When I first met this special audience, I quickly realised that there is a unique set of qualities required in the complexed meetings in interactive performances for the very young. Knowledge not represented in my education. So I have learned strategies by doing. Some probably unconsciously, but through my art-practice, I have built a bodily experience over time and in correlation with a constant reflection with my fellow performers and artistic director, over the perfect choice – if there is one, in each situation.
What knowledge must the performer have to engage with such a vibrant, honest, intuitive and bodily audience that interact and sense with their whole being? And how can the performer develop improvisation knowledge in a context where the audience in a higher rate needs to be taken care of? Whats at stake in the art-meeting with our youngest audience?
In my artistic research project, I want to access all this embodied information and find new strategies and knowledge in the early years art that hopefully can benefit the field.
Gerd Elin Aase is a performer in the Early Years Art, and is now a research fellow at the University of Stavanger, Faculty of Performing Arts.
Gerd Elin educated at the University of Stavanger from 2008 – 2012, where she took her degree, Bachelor in dance with Postgraduate Teacher Training over a 4 year programme. In 2012, Gerd Elin started her journey as a performer with the Stavanger-based company Dybwikdans - an important aspect of her career and for her further research, experiencing and meeting the youngest audience in the performing arts. She has toured nationally and internationally with Dybwikdans performances - such as the ugly duckling, toddlers room, Princess and the Pea, Lulla, Rarere/Curiouser (dybwikdans/flexer & Sandiland), MÅNEmåne, BLÅfugl and barn I hagen. Her performance career has taken her on stages across Norway, Europe, and Asia.
In my presentation at the ARF in Oslo, March 2025, I will present my planned project – “mikroøyeblikk i kunstmøter for og med de aller yngste”. To better understand where I come from, I find it natural to include Klangfugl – kunst for de minste, which were a catalyst for the early years art in Norway. I will talk about the field, the child perspective and i will try to place my artistic practice within the field - If I can, only one month into my fellowship. I started as a research fellow this February, so by having the first presentation this early in the programme, I hope to receive important feedback for the rewriting of the project description.
I will present in Norwegian.