Stockholm University of the Arts
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538 research outputs found
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Connection Between : The research project investigating interactivity of digital worlds in a film production pipeline
No full text“How can game technology be used to maximize creativity and create an effective production pipeline for an animated film?” I think creating animated film should be a fun and creative process, that is why I have chosen this research question. I explore techniques used in Machinima films and aim to make it more user friendly and less restrictive. My research will become a sort of proposal to how the framework of a Machinima film could look in a modern film production.It was part of the FilmMediaExpo22https://www.uniarts.se/english/news/events/events-spring-2022/filmmediaexpo22</p
Perspectives : the use of dual perspectives in my films
No full textIn this thesis, I will examine how I worked artistically with perspectives and subjective truths in my two short films, What I Wanted to Say and TIPS. Both films are exploring the use of first-person perspective in different ways to allow the audience to experience two different opinions of the story. This exploration is the main part of my artistic research. Through my work with perspectives, I have also added the dual perspective of working as an actor-director on both films and how that method evolved through this process. This method will also be explored as a part of this thesis. In working with perspectives, I have studied when to focus on what role, both when it comes to what character’s perspective should be in focus on the screen at what time, and when to focus on what part of the actor-director role. Searching for this balance will be the focus of my artistic research, as well as looking into the possibility of allowing both roles the focus at the same time. The first film I made, What I Wanted to Say, is a love letter to a broken relationship, a short drama that explores the difficulties of ending a relationship. For this film, I used the same visuals twice but changed the voiceovers so that the visuals of the couple being in love and then fighting with each other would be influenced by each character’s subjective thoughts. The voiceovers take the audience on a reflective journey through their thoughts as Lisa leaves her lover, Oliver at the end of the film. The second film, TIPS, is a story about the newly hired bartender, Sarah, and a group of guys celebrating their friend’s birthday. Here, I worked on changing the perspectives visually through closeups and point-of-view shots, as Sarah builds up the courage to flirt for tips. This act is misinterpreted by the guys who decide to follow her home after work in pursuit of her phone number. We move back and forth between the perspective of Sarah, who learns to stand up for herself, and the self-proclaimed leader of the friend group, Pete, who learns to apologize in the end. I will be starting my thesis with an introduction to my work on the films and the artistic research. Then, I will bring up theories from my acting background to explain why I started working with perspectives and how I work with acting, before exploring the method of working as an actor-director and how I worked with that during the two film productions. The exploration of perspectives came about as a response to the seemingly growing number of echo chambers, which I will be explaining more in-depth through the research part of this thesis. Here, I will study the structure of echo chambers and look at the possibility of having narrative films counteract them. Moving over to the discussion part I will go more in-depth on how I worked with the perspectives, both when writing the script and when acting-directing. I will also look at how I worked with and developed my method of acting-directing, before concluding the thesis with a summary and how I plan to continue my work on perspectives
Kompass : Image as Site
No full textKOMPASS, an artistic collaboration between Ellen J Røed and Signe Lidén, emerged as a separate project strand in the artistic research project Image as Site at Stockholm University of the Arts. It built on an earlier phase of the research project where Ellen Røed together with cinematographer and research assistant Ashley Briggs developed a dual camera rig for internal and external studies of sites. In KOMPASS, Lidén re-developed the rig for sound recording. Their collaboration resulted in an exhibition at Trafo Kunsthall in Asker, Norway, March 12th- April 24, 2022. Rune Søchting was a conversation partner throughout the project.
They have lost all hope and behind hope they found new spaces
No full textThey have lost all hope and behind hope they found new spaces is an essay and a collection of short related texts, written in connection with a similarly named dance piece. It is about dancing joyfully in the age of the climate crisis and trusting that by moving one's own body something else can be moved too
Looking for Direction : Rethinking Theatre Directing Practices and Pedagogies in the 21st Century
No full textLooking for direction verbalises lore and embodied knowledge about the art of directing and the art of teaching it. All of the 17 writers are directors, and in most cases, teachers of directing. We are looking for a new way of being/becoming a director, but we still believe that the traditions we carry have a lot to give for the future.The position of a director is a hot spot in theatre today. We need to confront the new questions of power and hierarchy in our work in a very concrete way, as well as the questions of representation and interpretation. How can we create shared meaning on stage when the meta narratives are losing their universality and the audiences interpret meaning more diversely than ever before? We invite you to play with this book, jump around, change it, add something, rewrite it and if you like throw it right back at us in a dialogue
När sjunger skådespelaren, hur talar sångaren?
No full textMin forskning handlar röstens uttryck och släktskapet mellan opera och teater. När Anders de Wahl reciterar Nyårsklockorna från Skansen, så låter det nästan som om han sjunger texten. Det låter högtravande och starkt. Men å andra sidan, ibland hör vi inte alls vad de säger in en serie på TV. Vad går förlorat när röstens uttryck förminskas även på scenen
Carl-A Holmes MA Contemporary Circus Practice
No full textThis is a thesis - supposedly. It could also be a performance if you want. As an object it is detachable in that you can pick it up. Or download it. This thesis has edges. It has protrusions, indentations, connections and holes. Lots and lots of holes. That is because this is a thesis about and consisting of affordances. That is to say something that offers interaction. We’ll get into that in a bit. Suffice to say, my hope is that you feel free to read it or play with it in any way you see fit. Turn it into a paper airplane to see if it flies or set it on fire to warm your hands. Rearrange the pages if you want. This might affect the red thread that ties the pages all together, but that’s all the thread was there for. To tie things up and as something to hold onto.With that said, somewhere amongst all the following words, I’d like to think that there is something at least nominally related to Circus. That is because this is supposed to be a thesis about Contemporary Circus Practices. Well….about my own contemporary circus practice in any case. It feels kind of empowering to call my circus practice contemporary though, I must say.Com –Latin. Meaning with or together, and Tempus-Latin. Meaning time. With the times then! Though in all honesty it is probably a very anachronistic, sin temporary circus practise at best.Hmmm…remind me to look into the affordances of time
ROM COM : Litet experiment med manipulationens mekanismer
No full textHow effective is manipulation when applied, if it's mechanisms are simultaneously exposed? This essay is a reflection on my play "ROM COM - en romantisk komedi", which premiered at Kulturhuset Stadsteatern in Stockholm in late May 2022, a genre piece which consistently strives to draw it's audience's attention to the form, tropes and conventions it uses to influence their emotions
Skräckteater för barn och unga
No full text"A reflection on the process of working with Lyktmannen a horror genre performance for a young audience at Stockholm university of the arts during the spring of 2022. The text discusses the responsibility towards a young audience while working with violent and difficult subjects from a theatre stage."