus´ inherent epistemic, ontological, and ethical specificities and their relevance for navigating and steering the current planetary paradigm shift. I conducted my research through embodied practices as a circus artist, as a pedagogue, and from the perspective of a human on Earth. My inquiry occurred through Multiverse, an iterative series of compositional performative experiments and discursive activities. I engaged critical posthumanism and neo-materialist philosophies to challenge and evolve my relation to risk, mastery, and virtuosity. The project conceptualizes circus arts as nomadic and fabulatory practices, culminating in a series of artistic, choreographic, and conceptual tools and methods that articulate circus arts within and beyond their disciplinary boundaries. The project advances a philosophy of circus that highlights circus-specific kinetic, aesthetic, and embodied relevancies in today’s context, situating circus arts as hopeful practices for the future. To quote this work: Robitaille, M-A. (2024), Circus as Practices of Hope: A Philosophy of Circus, Documented Artistic Research Project (doctoral thesis), Stockholm University of the Arts. Publication series X Position no. 33 ISSN 2002-603X ; 33 ISBN 978-91-88407-52-8 (print) EISBN 978-91-88407-53-5 (e-publ)
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  Örat nära munnen: samtal mellan film och filosofi (2024) author(s): Marius Dybwad Brandrud published in: Stockholm University of the Arts (SKH)
  This PhD project is a study in and through filmic conversations. The project addresses the role of conversation in philosophy education. While philosophy often is manifested in individually written form, this is a study of how filmic conversation can act as philosophical expression, mainly based on the film "Samtal om samtal" which is the principal material of this PhD project. The film begins by addressing the manner of which we speak to one another in a seminar; and by extension how that manner decides which philosophy is at all made possible: Who is speaking and who is listening? Whose experiences count and whose ideas are welcome? Yet, conversation is not only of interest as practice but also as expression. Sometimes something is said through/as conversation that could not have been expressed in any other form. What would happen if conversation, as a communal way of saying things, would constitute a form of philosophical expression in its own right, on par with the individually written text? What form would such an expression be allowed to take? Could philosophy be expressed through the medium of film? In and through the filmic conversation of this study, these queries also lead on to issues of representation and responsibility: What signifies the practice of making a film about or with someone? How are those involved in a film project affected, and how can the film act (in the world) independently? How could responsibility be understood in the process of making a film and regarding the final result? In addition to "Samtal om samtal", the text "Eftertext" is submitted. The text further explores the previously mentioned questions, but adds another layer in commenting on the filmic work of "Samtal om samtal". "Eftertext" also refers to the films "Ett jag som säger vi" and "Rehearsals", as well as the document "Transkription". These works are included as appendices, forming sub studies in the process of making "Samtal om samtal".
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  Att uttala det kroppsliga – på spaning att överbrygga skådespelarens arbete med kroppen som instrument, rörelsegestaltning och dramatisk text (2024) author(s): Olof Halldin, Aleksandra Czarnecki Plaude published in: Stockholm University of the Arts (SKH)
  Teater Västernorrlands Dödsdansen utgår från en ny bearbetning. I Aleksandra Czarnecki Plaudes regi är kroppen, rörelsen och musiken tre starka medspelare till August Strindbergs klassiska verk. I rollerna ser vi Teater Västernorrlands skådespelare Gisela Nilsson, Åke Arvidsson och Kaj Ahlgren. August Strindbergs klassiska verk från år 1900 utspelar sig i en tid av förberedelse inför en karantän. De äkta makarna artillerikaptenen Edgar och den före detta skådespelerskan Alice är isolerade på en skärgårdsö. Inför sin silverbröllopsdag får de ett oväntat besök av nära vännen Kurt och ett osande triangeldrama tar sin början. Projektet avser dels fånga och kommunicera mina arbetsmetoder, dels generera ny kunskap i frågan om skådespelarens fördjupade gestaltningsarbete av dramatisk text med och via kroppen som instrument och rörelsegestaltning. Syftet är att genom praktiskt arbete och i samarbete med professionella skådespelare samla, artikulera och kommunicera det specifika i övergången mellan kropp- och textarbete, tvärs genom hela processen, det vill säga från förberedelsefas via repetition till publikmöte. Dödsdansen är resultatet av själva metoden?
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  What impact can the use of "worlding" have in a dance practice? (2024) author(s): Hannah Krebs published in: Stockholm University of the Arts (SKH)
  This is an approach to understand how life action role play can be used in a dance performative context and how it informs the body in relation to another time and space into a dance quality.
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