Stockholm University of the Arts
Not a member yet
538 research outputs found
Sort by
The emotionally sustainable film process : the birth of a documentary film
No full textHur skapar och utvecklar jag metoder för en filmprocess som värnar mitt eget och mina medarbetares mentala och känslomässiga välbefinnande när vi gör film om svåra frågor? Hur tar jag hand om mina medverkande? Hur ser min film ut som är sprungen ur en sådan arbetsprocess? Hur har arbetet med terapeuten Cilla Holm, tidigare filmproducent, bidragit till en hållbar filmprocess? Filmbranschen präglas av högt tempo och utmattningssyndrom är inte ovanligt. För fyra år sedan blev jag utmattad och efter att ha sörjt mitt gamla jag och min nya stresskänslighet kom jag fram till att jag inte tänker acceptera att jag inte ska kunna arbeta med det jag älskar, film och skrivande. Jag tänkte att det måste finnas andra sätt att arbeta med film och fortfarande få må bra. En text om skapandet av min dokumentärfilm Om sorg (2022) och metoden som jag kallar för Den emotionellt hållbara filmprocessen.How do I create healthy working methods that benefit my own and my team members mental and emotional wellbeing while making film about difficult subjects? What does a documentary sprung out of these methods look like? How has the collaboration with Cilla Holm, film therapist and former film producer, contributed to make the process emotionally sustainable? The film industry is fast paced and burnout is not uncommon. Four years ago it happened to me and I had a total identity crisis. After grieving my old self, my ability to multi-task and my newfound stress intolerance, I came to the conclusion that I will not accept that I have to leave the film industry. I wanted to keep working, I just had to find another way to do it. A text about the creation of my documentary About Grief (2022) and the method that I call The emotionally sustainable film process
Vulnerability as Virtuosity
No full textThe research cluster Vulnerability as Virtuosity is to collectively examine human and more-than-human vulnerabilities within the context of crisis, with a specific focus on exploring the following questions: - How are human responses and vulnerabilities understood and manifested across different fields and disciplines? - How can vulnerabilities be addressed fairly and sustainably? - What insights can be gained from human and more-than-human vulnerabilities? - How can the diverse knowledge on vulnerability from various fields be shared and leveraged? - What practices can be initiated to align vulnerability with a more sustainable and just world?"Context and placeLecture Vulnerability as Virtuosity presented at the 28th Annual Conference of theInternational Sustainable Development Research Society (ISDRS) SustainableDevelopment and Courage, Culture, Art and Human Rights. Södertorn University,Sweden, June 2022.</p
choreo | graphy
No full textThe doctoral project choreo | graphy is an inquiry into the relationship between thinking through dance and thinking through written language, taking the notion of choreography literally as dancing-writing. Respecting that different media afford different thought processes, ideas, and concepts to be reached, this practice-based artistic research project has unfolded within artistic processes and experiments to explore and develop the relationship between dancing-thinking and writing-thinking. Investigating the media-specificity of thought in dancing together (khoreia) as it relates to the media-specificity of thought in writing (graphia), this project experiments with their relation in a way that serves both art forms and respects their differences, while challenging historical hierarchies between embodied sense-experience and the written word. Cycling through three areas of inquiry, the project asks 1. how dance thinks, 2. how dance writes, and 3. how a (re)considered relationship between dancing and writing might inform choreographic practice. Following these three areas of inquiry, the project’s contributions to artistic research are summarized as follows: articulating what is particular to dance-thought (how dance thinks), practicing and devising procedures for dancing-writing (how dance writes), and pursuing forms of exposition which invite observers to think with and through dance by applying the aforementioned insights to artistic creation (choreo | graphic outcomes). The separation of the word choreography into choreo | graphy signals the project’s intention to open space for consideration and reinvention of the poetics of choreographic practice and discourse.
Nora the Many : by Eleanor Bauer in collaboration with Nora (Eleanor Sikorski, Flora Wellesley Wesley, Stephanie McMann) and Coven Press (Season Butler, Kai Evans, Peter Mills, Alice MacKenzie, Stina Nyberg, Tilman O'Donnell, Halla Ólafsdóttir, Zoë Poluch, Adam Seid Tahir, Alexander Talts and Juliette Uzor).
No full textNora the Many is part of Eleanor Bauer's doctorial artistic research project choreo | graphy, a pracitce-based investigation into the relationship between choreo- (from khoreia) as dancing together, and -graphy (from graphia) as writing, pursuing poetically and structurally adequate translations between the two. Created in primary collaboration with the London-based dance collective Nora (Eleanor Sikorski, Flora Wellesley Wesley and Stephanie McMann) with contributions from dancing-writing groups gathered by Bauer's research, Nora the Many invites the reader into a collectively authored universe of characters and events generated by methods of translating experiences of dancing together into writing. The images, logics, felt-senses and life-worlds brought about by dancing have been documented in writing and woven into a narrative, coining a new genre called Sensual Journalism. Swirling between fiction and reality, sensation and imagination, this choreo | graphic novel is a written X-position of how dance thinks.PDF was changed 2022-03-15. The ISSN in colophone was then corrected. The former version was uploaded 45 times.choreo | graphy (Documented Artistic Research Project (Doctoral Thesis
Berätta det bortglömda : en dokumentär process om Jemenkriget
No full textThe war has turned Yemen into the greatest humanitarian catastrophe on earth, according to the UN. A partial blockade is upheld with Swedish weapon technology, and starves the Yemenis. Five million children risk dying. I documented the UN-led peace talks on Yemen, which Sweden hosted in 2018. In Stockholm I later on confronted ordinary people with the question: How can we stop the war? Also, I started baking a miniature model of the ancient city of Sanaa. With the help of archive material, gingerbread houses and a filmed survey in and around Stockholm, I explored how to remedy the cruelty and apathy in the world. Yemen is called the "forgotten war", and this thesis attempts to highlight what we would rather keep out of our consciousness
Characteristics of key signatures : Does the character of sung music change in transposition?
No full textIn "Characteristics of key signatures" Katariina Holma describes and reflects upon her experiences of transposing her operatic singing repertoire. Do the character and colour of the sung music change when we transpose it? According to Holma's experience, it is the storyteller in particular, the role character in an opera aria, who is most affected by transposition. Holma learned during her experiment that there are several positive qualities to be gained from transposition that not only help a singer learn more about their repertoire but also assist them in exposing stumbling blocks to their singing technique
Directing Communitas : Between Duty and ‘Duty Free Art’
No full textThis essay is motivated by my experience as a theatre director but also as a curator who has often workedin different cultural contexts addressing different culturalcodifications and norms and collective experiences, at thesame time trying to understand them whilst translating theminto performative strategies applicable and understandableto local communities of spectators.Starting from the idea that theatre, ephemeral as itis, always reconstitutes itself with every new encounter between the performers and spectators under seemingly similarand yet always not quite determinable circumstances (evenwhen the performance repeats itself over and over), I wouldlike to explore the ideas related to the flexibility of culturaltransitions between the performers on stage and those inthe audience, who together (re)create the complex notionof Communitas.I am inspired to explore what Jacques Rancierre definesas ‘dissensual community’ (Rancierre, Emancipated Spectator,p. 59) or the community which has a dual body that can be bestdescribed as the relationship between ‘apart’ and ‘together’which is also a paradoxical relation between the present andthe future, but also between art and the art-market.I will try to observe more closely the somewhat confusing role of a contemporary theatre director who is oftentorn apart between filling in the gaps in the process of commodification of artistic labour and being an agent of possibleemancipation within social and artistic paradigms
“I am the wife of Mao Tse-tung” : Study of Opera Role Based on the Real Person
No full text“I am the wife of Mao Tse-tung” is an aria from the opera “Nixon in China”, written by American composer John Adams in 1987. My interest in contemporary music is driven by the opportunity to engage directly with living composers and the modern relevance of the themes. While searching for a new audition aria, I discovered the role of Chiang Ch’ing, which suits my coloratura soprano voice. This prompted an in-depth study of her historical background, reversing my usual method of learning an aria. This approach allowed for quicker and deeper internalization of the role, demonstrating that understanding a character's context can enhance performance, even without personal empathy. This method improved my connection with the audience and enriched my overall performance. I plan to apply this approach to future roles, whether they are based on historical figures or fictional characters
Lycko-Ken : Examensarbete
No full textMin frågeställning formulerades inte när ScenEx22 påbörjade, den uppstod dagen jag tog mitt första kliv in genom spärrarna på SKH. Jag kommer inte från en teaterbakgrund, innan jag började på skolan kunde jag räkna på fingrarna hur många gånger jag hade gått på teater och sett en föreställning. Jag har en skräddarutbildning, gjort lite egen konstnärlig undersökning av olika slag, ett års konstnärlig utveckling på folkhögskolan Nyckelviksskolan. Så det här med scenkläder har långsamt kommit till mig. Men med det sagt kommer jag från en familj där båda mina föräldrar är bildkonstnärer, utbildade på 80-talet där den sanna konstnären var “den ensamma konstnären”. Så när jag kom in på skolan var mina frågor många och ju mer jag vet desto mer komplexa blir mina funderingar. Vad är teater och scenkonst ens? Vad är en kollektiv konstform? Vad kan jag som kostymdesigner, alltså scenklädsel-komponenten, förstärka, tydliggöra, påverka för den stora helheten? När är komponenten scenkläder viktig, när är den mindre viktig? Och vad är de andra komponenters roll, vad kan de tydliggöra, förstärka och påverka till helheten? Den sista fråga tycker jag är så oerhört spännande. Att ha fått tillgång till och fått uppleva hur t.ex. ljud-komponenten arbetar. Jag tycker verkligen ljud-komponenten är ett strålande exempel på essensen av det idealiska samspelet, det som kan finnas mellan de olika komponenter när samarbetet är bra. Ljud-komponenten jobbar så direkt och impulsivt. Samspelet mellan feeling, skådespelarnas agerande och impuls, rummets förändring, regissörens impulser och viljor och sist det tighta samspelet med ljus-komponenten. Och på så sätt har alla scenkonstens komponenter sina gemensamma och egna processer. Och det tycker jag är så fascinerande och det är det som jag verkligen går igång på med scenkonst. I de kommande avsnitten kommer jag att försöka formulera mig kring hur jag på olika sätt till närmar mig mina frågeställningar genom de erfarenheter och insikter jag har gjort genom att placera min egen kropp mitt i dessa processer under de senaste 3 åren. Stora, viktiga lärdomar kom på ScenEx22 med Lycko-Ken på Stadsteatern. Det har inte varit lätt, det inte varit särskild roligt, många tårar, mycket frustration, men jag ångrar ingenting för jag har fått är en enorm insikt på grund av detta projekt som jag nu kan använda i mitt liv som arbetslös scenkonstnär där min egen skola ska ta vid.VT 2022</p