Stockholm University of the Arts
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Brunnsdjup : a part of the artistic research cluster project Theme-driven storytelling
No full text”Brunnsdjup”: a part of the artistic research cluster project Theme-driven storytelling. Aristotle (1994) defined drama as a progressive narrative with a definitive beginning, middle and end, a narrative whose actions logically follow one from another, through probability and/or necessity. This is the tradition which I have adhered to throughout my artistic career, as a researcher, a teacher, screenwriter and script doctor. However, from Bertold Brecht and onwards, this causal dramaturgy (“the Hollywood model”) has received substantial criticism, on ideological as well as on artistic grounds. It has been accused of creating passive and non-reflective audiences, and of misrepresenting reality by picturing race-, gender- and class-structured as secondary to the transcendence of individual will. Against this, the open/episodic dramaturgy of a theme-based narration, held together not by causal logic but by the “vanishing point” of theme and meaning, is believed to create truer and more artistically original films and stories: However, in my eyes this is more often said than actually proved. Furthermore, the epic/open dramaturgy has traditionally been held up seen as an anti-model, a negation of the causal dramaturgy. In this artistic research cluster project, I collaborate with the directors Maria Hedman Hvitfeldt and Mamdooh Afdile to explore theme-based storytelling through working with two different scriptwriting approaches referred to as the “Epic” and “causal/classical” dramaturgy, respectively. Using the input and researched (extended) family stories of Maria Hedman Hvitfeldt as inspiration, I have written two different screenplays, each with a maximum of 15 pages in the traditional screenwriting format (the normal maximum for participating in short film festivals). In the first, “Causal” one, I base my writing on the principles of the classical Aristotelean dramaturgy, with the unity of action, time and space, and with an active tragic protagonist who uncovers (analyses) the world. In the other, I instead use the principles of thematic/epic dramaturgy, as formulated by Kerstin Stutterheim and Marja-Riitta Koivumäki. A dramaturgy where the narrative is not progressive but “serpentine” – more of a pilgrimage than a fight – and where a reactive Central Self becomes a witness to the (non-chronological) action. The causal screenplay’s text and process work as the point of comparison for the theme-based screenplay’s text and process: to my knowledge, this is the first artistic research to include a systematic comparison of two different scriptwriting approaches of the very same story.Ingår i projektet "Exploring theme-driven storytelling
Beyond Cut and Join : Expanding the Creative Role of Film Editing
No full textThe research project Beyond Cut and Join – Expanding the creative role of film editing comes out of two major observations over decades of professional film editing experience: that a lot of film editing’s potential is untapped in filmmaking, especially in relation to character creation; and that editors’ skills, influence and authorial participation often are misunderstood and undervalued. Through editing practice and writing, this research explores an expanded role of editing by asking: 1. what can editing do to create characters; 2. what is a useful and challenging creative research design for exploring editing; and 3. what expanded description of film editing can be articulated for these explorations. The project aims to share, refine, and add to editing vocabulary by articulating creative strategies for shaping characters. It further aims to challenge notions of authorship in cinema by developing collaborative structures and artistic methods that benefit creative processes in the edit room. By demonstrating how significant the handprint of one individual editor is, the project’s final aim is to highlight the extent to which editors’ personal experiences influence their choices in composition of material. Outcomes of this project are filmmaking methods that place editing and collaboration in the forefront when weaving dramaturgy, aesthetics, and content creation processes that shape film characters and cinematic stories.This Documented Artistic Research Project (Doctoral Thesis) will be presented in Research Catalogue.</p
Coloratura
No full textIn this research I challenged myself in order to achieve a better understanding of singing coloratura and searched for different techniques that would help me on the way. I found that for me there are five key elements that I explored further : energy, connection and clarity of sound, avoiding the tension, column of air and patience.
Ett osynligt stycke tyg : essä
No full textEtt osynligt stycke tyg är en essä som utgår från två olika, men ändå överlappande, konstnärliga processer; forskningsprojektet FACT stage one, och det soldrivna, ljudkonstprojektet UNDER. Essän utforskar ljudets och lyssnandets specifika kapaciteter utifrån min konstnärliga fältinspelningspraktik, vilket är den “ljudmodalitet” som jag har arbetat med i över 20 år. Texten diskuterar ljudets och lyssnandets platsrelaterade, politiska och dolda förmågor när det gäller att utmana det “vi tror vi vet” om mänskliga och mer-än-mänskliga organismer – och som ett möjligt verktyg för att hitta öppningar och uppenbarelser bortom stereotypt vetande
How To Make Room For Moving? : within conversation
No full textThis essay is part of my Bachelor’s degree project called How To Make Room For Moving?. It consists of two parts. The first part is a conversation between four fictive characters about the experience of the performance How To Make Room For Moving?. The second part is a collection of texts in different formats written during, after and from the physical work in the studio. How To Make Room For Moving? is a dance that practices ways to reach beyond the forms I know, to listen to more things at once and to build a real trust in the body. It involves going to the studio day by day and filling it with dancing. When I leave, I observe what remains. Something is piling up, there in the empty space. When I return, I ask: how to make room for moving today?
Släpp sångarna loss! : Genus, gestaltningsnormer och konstnärligt handlingsutrymme i opera.
No full textAbstract: My dissertation is taken from an opera singer’s perspective and the aim is three-fold: · to investigate and problematize how gender and performance norms are reproduced on the opera stage · to provide tools and propose approaches to transform gender perspective and norm critique into a creative artistic practice, enabling conscious and active artistic choices in relation to gender and performance norms · to explore ways to expand the singer's artistic agency. The artistic research project draws on knowledge from both my own practice as a professional opera singer and my collaborators’ experiences from the worlds of opera, classical music and theatre. The thesis consists of four artistic investigations: 1. In Mönster och möjligheter (Patterns and Possibilities), gender markers were explored and identified, both in vocal and dramatic performance. The five Mozart scenes that were studied revealed a structure suggesting that femininity in the operatic art often can be expressed by taking responsibility for the music, for facial features and bodily behaviour, and for the audience. Correspondingly, masculinity seemed to be expressed by actively taking less responsibility in these areas. 2. The second investigation was connected to Norrbottensmusiken's production of the new opera Under en kvinnas hjärta (Beneath the Heart of a Woman). This study exposed how performance norms affect singers' artistic possibilities also in contemporary opera. The investigation found that if the director's reading of an opera is norm-creative, it can facilitate a less traditionally gender-coded performance. However, even in more traditional opera productions, there are still options for the singer to work norm-creatively with their role, for example by mixing feminine and masculine gender markers. 3. The third investigation, the concert production Sångernas sång (The Song of Songs), explored an expanded artistic agency for the singer. Actively using my experience from my career as an opera singer, I wrote the libretto for the chamber mini-opera Stark som döden (Strong as Death) in collaboration with a composer. The study suggested that singers, in addition to their creative work on the role, could also contribute with other important perspectives. Concert and opera productions, as well as newly written works, can be enriched by a dialogue with the singers early on in the artistic process. In the creation of the two roles in the chamber pieces Hög visa (Songs of Solomona) and Stark som döden, useful methods for creating a subject position for the characters were developed, as well as ways to work in a concert situation with the portrayal of sexual desire. 4. The fourth and final investigation, Interaktion och intimitet (Interaction and Intimacy), was an exploration of intimate scenes. The study showed that the method and know-how of an intimacy coordinator can provide a sense of security that can make the singers freer in their portrayals of sexuality. A greater focus on the story can also make the scenes more interesting artistically. In addition, this study revealed the potential of an expanded agency for the singers. Allowing singers to adapt the text and the distribution of lines in repertoire opera, as well as creating a more collective rehearsal process, where the singers take an active part in the stage directing work, could open up for more norm-creative representations of gender on stage.Consisting of:Släpp sångarna loss! Genus, gestaltningsnormer och konstnärligt handlingsutrymme i opera: an exposition in Research Catalogue with texts, videos, photographs and vocal scores.Supplementary bibliographical information:The electronic resources in the exposition:1. Prolog (written reflection, pdf)2. Kapitel 1: Om forskningen (written reflection, pdf) 3. Mönster och möjligheter: genus och gestaltning i 1700-tals opera (video)4. Kapitel 2: Mönster och möjligheter (written reflection, pdf)5. Kapitel 3: Under en kvinnas hjärta (written reflection, pdf)6. Elisabets aria (video)7. Elisabets aria (vocal score, excerpt from the opera Under en kvinnas hjärta)8. Kapitel 4: Sångernas sång (written reflection, pdf) 9. Stark som döden, akt 1 (vocal score, pdf)10. Stark som döden, akt 2 (vocal score, pdf)11. Stark som döden, akt 3 (vokal score, pdf)12. Att skapa en subjektsposition (video)13. Hög visa (vocal score, pdf)14. Hög visa ( chart, pdf)15. Begär på konsert (video)16. Sångernas sång (video)17. Interaktion och intimitet: att gestalta sexualitet i opera (video)18. Kapitel 5: Interaktion och intimitet (written reflection, pdf) 19. Kapitel 6: Sångarens kunskapande och kunskaper: avslutande reflektioner (written reflection, pdf) 20. Epilog (written reflection, pdf)21. Tack! (written text, pdf)22. Sammanfattning/Summary (written text, pdf) 23. Referenser (pdf)</p
Här är jag! : En essä om skådespelaren i mötet med den yngsta publiken
No full textThis essay is about theater for the youngest audience 0–6 years. The aim is to highlight the actor's role in the encounter with the small child and the question I am investigating is: How has my work creating and performing theater for young children over many years influenced and shaped me as an actor? I put into words many years of research into performing arts for children and I also practically investigate my question in a performance for adults - fake or fur. With my essay, I want to clarify the knowledge required to be able to meet a child who may be visiting a theater for the first time. What does it mean for an actor to play for young children? What is acting for the youngest audience and what are the creative processes like? I describe the specifics of theater for the youngest partly through reflection and narration of mainly three productions, Clothes off Clothes on (2-4 years), Bubbla and Bo both for an audience of babies 6-12 months and their adults. Long preparatory work and the necessity of a reference audience are described here. There are several stories about various audience meetings over the years. The second part of my essay describes my work with the scenic part of my master's project. I examine theme, form and appeal to an adult audience in order to find clear differences in acting for children and for adults. With my story, I want to highlight the specific skills required for an artistic dialogue with the youngest audience where the actor, in addition to his role in the performance, must be able to guide the children into a theatrical ritual. Going to the theater. It requires a special interest and perseverance, as well as being aware of one's responsibility both for the children and acknowledging one's own memory of being a child. A kind of ”soft” acting that can be quickly adapted to today's audience. It takes sensitivity, courage and a willingness to learn the language of the children's world
Sakletarhistoriska Riksmuseet / The National Museum of Searching for Stuff : Performing Pippi Longstocking as a living artifact in an immersive museum
No full textSAKLETARHISTORISKA RIKSMUSEET / THE NATIONAL MUSEUM OF SEARCHING FOR STUFF is Karolina Willebrand Vinnberg’s Independent Degree Project within the Master's Programme in Acting at Stockholm University of the Arts 2021-2023, examining and performing the Swedish children's book character Pippi Longstocking as if she were a museum artifact. With tools such as parody, intertextual analysis and immersive performance her hitherto (imagined) unknown inner life is excavated, dissected and exposed. This research also explores what happens in the encounter between actor and audience when performing and co-existing in an immersive museum space. The research process ended with a performative exhibition set in and produced in collaboration with The Swedish Museum of Performing Arts in Stockholm. This exhibition included seven scenographic installations and exhibit objects with associated audio guides, four video works and four immersive performances and an actress being present as the character of Pippi Longstocking throughout the days
The impact of the audience on the actor in the middle east : a situated middle east Kuwait, Syria and Egypt study the impact and the relationship between the actor and the audience
No full textFirstly, in 2019, I played a role of a woman who got married to a married man, later after the series aired to the public the role fired back on me. I observed the audience’s reaction exceeded everyone's expectations. The audience is divided into two parts the first part is the women who expressed their anger in a very aggressive and strong way, and the second part who was exciting to the character. The first part of the audience used several offensive, strong, and insulting words. The audience's reaction was very emotional, and they used all the tools to express their feelings for example, they used social media platforms and verbal violence when they saw me in the street. On the other hand, sometimes the women’s reaction was interesting in my point of view when one of the women personalized the role by imagining her husband betrayed her with the character for real. Secondly, in 2021 an actress from Egypt Mona Zaki pretends to take off her panty in a scene in the film. Although she didn’t take it off, she chose to symbolize the action, the scene fired back badly on her and her personal life as well. The audience couldn't compartmentalize between the acting and her personal life and personality. Therefore, we focus on the audience impact and the way the audience impacts the actress in the situated areas in this research, what would happen when the audience can't distinguish between the role and the actor's real Character
Audition : Innblikk og refleksjon
No full textAudition Eit ord som vekker mange assosiasjoner. Denne heilt spesielle situasjonen er ein særs viktig del av mange utøvande kunstnarar sine liv. Kvifor har auditions noko med å starte det frilansande songlivet å gjera, og korleis skal me møte dei? Med personleg logg frå ein ganske fersk auditionerfaring og intervju av songar- og juryperspektiv skal eg gje eit innblikk i kva denne situasjonen inneber og reflektere rundt korleis me unge songarar kan gå inn i den med litt sikrare steg