Stockholm University of the Arts
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Maria Hedman Hvitfeldt, Mamdooh Afdile, Alexander Skantze
No full textExploring them-driven storytelling is a research enquiry involving Maria Hedman Hvitfeldt, Mamdooh Afdile and Alexander Skantze. The cinematic language of (conventional) film is dominated by classical Aristotelian structure with a clear beginning, middle, and end, main characters, and a progressing plot. Although this kind of dramatic structure has proven beneficial in telling engaging stories, many stories fall outside these structures (real-life stories, spiritual stories, non-rational stories, etc.). Telling such stories in the classical way (on the textual or visual level) might consequently require a significant artistic compromise to fit within this structure. The purpose of this research was to investigate the potential of the theme-based storytelling approach as a means of inspiration for telling a compelling story that is too complex to be told classically (e.g., a spiritual story driven by memory or lacking a clear protagonist). In a collaborative work, this artistic research group has examined a theme-based approach in three practices: writing a story, visualizing it, and adapting it to a screenplay. Namely, the process includes the following stages i) Writing a story inspired by a true/fake memory as them (by Maria Hedman Hvitfeldt), ii) visualizing the story while remaining true to the theme (by Mamdooh Afdile), and iii) exploring thematic vs. classic screenplay (by Alexander Skantze). The findings were publicly presented at an artistic research seminar at Stockholm University of the Arts in January 2023.Practice Sharing II is the second online presentation of diverse approaches to language-based practice within the field of artistic research, published by the Society for Artistic Research Special Interest Group for Language-based Artistic Research. The Practice Sharing includes contributions from: -- Annette Arlander -- Dave Ball -- Juan Pablo Gaviria Bedoya -- Sue Brind & Jim Harold -- Katrina Brown -- Arturas Bukauskas -- Julia Calver -- Delphine Chapuis Schmitz -- Emma Cocker -- Joanna Cook -- Adélia Santos Costa -- Mike Croft -- Kimberly Campanello -- Kostas Daflos -- Cordula Daus -- Janhavi Dhamankar & Minou Tsambika Polleros -- Martin.P. Eccles -- C.C. Elian -- Federico Eisner Sagues -- João Emediato -- Kate Fahey -- Rob Flint -- Lynda Gaudreau -- Sandra Golubjevaite -- Sara Gomez -- Vanessa Graf -- Maria Hedman Hvitfeldt, Mamdooh Afdile & Alexander Skantze -- Kirsi Heimonen & Leena Rouhiainen -- rosie heinrich with An_assembling_“I” -- Steffi Hofer -- Marianne Holm Hansen -- Rolf Hughes -- James Jack -- Benjamin Jenner -- Christina Marie Jespersen -- Molly Joyce -- Krystyna Kulisiewicz -- Andrea Liu -- Ling Liu -- Barb Macek -- Yorgos Maraziotis -- Klaus Maunuksela -- Annie Morrad -- Amelie Mourgue d'Algue -- Antrianna Moutoula -- Peta Murray -- Elena Peytchinska & Thomas Ballhausen -- Julieanna Preston -- Maya Rasker -- Sarah Rinderer -- Hanns Holger Rutz -- Maryam Ramezankhani --- Marianna Stefanitsi -- Anie Toole -- Tao G. Vrhovec Sambolec -- Sarah Scaife -- Litó Walkey -- Kai Ziegner -- </p
Ear close to mouth : conversations between film and philosophy
No full textDoktorandprojektet är en studie i och genom filmiska samtal. Det genomförs i relation till samtalets roll i lärandet av filosofi. Medan filosofi oftast antar individuellt skriven form studeras hur filmiska samtal kan fungera som filosofiskt uttryck, främst utifrån filmen Samtal om samtal som är projektets huvudmaterial. Filmen börjar i ett försök att prata om hur vi pratar med varandra på seminariet, och i en förlängning hur det kan bestämma vilken filosofi som alls blir möjlig: Vem talar och vem lyssnar? Vilka erfarenheter räknas och vilka idéer är välkomna? Samtidigt är samtalet inte bara av intresse som praktik utan också som uttryck. Ibland sägs något i samtalet som inte skulle bli sagt annars. Vad skulle hända om samtal, som ett slags gemensamt sägande, kunde utgöra ett filosofiskt uttryck i egen rätt, liksom den individuellt skrivna texten? Hur skulle ett sådant uttryck i så fall alls kunna ta form? Skulle det kunna göras med film? I och genom studiens filmiska samtal leder detta också vidare till frågor om representation och ansvar: Vad är det att göra film om eller med någon? Hur påverkas de som är del av en film och vad gör den på egen hand? Vad är det att ta ansvar i det filmiska arbetet och för den film som blir till? Utöver Samtal om samtal läggs texten Eftertext fram. Den försätter studien kring samma frågeställningar, men försöker därigenom också svara an till det filmiska arbetet i Samtal om samtal. Eftertext hänvisar även till filmerna Ett jag som säger vi och Rehearsals samt dokumentet Transkription. Dessa ingår som appendix då de utgör delstudier i arbetet med Samtal om samtal.This PhD project is a study in and through filmic conversations. The project addresses the role of conversation in philosophy education. While philosophy often is manifested in individually written form, this is a study of how filmic conversation can act as philosophical expression, mainly based on the film Samtal om samtal which is the principal material of this PhD project. The film begins by addressing the manner of which we speak to one another in a seminar; and by extension how that manner decides which philosophy is at all made possible: Who is speaking and who is listening? Whose experiences count and whose ideas are welcome? Yet, conversation is not only of interest as practice but also as expression. Sometimes something is said through/as conversation that could not have been expressed in any other form. What would happen if conversation, as a communal way of saying things, would constitute a form of philosophical expression in its own right, on par with the individually written text? What form would such an expression be allowed to take? Could philosophy be expressed through the medium of film? In and through the filmic conversation of this study, these queries also lead on to issues of representation and responsibility: What signifies the practice of making a film about or with someone? How are those involved in a film project affected, and how can the film act (in the world) independently? How could responsibility be understood in the process of making a film and regarding the final result? In addition to Samtal om samtal, the text Eftertext is submitted. The text further explores the previously mentioned questions, but adds another layer in commenting on the filmic work of Samtal om samtal. Eftertext also refers to the films Ett jag som säger vi and Rehearsals, as well as the document Transkription. These works are included as appendices, forming sub studies of the Samtal om samtal project. DOCUMENTED ARTISTIC RESEARCH PROJECT (DOCTORAL THESIS)consisting of1. Förtext (text)2. Samtal om samtal (film)3. Eftertext (text)Appendices: Ett jag som säger vi (film), Rehearsals (film), Transkription (text/image-document)</p
Historisk dräkt i scenkonst : Om plaggens levandegörande och om relationen mellan det historiskt trovärdiga och det historiskt korrekta
No full textA reflection on how and why historical dress is used in the performing arts, methods for approaching historical dress and their opportunities and challenges, with regards to aspects such as historical fidelity and historical authenticity. Exploring the concept of "period costume" and its potential. Based on my graduation project, where I worked as a costume designer for Länsteatern på Gotlands production of Maratondansen (2024, original title They Shoot Horses, Don't They?), a narrative that takes place in 1935
Att lyssna till textilens rörelse : Hur kan kostym vara en startpunkt för rörelsespråk?
No full textThis essay explores how you can listen to the textiles and how costume can be the startingpoint of movement. I have been working together with other artistic diciplines and together we have created a dance performance by the name Tiny Monument, which premiered at Kulturhuset stadsteatern, Fri Scen Kilen the 15th of May 2024. The essay itself is secondary to the video which will give you the essay audiably together with pictures and filmed material
FACT : stage one
No full textThe research project FACT stage one aims to test the sonic capacity of fragmenturgy (developed by Sunesson 2014–19) as a method to unsettle polarised positions of areas and sites existing outside of the visual power structures and political strongholds. The long-term purpose is to develop a Fragmenturgy ACtion Tool (FACT); a transitory toolbox for cultivating fragmenturgy methods and actions. FACT stage one consists of a comprehensive case study carried out in collaboration with a group of students aged 18–23 based at Uppsala Community College in Sweden, which was explored as a site during 2021.RESEARCH QUESTIONSThe purpose of these questions is to gather new and detailed knowledge towards the development of "the FACT" (Fragmenturgy ACtion Tool):• What factors define fragmenturgy communication and transformation? • What are the effects of fragmenturgy communication and transformation? • How should fragmenturgy actions be carried out? • In what way can fragmenturgy actions be useful in societies?</p
(OM COTEUREN) : Regifunktion i omvandling genom samskapandets processer
No full textThe aim of this documented artistic research project is to investigate functions of directing within an expanded understanding of co-created performing arts. My main question concerns the following. What practices and principles of directing in co-created performing arts are revealed in the sample narratives, expositions and final productions of the thesis, and what do these say about transformations within different spatial and social contexts? The project process consists of four documented stagings and a final performance. It is this way I develop the concept “The Coteur” which stands for a directorial function combining a unique, biographical director function (The Auteur) with the openness of a co-created process formed around place, collaborators and contexts, where the development of an original work start without a script. Here I am interested in what I call ”staged absence” which I consider to be an artistic principle based on the removal of “the expected”. What happens, for example when the lead vocalist and the music are taken out of a popular song to leave behind a group of beat counting back-up singers, looking for their cue and a rhythm. Or when boxers are taken out of the ring and only the choreography of the referee remains. In my artistic research project I want to challenge the premises of co-creative performing art, and the director function, by also using forms for seminars and association meetings, to stage collective readings aloud, from manuscripts. This is combined with autobiographical and reflective writing, influenced by the principles for knowledge in practice, to uncover and develop artistic principles for a co-creative director function.Syftet med detta dokumenterade konstnärliga forskningsprojekt är att undersöka regifunktionen i en utvidgad förståelse av samskapad scenkonst. Min huvudsakliga frågeställning gäller följande. Vilka praktiker och principer för regifunktionen i samskapad scenkonst frilägger avhandlingens exem-pelberättelser, expositioner och slutproduktion, och vad säger detta om regifunktionens omvandlingar inom samskapad scenkonst i olika rumsliga och sociala kontexter? Processen som helhet är verket. Vilket består av fyra dokumenterade iscensättningar och en slutföreställning det är i och med detta jag utvecklar begreppet coteur som står för en regifunktion som kombinerar en biografiskt grundad regiposition (Auteuren) med öppenheten i samskapande processer och som omformas i och med plats, medarbetare, och sammanhang och ur detta sammanhang skapar originalverk. Jag arbetar utifrån en tankemodell av ”iscensatt frånvaro” vilket jag ser som en konstnärlig princip baserad på synliggörande genom borttagande som exempel vad visar sig när en ledsångare och musik plockas bort från en känd låt och lämnar en grupp takträknade och rytmsökande backupsångare efter sig? Vad visar sig när det som varit i bakgrunden kommer i förgrunden. Eller när boxare tas ur ringen och endast domarens koreografi återstår? I mitt konstnärliga forskningsarbete utmanar jag samskapandets premisser och undersöker regifunktionen genom iscensättningar i formen av kollektiva högläsningar ur manus. Mitt projekt bygger som helhet på iscensättningar i kombination med reflekterande berättande med utgångspunkt i den praktiska kunskapens teori för att synliggöra och utveckla konstnärliga principer för samskapande regifunktioner.LÄSANVISNING:Textdelen av det konstnärliga doktorandprojektet är tänkt att läsas enligt linjär berättarmodell där filmerna utgör rörliga illustrationer till texten. </p
En klingande Vinyasa : En studie om yogans direkta effekt på sångrösten
No full textThis work examines the direct effect of yoga on the singing voice. Is it possible to notice a difference in the voice right after a yoga session? I put together a method to test this by singing right before and right after practicing yoga and thoroughly documenting this in writing and by recording. I was amazed by the difference that could be noticed in my voice after yoga. Not only did it help to release tension but I also consistently experienced more freedom and better high notes after my workouts. During this study I became more certain of how important my yoga practice is going to be for my career
Kroppen som canvas : -En reflektion kring begränsningar och möjligheter
No full textThis essay is a reflecting text discussing how a makeup- and costumedesigner could be restricted or inspired by the limits of a perfomers body during the creative process of designing for performing arts. The relationship between the designer and the performer could be a creative tool but it could also hinder the design to fully flourish
Hur kan man som kostymdesigner arbeta med kroppen som startpunkt i sin designprocess? : Ett undersökande om hur kroppen kan vara ett verktyg och en utgångspunkt för en mer djupgående kostymdesign
No full textEtt undersökande i hur skådespelarnas kroppar kan användas i en designprocess för att fördjupa kostymdesignen och karaktärsgestalltningen.
The Unimportance of Why : Liminal space in narrative gaps
No full textThe research is exploring the liminal space of aporía within the experience of film. How can film be a poetic experience and inviting philosophical thinking? Motivated by the works of filmmaker Chantal Akerman, I have come to investigate the gap within the filmic narrative of character creation. With the obligation to create an ethical relationship to my audience, I take a closer look into the aesthetics of mimesis in storytelling. Proposing that there is a shared created gap of nothingness, which works as a portal of reflection between audience and art where the aporía take place, I am influenced by the philosopher Merleau-Ponty´s phenomenological image of the chiasm. The research is accordingly discussing the actor as the embodied surface of this interplace. The liminal space is the journey of the pre-reflective mind working with the unknowable. My thesis tries to show how the image of the thinking actor can hold a space for one shared experience. Departing from a background of actor and writer, the use of writing art throughout the research is a description of different ways of expressing my artistic language; as in writing, filming, directing or acting. The research is situated within the artistic research and the material of focus is art film, ethical philosphical thinking and my own practice with an essay film of 12 minutes, [Her]barium. The locus of the discussion is my own embodied conciousness, as a spectator and in the position of filmmaker