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No full textEksamensoppgave PPU teaterAvsluttende eksamensoppgave. Årsenhet, praktisk-pedagogisk utdanning i teater ved Avdeling Dans, 2022
Udvidelse af dramatikerens kampzone
Get PDFMed etableringen af en forsøgsordning ved Aarhus Teater fik dansk teater sin første dramatikeruddannelse i 1992. Dramatikeruddannelsen ved Aarhus Teater var blandt de første i de nordiske lande, men den blev først permanent i 2001. Uddannelsen opstod på baggrund af et kulturpolitisk ønske om at støtte udviklingen af dansk dramatik og en stigende interesse for ny dramatik i teaterbranchen fra 1990’erne og frem. I denne artikel analyserer og beskriver jeg nogle af de bærende ideer og visioner, som har dannet grundlag for uddannelsen af dramatikere i Danmark – og sætte dem i forhold til udviklingen af dramatikerens arbejdsfelt. Artiklen blev publiceret i udgivelse om Dansk Teater i 300 år.Udvidelse af dramatikerens kampzonepublishedVersio
NFF application titled: The SUPER project – an Educational Turn towards a more SUstainable PERformance Development within Performing Arts and Aesthetic sports
No full textProsjektsøknad til Norges ForskningsrådNorsk:
SUPER (Sustainable Performance Development) er et tverrfaglig forskningsprosjekt posisjonert innenfor prestasjonsvitenskap med søkelys på konteksten med talentutvikling innenfor estetisk idrett og utøvende kunst. Bærekraftig utøverutdanning er en forutsetning for opprettholdelse av kulturell sektor, som spiller en sentral rolle for samfunnets identitetsbygging og individenes utfoldelse og livskvalitet. Men, forskning har vist at talentutvikling innenfor estetisk idrett og utøvende kunst kan være tildels helseskadelig og lite bærekraftig, og at deltakelse i disse utdanningene kommer med en for høy menneskelig pris. Derfor er det behov for en pedagogisk vending, i tråd med nyere pedagogisk forskning, mot mer studentsentrert og helsefremmende utdanninger. SUPER prosjektet tar sikte på å innovere og teste ut effekt av biopsykososiale titak for å skape en mer bærekraftig talentutvikling i disse utdanningsfeltene.
English:
The SUPER project is an interdisciplinary and comparative research project positioned in performance science and the educational context of talent identification and development systems (TIDS) within performing arts and aesthetic sports. Human capital is proposed to represent one of the most important investments for future innovation and societal growth, and the cultural sector has shown to contribute to national identity, quality of life and health for the general population. Sustainable performance development in the performing arts and aesthetic sports is a prerequisite to ensure quality performance, maintenance, and growth in the Norwegian cultural sector. However, alarm bells are ringing as the hazardous trademark of the elite performance culture has been found to be unsustainable and unhealthy. Research has stressed that participation in the educational setting of TIDS, which often comes at the expense of personal development and well-being, are echoing the professional culture. Hence, there is need for an educational turn. The TIDS in Norway are popular and has a wide range of participants as they are set both in the formal educational system (e.g., specialized high schools, public municipal schools, and higher education) and settings outside schools like sport clubs, private leisure activities, and national teams. The impact in a long-term perspective is vital as new students continuously will come and go, while the educational systems remain. Contrary to research-based pedagogical practices often observed in public schools and general cultural leisure activities, TIDS are grounded in highly experienced-based, often hierarchical, apprenticeship cultures. As such, students seem to be exposed to professionalized and intensive training practices, which undermine health, well-being, and performance development. To create a more sustainable performance development and, in turn, long-termed growth in the cultural sector, research-based interventions that facilitate sustainable performance development are urgently needed
The Treasure Hunt
Get PDFThe artistic research project The Treasure Hunt is an speculative investigation into the reward-oriented logics of contemporary capitalism, where treasure refers to both the ‘cultural treasures’ of the art market and the everyday incentives of the nudge economy. Drawing on the tradition of the essay film, but attempting to expand it both spatially and conceptually, the project explores the connections between an array of seemingly disparate phenomena: the global antiquities trade, the history of metal detecting, the expansion of cognitive capitalism, and the legacies of behaviourism in everyday ‘gamification’ of contemporary globalised culture, ranging from leisure to war
Transforming Reduction into Multi-Block Relief Printing: Integrating ‘found’ knowledge of living archives into the pedagogic delivery at Kunsthøgskolen i Oslo, Norway
No full text‘Living archives are practices and environments that connect the organisation, curation, and transmission of memory with present-bound creative, performative, and participatory processes. Recent trends in the democratisation of arts and cultural heritage, and the advent of digital media, have provided living archives with renewed interest’ (Sabiescu 2020). As a process of re-evaluation, these potent material-based collections can transmit the past through contemporary art production to future audiences.publishedVersio
LAGD LIV: Iscenesatte objekter og et iscenesatt selv
No full textVed å gi liv til ting ønsker jeg å påminne oss at verden ikke bare er vår, den er også tingenes verden.
For å komme i kontakt med tingenes potensielle liv tilfører jeg dem nye, kunstige egenskaper - et bilde kan bevege seg, et tekstil kan snakke, en bukse kan danse, eller en maske kan erstatte et ansikt.
Kan jeg gjennom en slik fremprovosert dissonans mellom det «døde» og det «levende» lokke frem et alternativt språk, et tingenes språk som kanskje resonnerer som noe tvetydig og sårbart i oss mennesker?
Filosofiske strømninger som objekt-orientert ontologi, panpsykisme og spekulativ realisme forsøker å gi oss en ny forståelse av den materielle virkeligheten; de bygger opp under et økologisk argument om at mennesket ikke er naturens sentrum. Mennesket er ikke lenger tingenes overordnede som alt måles opp i mot og ut i fra, men et av mange elementer i et større økosystem. Objektene besitter en selvstendighet, en hukommelse - kanskje til og med en form for bevissthet. I mitt kunstneriske arbeid som scenograf, i krysningsfeltet mellom billedkunst og scenekunst, lar jeg meg inspirere av disse tankene, nettopp fordi en slik tenkning utfordrer teatrets grunntanke om det levende mennesket som utgangspunkt for den teatrale kontrakten.
«Lagd liv» består av en serie verk laget i samarbeid med mitt alter ego Cynthia.
Cynthia er skapt som en konsekvens av en lengsel etter en kunstnerisk samarbeidspartner, og hennes funksjon endres fra prosjekt til prosjekt. Hennes kropp er konkret, men plastisk, og kan derfor om nødvendig transmutere til andre kropper - en danser, en antropolog, en mentor eller en kritiker. Hun er laget av meg, men som i den greske Pygmalion-myten hvor billedhuggeren levendegjør og forelsker seg i statuen av en kvinne som han selv har skapt, kommer også Cynthia med iboende uforutsigbare egenskaper slik som alt levende liv.
Cynthia er masken som skjuler det levende selvet, hun er det døde skallet som levendegjøres innenfra, og slik bærer hennes vesen det tvetydige, det andre språket - den alternative sannheten
Skyld
Get PDFNorsk:
Familien i moderne, vestlige samfunn har ikke alltid det veldig bra. Vi ser ikke så mye til hverandre, vi er ikke så ekstraordinært sammenknyttede, og mange av oss er eller blir i det minste ganske ensomme til slutt. Denne utviklingen er et sentralt tema i kveldens forestilling, som peker på ulike konsekvenser av familiens forfall, men kanskje også på en ny sjanse for den. Hvis man skulle peke på en fellesnevner i hele den vestlige verden og måten vi lever våre liv på, kunne det være vår forståelse og prioritering av friheten. I vesten er friheten virkelig det beste gullet, og med frihet mener vi først og fremst den helt individuelle, personlige friheten. Min frihet. Min rett til å bestemme over meg selv, mitt liv og mine relasjoner akkurat slik det passer meg. Hvis jeg spiller mitt spill godt og riktig, er æren min, men går det galt, må jeg leve med at det var min egen feil. Jeg hadde jo friheten til å velge slik jeg ønsket og gjorde det. I tillegg til å verdsette personlig frihet høyt, er vi i vesten også glade i å gi pengene absolutt frihet, men det er en annen historie.
English:
The family in modern Western societies doesn't always have it very well. We don't see each other as much, we're not extraordinarily close-knit, and many of us are, or at least eventually become, quite lonely. This development is a central theme in tonight's performance, which points out various consequences of the family's decline, but perhaps also hints at a new opportunity for it. If one were to pinpoint a common denominator across the entire Western world and the way we lead our lives, it could be our understanding and prioritization of freedom. In the West, freedom is truly the most valuable treasure, and by freedom, we primarily mean individual, personal freedom. My freedom. My right to make decisions about myself, my life, and my relationships just the way it suits me. If I play my game well and right, the honor is mine, but if it goes wrong, I must live with the fact that it was my own fault. After all, I had the freedom to choose as I wished and did. In addition to valuing personal freedom highly, we in the West also have a penchant for giving money absolute freedom, but that's another story
Kirsebærhagen
No full textKirsebærhagen, av Anton Tsjekov. Avgangsforestilling på bachelor i skuespillerfag 9. desember 2022 på Kunsthøgskolen.
Rollebesetning:
Arturo Maximilian Bonaventura Scotti
Francisco Kalle Navarro
Jakob Stabell
Nora Frølich
Anette Sissener Amundsen
Sarakka Susanne Randi Gaup
Tone Oline Knivsflå
Ulrik William Græsli
Emma Marie Nymann Michaelsen
Aleksander Holmen
Natalie Tangen
Pedagog/regissør: Mari Vatne Kjelstadli
Musiker/lydkunstner: Ingvild Langgård
Scenograf: Norunn Standal
Lysdesigner: Oscar Udby
Meantime index
Get PDFIndex archive w/7X7 entries.“The card index marks the conquest of three-dimensional writing, and so presents an astonishing counterpoint to the three-dimensionality of script in its original form as rune or knot notation. (And today the book is already, as the present mode of scholarly production demonstrates, an outdated mediation between two different filing systems. For everything that matters is to be found in the card box of the researcher who wrote it, and the scholar studying it assimilates it into his own card index.)”
(Walter Benjamin, SW1, p. 456)
______
MEANTIME index: 49 sheets/entries
FLYER archive (cf, links document): 49 sets of 6—296 sheets/entries
TOTAL: 345 sheets/entries
PORTFOLIO: Project Spinoza
______
The present leaflet-index seeks to transpose the quest and query of a flyer archive—deposited by small steps during the C19 pandemic—to a realm of applicability beyond the individual research featuring in the archive, and marking the end of the period, by seeing the contents from the vantage point of the target area: the area of arrival. The idea of charting, tiling and mapping previous outcomes and folding them into current practices led to a reflection on surfaces, imbued with perspective (an illusion) and with the depth of time (fictional content): as a cartographic disposition that can be marked by reality.
This leaflet upload contains an archive of a card-index with 49 entries, called leaflets. The first series—made up of 7 elements—is devoted to DIARIES, and proposes a round-up of learning outcomes from a course in theory development for first year master students in design. The learning outcomes are here the ones reaped at the course level (based on the assumption that not only students have learning outcomes, but also our courses).
The language used for this purpose has been adopted for a professional exchange various adaptations of the course can be envisaged (based on exchange with interested professional milieus). In sum, the archive features learning outcomes at a course level with a concern that they should be readable to a third party: not adapted nor ready to use. A mean term language sought in the card-index is accordingly a theoretical language.
The collection queries viable candidate relations between PRACTICES and SURFACES. It seeks to cross a threshold of precision needed to be a) true of its specialised contents; b) readable to a 3rd [interested] party. The topics, that will be covered in successive updates, are:
—DIARY; dedicated to MA1 2022 design logbooks,
—PHOTOGRAVURE; dedicated to Prof. Jan Pettersson
—SYMBOLIC ACCURACY; dedicated to MA1 2022 Greenwashing of the year award, w/the Consumer Council
—POÍESIS; dedicated to Enrique Guadarrama Solis & Alejandra Aguilar Caballero.
—THEORY DEVELOPMENT; dedicated to Prof. Arnd Schneider’s Expanded visions: a new anthropology of the moving image.
—ANTIPODES; dedicated to artistic- and scientific research
—DATUM; dedicated to DANCE [the BODYCARTOGRAPHY project]
The upload seeks the LINEUP, rather than the exhibit (that is, Aufstellung in German, rather than Ausstellung). Consistent with an idea of passage, stricture, canalising, and creation in theory development. This idea of theoretical creation, however, starts with artistic practice and ends with artistic practice: it proposes a systematic approach to a looped reflection that is congenial with the individuation and assemblage of practitioners in, through and on their work.
The scientific employee at Oslo National Academy of the Arts often works as a house-critic and a researcher devoted to the re-effecting of artistic production. In this role—resembling that of the dramaturg—s/he occasionally hatches materials of academic interest. This two-way communication—between art and academia—is one of the characteristic turnouts from this specific role. Exploring the flight-lines of learning together: researching WITH, rather than researching ON.
The surface as a fictional entity—that holds the remote at a proximal hands-length distance—is in itself cartographic. It theorises with a foothold in the concrete. And in this resembles Aby Warburg’s Mnemosyne Atlas project, whereby a number of panels are lined up—usually in a library, or in an environment with books—to trigger, by its visual readability, tactile relations between other elements present (in his case books). The readability of his panels is inter alia triggered by adding something of one’s own, rather than merely interpreting/representing what is present. And thereby introducing a post-interpretive and non-representational approach to images.
The objective is to explore the power of invention: to establish the lifting power in the learning outcomes from C19, define the practices and move them to define new practices, and finally to land them. Lifting, moving and landing all depend on criticality: i.e. a critical mass releasing emergent materials at each consecutive step. Featuring what artist, philosopher, psychoanalyst and feminist Bracha Ettinger has called wit(h)nessing: witnessing what we also are immersed in.
See also (on KHiODA):
A) #14/1—Lineup
B) Memory atlas & the redrawing of the terrestrial
C) Screening representation—Short-circuits
D) "Wheeling" environmental humanities— Educating designers in excess of what designers do.
E) MQAR—Matching Qualities in Artistic Research w/Henrik Hellstenius
NB! See the LINKS document* (to the bottom left) for access to the FLYER archive w/background.
The account for the place of this ensemble—as a laboratory for a wider framework, the SPINOZA project—will be accounted for in a separate entry (forthcoming). It is intended to provide an occasion to turn the page by making a harvest og learning outcomes, in the form of a theoretical discussion. A transportable luggage to a new project with a research residency at the National Library (Oslo)