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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  När vi ses och Hur gör vi med publikinsläppet? (2023) author(s): Karin Bergstrand published in: Stockholm University of the Arts (SKH)
  This exhibition shows my project from the Master in Acting 2021-2023 at SKH in Stockholm. The essay is called "When we meet" and the performative part "How do we let the audience in?" As an actor and clown, I have worked in many different rooms and with many different audience agreements. Everything from stage-salon situations where the audience knows exactly how to behave and what their participation looks like, to playing for only one person in a hospital bed or in a small rowing boat, where participation must be clearly negotiated and communicated. I've met adults who are world masters of theater etiquette, but can't answer a question if asked from the stage, and I've met children who are wild first-timers who engage in intense dialogue with us on stage. I am interested in the dialogue between actors and audience and in audience participation. What standards and agreements are they regulated by? How does the fear of making a mistake, breaking the norm, affect the experience of the performance? Does that fear of shame limit what is possible in the theater? I have also wondered what roles the audience can have, what in a work communicates this role, and whether the audience can change roles in the same work. In "How do we let the audience in?" you can read about the work with Eva and Margaretha, two half-masks who are both actors but in whose artistry the audience plays very different roles.
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  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?
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  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.
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  Släpp sångarna loss! (2023) author(s): Tove Dahlberg published in: Stockholm University of the Arts (SKH)
  My dissertation "Unchain the Singer! Gender, Performance Norms and Artistic Agency in Opera" is taken from an opera singer’s perspective and the aim is three-fold: • to investigate and problematize how gender and performance norms are reproduced on the opera stage • to provide tools and propose approaches to transform gender perspective and norm critique into a creative artistic practice, enabling conscious and active artistic choices in relation to gender and performance norms • to explore ways to expand the singer's artistic agency. The artistic research project draws on knowledge from both my own practice as a professional opera singer and my collaborators’ experiences from the worlds of opera, classical music and theatre. The thesis consists of four artistic investigations: 1. In "Mönster och möjligheter" (Patterns and Possibilities), gender markers were explored and identified, both in vocal and dramatic performance. The five Mozart scenes that were studied revealed a structure suggesting that femininity in the operatic art often can be expressed by taking responsibility for the music, for facial features and bodily behaviour, and for the audience. Correspondingly, masculinity seemed to be expressed by actively taking less responsibility in these areas. 2. The second investigation was connected to Norrbottensmusiken's production of the new opera "Under en kvinnas hjärta" (Beneath the Heart of a Woman). This study exposed how performance norms affect singers' artistic possibilities also in contemporary opera. The investigation found that if the director's reading of an opera is norm-creative, it can facilitate a less traditionally gender-coded performance. However, even in more traditional opera productions, there are still options for the singer to work norm-creatively with their role, for example by mixing feminine and masculine gender markers. 3. The third investigation, the concert production "Sångernas sång" (The Song of Songs), explored an expanded artistic agency for the singer. Actively using my experience from my career as an opera singer, I wrote the libretto for the chamber mini-opera "Stark som döden" (Strong as Death) in collaboration with a composer. The study suggested that singers, in addition to their creative work on the role, could also contribute with other important perspectives. Concert and opera productions, as well as newly written works, can be enriched by a dialogue with the singers early on in the artistic process. In the creation of the two roles in the chamber pieces "Hög visa" (Songs of Solomona) and "Stark som döden", useful methods for creating a subject position for the characters were developed, as well as ways to work in a concert situation with the portrayal of sexual desire. 4. The fourth and final investigation, "Interaktion och intimitet" (Interaction and Intimacy), was an exploration of intimate scenes. The study showed that the method and know-how of an intimacy coordinator can provide a sense of security that can make the singers freer in their portrayals of sexuality. A greater focus on the story can also make the scenes more interesting artistically. In addition, this study revealed the potential of an expanded agency for the singers. Allowing singers to adapt the text and the distribution of lines in repertoire opera, as well as creating a more collective rehearsal process, where the singers take an active part in the stage directing work, could open up for more norm-creative representations of gender on stage.
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  BLOD, BLOD(y), BLOD (2023) author(s): Kersti Grunditz Brennan, annika boholm published in: Stockholm University of the Arts (SKH)
  BLOD, BLOD(y), BLOD – an exposition of recurring processes, trails and building blocks of the film and research project BLOD through the lens of its methods. The BLOD methods are articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The methods are non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation-building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks: how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD research shares its outcomes via the mediums of its artistic practice: videos, texts, digital expositions. This exposition is designed to reflect the connections and interactions of the research's building blocks: ideas, places, materials, people, time, experiences, technologies. To enjoy BLOD, BLOD(y), BLOD: move around it with your mouse, follow dotted paths out from the center towards texts, images, and videos. Hover over numbers and words in BOLD to reveal expanding texts. Linger on images and videos for captions, translations, and instructions for further interaction. Along the outer rim of the main page are spiral buttons to take you back to the center with a click. Subpages have links on the main page but are also listed in the Content index in the upper left menu. The exposition is mainly in English. Videos in Swedish have English translation.
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  Beyond Cut and Join - Expanding the creative role of film editing (2023) author(s): Kersti Grunditz Brennan published in: Stockholm University of the Arts (SKH)
  The research project Beyond Cut and Join – Expanding the creative role of film editing comes out of two major observations over decades of professional film editing experience: that a lot of film editing’s potential is untapped in filmmaking, especially in relation to character creation; and that editors’ skills, influence and authorial participation often are misunderstood and undervalued. Through editing practice and writing, this research explores an expanded role of editing by asking: 1. what can editing do to create characters; 2. what is a useful and challenging creative research design for exploring editing; and 3. what expanded description of film editing can be articulated for these explorations. The project aims to share, refine, and add to editing vocabulary by articulating creative strategies for shaping characters. It further aims to challenge notions of authorship in cinema by developing collaborative structures and artistic methods that benefit creative processes in the edit room. By demonstrating how significant the handprint of one individual editor is, the project’s final aim is to highlight the extent to which editors’ personal experiences influence their choices in composition of material. Outcomes of this project are filmmaking methods that place editing and collaboration in the forefront when weaving dramaturgy, aesthetics, and content creation processes that shape film characters and cinematic stories. The output of this research includes films, academic articles, personal essays, a video essay, and pedagogic applications. These outputs cumulatively demonstrate the artistry of the editor and the significance of editing.
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