KHIODA
Not a member yet
1540 research outputs found
Sort by
Avgang 2023: A Forest of Eyes
No full textÞurs ríst ek þér ok þrjá stafi: ergi ok oeði ok óþola
A Forest of Eyes is a love story and a magic spell that incorporates Virtual Reality, a Kravik Lyre, and Scandinavian Bronze Age gaming devices. The installation is a component of an extensive research project centered around Skírnirsmál, a poem from the Poetic Edda.
At the heart of the narrative lies the rune magic intricately woven within the text, specifically employing the term Ergi. Historically, this term has encompassed a range of transgressive activities, including but not limited to bottoming.
Guided tours of the performance will commence in front of the reception area of KHiO and proceed throughout the building. The entire duration of the performance is 2 hours.
Concept: Elinor Hasselberg (Master Teater CDPR) and Lilium Redwine
Dramaturgy: Elinor Hasselberg and Lilium Redwine
Composition: Lilium Redwine
Choreography: Sanghoon Lee
Scenography: Elinor Hasselberg
Animation: Jackson Kaki
Tour guide: Tyrone Douglas
Technical support: Jonas Olsson, Kjetil Skåret, Olaf Stangeland, Jonas Olsson
Advisors: Bojana Cvejić, Jesper Halle, Anne Holtan, Mads Thygesen
Special thanks to: Camilo, Ellen, Gunilla, Jack, Jonya, Kion
In the Aftermaths of MA Dance Performance Taste of Purple
Get PDFNorsk:
En skriftlig refleksjon over skapelsen og utøvelsen av forestillingen Taste of Purple, av og med Oda Olivia Øverbø Lindegård, vist 28.-31. mars 2023 på Scene 1, Kunsthøgskolen i Oslo. Forestillingen har vokst ut fra en bevegelsespraksis som forsøker å tillate kroppen å være der den er i øyeblikket. Da essayet Eros the Bittersweet (1986) av Anne Carson også fikk en gjeldene rolle for prosessen ble arbeidet både tydeliggjort og komplisert gjennom dobbeltsidigheten i det å ville være helt til stede der man er og samtidig lengte etter noe utilgjengelig. Ønsket med teksten er både å reflektere den kunstneriske prosessen og å mate interessen for å utforske hvilken rolle det gjenkjennbare har i begjær.
English:
A written refelction on the creation and doing of the performance Taste of Purple, by and with Oda Olivia Øverbø Lindegård, shown 28th-31st of March 2023, at Scene 1, Oslo National Academy of the Arts. The performance was developed from a movement practice that seeks to allow the body to be how it is in the moment. When the essay Eros the Bittersweet (1986) by Anne Carson also got a crucial function in the process, the work was both clarified and complicated by the duality of wanting to be completely present and at the same time longing for something unavailable. The text is intended to both reflect this artistic process and to feed the interest of exploring what the recognizable has to do with desire
Surfacing Solids
Get PDFNorsk:
I utstillingen Surfacing Solids, viser Petrine Vinje kunstverk som utforsker hvordan jorden bærer minner, skjult i lag av humus, leire, mineraler og sjøvann. Hun har undersøkt funnene av en arkeologisk utgravning av den første urbane bosetningen i Oslo, og mineral- og fossile materialer, som den menneskeskapte kompositten Solid Surface (ofte referert til som Corian®). Disse materialene fungerer som hovedkomponenter i nye skulpturer laget for Galleri F15. I flere verk henter Vinje kilder fra norrøn poesi, den materielle tekstkulturen fra den historiske tiden da vi gikk over fra muntlige til bokstavelige kommunikasjonssystemer. Ved å la disse tekstkildene komme til overflaten gjennom høyteknologiske materialer, digitale og eldgamle teknologier, forsøker Vinje å oppnå en utflating av tid, der hun forener det ennå ikke kjente i fortid, nåtid og fremtid og bringer det sammen i rom som huser utstillingen.
English:
In the exhibition Surfacing Solids, Petrine Vinje shows artworks that explores how the earth bears memories, hidden in stratified layers of humus, clay, minerals and seawater. She has examined the founds of an archaeological excavation of the first urban settlement in Oslo, and mineral- and fossil materials, like the man-made composite Solid Surface (often referred to as Corian®). These materials act as main components of new sculptures created for Galleri F15. In several works, Vinje takes sources from Old Norse poetry, the material text culture from the historical era when we transitioned from oral to literal systems of communication. By allowing these textual sources to surface through hi-tech materials, digital and ancient technologies, Vinje attempts to achieve a flattening of time, in which she unites the not-yet-known in the past, present and future and brings it together in the rooms housing the exhibition
Mental health in dance: A scoping review
Get PDFResearch in dance psychology and mental health is rapidly growing. Yet, evidence in the field can seem dispersed due to few existing meta overviews that outline research in dance related to mental health. Therefore, the aim of this scoping review is to present an overview of the state of the art and to strengthen future dance research by gathering and contextualizing existing findings on mental health in dance. Following the PRISMA guidelines and protocols, 115 studies were included in the review. Overall, the data analysis shows a predominant adoption of quantitative research but a lack of applied interventions of preventive and reactive procedures in mental health. Similarly, there is a tendency to study pre-professional dancers, whereas research into professional dancers, especially aged 30–60 is underrepresented. Dance genres have been unevenly investigated, with classical ballet being the most researched, whereas different dance styles and freelance employment are in dire need of in-depth investigation. Conceptualizing mental health as a dynamic state, the thematic analysis identified three main categories: stressors, the mental process, and outcomes. These factors appear to be in a complex interaction. Overall, the existing literature gives indications of components essential to understanding dancers’ mental health but has several blind spots and shortcomings, thus, a lot of in-depth understanding and research is still needed to fully grasp its dynamic complexity.Mental health in dance: A scoping reviewpublishedVersio
Il matriomnio segreto
No full textAvgangsstudentene på årsstudium opera framfører den komiske operaen Il matrimonio segreto / Det hemmelige ekteskap.
Den velstående enkemannen Geronimo har to døtre, Elisetta og Carolina, og ei søster Fidalma. Fidalma er meget rik og støtter sin bror økonomisk samtidig som at hun fungerer som en slags mor for de to jentene Carolina og Elisetta. Geronimo har også en ung og slapp assistent, Paolino, som i hemmelighet er gift med den yngre datteren Carolina som nettopp har oppdaget at hun er gravid. Carolina og Paolino håper snart å kunne fortelle om deres ekteskap, så de kan flytte sammen. Men før de kan fortelle om deres kjærlighet må Carolinas bortskjemte store søster giftes bort.
I rollene
Geronimo: Ulrik Stensrød
Elisetta: Cristina Sparre Sole
Carolina: Emilie Nicoline Almaas
Fidalma: Mathilda Goike
Il Conte Robinson: Eric Korsnes
Paulino: Magnus Fremstad
Medvirkende:
Regissør: Ebbe Knudsen
Klaver: Luca De Marchi
Musikalsk/språklig forberedelse og innstudering: Luca De Marchi
Musikalsk innstudering: Olesya Tutova og Gabriel Vinker
Språk coach: Simona Malerba
Lysdesign: Ronnie Tungland
Inspisient: Linda Marie Magnussen
Kostyme: Jana Dahlke, bachelor student ved avdeling Desig
Flooded Pines 1
No full textDel av KUF-prosjekt "Digital tegning del 2: Bevegelig og stillestående tegning" Prosjektkode: 26046
Digital tegning trykt på akvarellpapir, animasjon vist på nettbrett, montert sammen på vegg.
Digital drawing and animation, mounted together on wall- part of research project about digital drawing
Pride and Prudence: Italiensk opera
No full textIf there is no problem, there is no story, and if there is no story – there is no drama! So what is the problem?
Well, Nemorino is in love with Adina. As it happens Adina is in love with Nemorino as well, she just doesn´t know it. Or…maybe she is too proud to admit it. Or… perhaps she just wants to keep her options open?! Nemorino is after all the only man at the office apart from the Big Boss. And there must be a few others out there. Luckily a “Doctor” of a sort turns up with a magic potion which has the power to solve almost any problem. Nemorino buys it with his last money. Whether it is a magic or not, or indeed if there even is such a thing as magic and miracles, it has its´ effect. The tables are turned!
However, once the first problem is solved and the heroine yields to her hearts desire, the second problem appears. The Big Boss has no intention of allowing the young couple to be happy together. He wants to get married himself. But he is a prudent man who wants a prudent bride. Luckily the “good” Doctor is back to help the young heroine (who looks slightly different now, but is really more or less the same, but for the change of name). Alas one can not live on love alone, the couple needs the old mans blessing (and possibly his money). But the scheme is a dangerous one and many things can go wrong. This time it is for the heroine to learn some tricks of the trade from the “Magical Doctor” in order to achieve her goal.
How it ends, you will have to conjure up yourselves. For we shall leave you hanging in the air…
Music from L ´elisir d´amore and Don Pasquale.
I rollene
Dulcamara – Joachim Isaksen
Nemorino – Henrique Lencastre
Adina – Maria Mendes
Don Pasquale – Einar Stefánsson
Malatesta – Eric Korsnes
Norina – Ana Maria Da Silva Rosa
Mira Bartov, regissør
Olesya Tutova, klave
Konsertforberedelse og scenisk beredskap
Get PDFI dette todagers-seminaret utforsket professor Solveig Kringlebotn sammen med unge sangere og studenter prosessen frem mot konsertfremførelse. Omdreiningspunkt i denne kunstneriske utforskningen var scenisk, musikalsk og vokalt uttrykk, ulike fremførelses-teknikker og scenisk tilstedeværelse og presentasjon
Choreographic Toolbox #1: Metamorphoses
No full textNorsk:
Choreographic Toolbox #1 er en samling verktøy for forestillingskraft. Den tilbyr analoge teknologier som kan fungere som en utvidet fantasi. Som enkeltbruker kan du bruke dem mellom produksjoner eller prosesser, for å fremkalle nye ideer og materielle forbindelser. Verktøyene kan også brukes av to eller flere personer, side ved side, kollektivt eller som en del av en spesifikk prosess. De er en invitasjon til å delta i øvelser og prosedyrer for å skape, utforske og reflektere. Denne publikasjonen er en konsekvens av forfatterens kontinuerlige begeistring for den prefigurative fasen av skapende prosesser: der ting beveger seg fra ingenting til noe.
English:
Choreographic Toolbox #1 is a collection of tools for imagining. It offers analogue technologies that can act as an expanded imagination. As a single user, you can work with them in between productions or processes, with the purpose of sparking new notions and material connections. The tools can also be used by two or more people, side by side, collectively, or as part of a specific process. They are an invitation to engage in exercises and procedures for creation, exploration, and reflection. This publication is a consequence of the author’s continuous excitement for the prefigurative phase of creation: where things are moving from nothing to something.
Contextual Note:
Choreographic Toolbox #1 is part of the larger choreographic project Love, polyphonic (2021–2026). The project explores the theme of “love” as a principle through three main approaches: transformation, gestures, and anatomically embedded time. Each approach is carried out as a cycle of four phases: the performance of process, a performance object, a choreographic toolbox, and a workshop series. Metamorphoses is the first cycle of Love, polyphonic, using transformation as a prism for choreographic exploration
In partial fulfilment of theory exam
Get PDFCourse manager: Theodor Barth: Invited external sensors: Bojana Cvejic (Dance dpt. KHiO), Håkon Caspersen (KHM). Pedagogic framework: Learning theatre w/QUADs.In the left column: Essays in partial fulfilment of theory exam in the MA programme/design (numbered in the sequence appearing in the INDEX below). The course is called DE551|Theory3—Synthesis, and includes the students from the MA programme as a whole.
In a second half of the theory exam the students did an oral presentation of their professional outlook (NB! after the essay) in each their specialisation:
I) Graphic Design & Illustration (GI);
II) Clothing & Costume design (KK);
III) Interior architecture & Furniture design (IM).
The presentations were public, with the attendance class/QUADs and the professional staff.
_____________
INDEX
1—Zarina Saidova/GI: 9,5 Spørsmål jeg stilte meg selv om tegneserier rett før jeg laget frokost, og ett etter at jeg så ut av vinduet;
2—Morteza Vaseghi/KK: Why I do what I do;
3—Marte Nesdal/IM: Liminality in space. Thresholds, transitions and in-between;
4—Levi Holt Bratland/GI: jeg har tenkt på folkekunst;
5—Lydia Hann/KK: The skin we wear. Specific costuming through the narrative of the Selkie;
6—Mohammad Ghasemi/IM: Souvenirs from limbo;
7—Øyvind Rogstad/GI: Kognitive lese- og skrivevansker i møte med tekst;
8—Ingrid Pettersson/KK: Møter med sprett.
9—Ali Onat Türker/IM: Everyday world, circular ruins and the realm of constant becoming;
10—Frode Helland/GI: The cult of the sans-serif;
11—Amanda Vesthardt/KK: Textile installation art;
12—Rita Kinuthia/IM: Transcending time;
13—Kine Kolstad/GI: De viktige tingene;
14—Eyrunn Müller/KK: A trilogy. From the interior to the exterior;
15—JP Lasco/IM: Reflections | Oslo olsO | snoitcelfeR;
16—Aina Piao/GI: Such stuff that dreams are made of;
17—Emmanuel Prempeh/KK: Mimesis (recreating instances of human experience);
18— Tobias Bang/IM: Synthesis;
19— Julie Kristensen/GI: Slott og andre drømmer;
20—Sophie Solveig Cabrera/KK: Personal gods. Designing gods and creatures;
21— Espen Grønberg/GI: Tømmervase;
22—Helena Fremerey/IM: Student Life in a Former Swimming Pool.updatedVersio