Stockholm University of the Arts
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538 research outputs found
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Synchronisation make __________appear : How to perform LISTENING in this process?
No full textAlanisse is how we call what appears when entering "synchronisation". But Alanisse is more complexe than we thought. She brought with her several concepts, requiring us to tune into our skill of LISTENING. The format of the performance « Alanisse » is a game called Make______appear or (Give birth to________). Can we listen to the words and other forms of transmitting that already are around/under/above/within/without us? Alanisse provides a space for interaction between an audience and performers, where we can all together speculate, witness, and try to understand the relationship between speaker and listener. With humor as an important layer, she explores misunderstandings and failures. Ultimately, this work tries to reach for "support" with an audience in the vulnerable search for "understanding"
Reinventing Regietheater : The Actor-Director Relation in Rehearsals
No full textThis thesis investigates the crisis of Regie (i.e. of the agency of directing) in a post-#MeToo landscape. It argues that the outset of this crisis lies in an expansionist gesture – rooted in the avant-gardist ambition to merge art and life – by which directors have conflated artistic mandate with managerial control; a gesture culminating in the toxic institutional cultures painfully exposed during the last decade. Starting from this point of no return, the thesis examines the question of how to acknowledge the fact of directorial power abuse without cutting our practices off from the potential – or even the necessity – of directorial agency as such. Its title “Reinventing Regietheater” thus carries the tension between a historical form of theater (generally known as “directors’ theater”) and a yet-to-be-found future expression. Conceived as artistic research, the discrete focus of the thesis is the rehearsal space and its confines. Within the micro-scale of the latter, the crisis of Regie reverberates first and foremost in the non-foreseeable instances of the actor-director interaction; namely in the increasing scrutiny applied to the tool of improvisation. In contrast to the prevailing strategy of eroding the rehearsal space’s symbolic boundaries (in the interest of directorial accountability), the thesis conceptualizes – practically as well as theoretically – a “Space of Rehearsals” as a heteronomous zone of safe but ecstatic play. This “Space of Rehearsals” is constructed through a rehearsal method informed by the psychoanalytic concept of transference as well as the interaction framework “Wheel of Consent”. To answer its main questions, the thesis presents a “written part” as well as a set of “online resources” containing the documentation and “re-stagings” of the practical experiments. Four “books of Regie” present methodological reflections, a critical genealogy of a theater of directing (based on the author’s symptomatic practice) as well as the central concepts. Three so-called “Pre-studies”, devised through practical work with professional actors/collaborators form the empirical basis of the thesis, sketching out different possibilities for the actor-director relation in a re-invented Regietheater. In the proposition resulting from the above, directorial agency does not necessarily sit with the director. Nevertheless, the disciplinary divide between actor and director is upheld; as well as the radical asymmetry in the distribution of authorial power, albeit in temporally limited and co-curated iterations. The main argument of the thesis is thus that the artistic potential of the historical form of Regietheater can be salvaged without taking a revanchist or revisionist stance: the idiosyncratic directorial agency known as Regie has its place in consent-based rehearsal settings.
Kommunikation i instuderingsarbetet : En undersökning av repetitörens olika kommunikationssätt och dess effekter på instuderingsarbetet
No full textThis master’s project explores the role of the répétiteur in vocal coaching, focusing on how different forms of communication - verbal, non-verbal, musical, and gestural - affect the rehearsal process and artistic outcomes. Through video-recorded sessions with individual singers and ensembles, as well as reflective journaling and analysis, the author investigates how preparation, personal interaction, and communication strategies contribute to trust, collaboration, and musical expression. Drawing on theories from Constantine, Montgomery, and Nafisi, the project highlights the répétiteur’s dual role as musical partner and facilitator, emphasizing the importance of presence, adaptability, and a supportive learning environment. The findings suggest that communication in coaching is not merely instructional but relational, enabling both artistic risk-taking and meaningful musical development
An Approach
No full text"This is all an approach. Meaning, I’m not going to get there. A movement towards. Towards dance, towards sense-making, towards Anni, towards each other, towards a finalized text that will mark the end of this independent project that soon will give me a bachelor’s degree in dance performance.” This essay writes about the process, while simultaneously attempting to write as a process – not a product. It is the culmination of my deepening focus on method and process, that has been nurtured and cultivated throughout this education. The work touches on themes of authorship and relationality, and explores the intersection between language, imagination and dancing
Sångare och musiker : Vad är skillnaden?
No full textJag vill undersöka och utforska varför jag upplever det så mycket svårare att uttrycka sig i sång än på gitarr. Vad är det som skiljer sig egentligen, förändras sättet jag musicerar och fraserar på de olika instrumenten? Jag börjar med några problemställningar och aspekter på skillnaden i musikalisk tolkning och uttryck mellan att vara sångare och instrumentalist.Detta är en text om min resa från att vara instrumentalist till sångare, och hur mitt förhållningssätt till musiken ändras i och med det.</p
Dance Meets Activism : Body in Protest, Conflict and Confinement
No full textAn artistic study on how dance, performance and activism connected in my personal life between the years 2023 and 2024 and how I created a dance performance based on that experience. I go through memories of situations from protest, conflict and confinement and share how that informed my artistic- and dance practice. On the side, I contemplate the possibilities of art, especially dance making in the context of civil obedience. The paper also includes some Finnish poems and a short video with music by Orvokki (5Epp0
'RATBAG': A Solo Deviser's Journey : How can solo devising be used to gather, explore, and theatricalise autobiographical memory?
No full text‘RATBAG: A Solo Deviser’s Journey’ explores the use of solo devising as a method for gathering, exploring, and theatricalising autobiographical memory, culminating in the creation of a performance titled ‘RATBAG.’ Through a detailed process of self-reflection, interviews, and practical experimentation within the rehearsal space, the research investigates how personal narratives can be transformed into performative expression. Central to this exploration is the concept of ‘The Spark,’ the initial moment of inspiration that drives creative exploration and the utilization of ‘distractions as tools rather than obstacles’. By embracing a non-linear, intuitive approach to devising, and by incorporating multimedia elements such as video projection and soundscapes, the researcher delves into the complexities of memory and its distortion over time. This study also addresses the ethical considerations of using personal and familial histories in artistic creation, emphasizing transparency and consent. Ultimately, this dissertation provides insights into the solo devising process, revealing its potential as a deeply personal and transformative and potentially therapeutic approach to creating autobiographical theatre
JAMMA : Hur skyddar vi en ordlös vision?
No full textMin konstnärliga forskning utgår från två idéer. Den första idéen var projektet JAMMA där jag undersökte hur jag kan följa en vision som saknar språk och hur jag kan skydda det ofärdiga innan det behöver förklaras. Det är i överförd bemärkelse som skillnaden mellan dikt och prosa, en dikt vill fånga en känsla och prosa ett skeende i detalj. Vi filmarbetare jobbar vanligtvis utifrån ett manus som måste vara tydligt för att alla ska förstå det, men vi översätter det till motsvarigheten till poesi, filmens eget språk. Många impulser vi får i ett filmarbete är obestämda, fragmentariska och svårformulerade. Jag har därför jobbat öppet och inkännande. Dels för att undvika att formen eller språket blir låst för tidigt samt för att försöka undvika den stora kompromissen jag upplevt som tillkommer som ett resultat av det. Det här är en undersökning av känslostyrd filmutveckling
The Art of Dance Pedagogy : Exploring Pedagogical and Artistic Craft through the Jazz practice of Maggie Broman
No full textThis study has examined the practice of experienced jazz dance educator Maggie Broman, focusing on pedagogical, bodily and artistic dimensions. The aim has been to make visible silent and long-term acquired knowledge that risks remaining invisible in theory and education.Through an exploratory qualitative case study, based on interviews, auscultations and logbook notes, a holistic method emerges where bodily doing, artistic values and pedagogical strategies interact and mutually reinforce each other. Identified patterns: Pedagogical dimensions: Holistic experience and lesson flow; Multimodal instructions; Research approach; Seeing, presence and feedback; Challenging and inspiring development; Teaching with clarity; Creating safe spaces Bodily dimensions: Joy of dance & dance that is felt; Physicality & Bodily doing/learning; Maggie's Movement Language Artistic Dimensions: Musicality and Intuition; Jazz Roots & Sources of Inspiration; Energy, Mood and Performativity The study rests on a practice-theoretical framework and confirms and nuances theories such as reflective thinking, Vygotsky's Zone of Proximal Development and Deci & Ryan's Self-Determination, by showing how these can be manifested in an artistically oriented practice.This study makes visible concrete keys and insights stemming from Maggie's proven experience, which can be applied and explored directly in the studio/teaching situations as well as further researched in future studies
Vill du få feedback? : En kvalitativ studie om dansundervisares kommunikation med deltagare inför feedbackprocesser
No full textDo you want to get feedback? – A qualitative study on dance teachers' communication withparticipants before feedback processes A qualitative study that, through a focus group method, examines whether dance teachers communicate their purpose with- and methods for feedback to the participants and whether the participants are invited to influence the feedback content. The collected material is discussed in relation to literature and previous research on collaborative learning, a re-definition of dance technique, teaching traditions, feedback, consent practices and the chosen theoretical perspective; norm criticism, focusing on power dynamics. The purpose of the study is to raise a discussion about feedback in dance education based on the inclusion- and needs and wishes of the participants. The results of the study show that very few teachers communicate with the participants how they intend to work with feedback and that the feedback systems that the informants experience can be linked to norms and traditions in teaching. The study shows connections between pedagogical approaches, views on knowledge, the teacher's role, power dynamics, attitudes towards right and wrong, reflective practice, consent practice and feedback. The study calls for further research into the power dynamics in feedback processes and method development for a consent-based approach in feedback