Stockholm University of the Arts
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Process för produktion Lyktmannen 2022 : En kort översikt av en process för en examensproduktion, fokuserat på bredden i rollen som produktionsteknisk samordnare
No full textThe production process for a horror production for a young audience. How the planing process is a part of a whole teams artistic process, from the view poin of technical production manegment
A little something on fog and confusion
No full textABSTRACT In this essay I will touch upon my research question. Where it originates from and how I do my research. I will discuss the motivation of “making” and the polarity which exists within the proces of creating.\u2028Words are powerful and words often suggest a “truth”. My motivation in my research is not suggesting a truth. It is not about a claim. It is about allowing the body to take space without the selfsensorship which lives within the world of words. The research is about the body and giving the body - having both experienced trauma, joy and struggle- agency and creating a space where “it“ can move between the different stages of “mode”. One of my key questions is, what can we share without using words? And by leaving words and other meaning-creating mediums behind what is allowed to emerge? \u2028 But the thesis for a big part also touches upon a filmproject discussing how habign two seemingly very differet proejcts can be fruitfull in the creation process. Allowing one to rest from the one project moving into the other. Why do I want to create? A key motivation for creating is the possibility of physically manifesting an idea, memory or atmosphere and allow them, by conceptualisation, to leave me. \u2028By materialising them I can discard them. A banal but also urgent reason for me to conceptualise ideas/memories/experiences and share them is being mirrored. Having people somehow relate to the experience. And perhaps take something from it. Working with material and ideas which stems from personal experiences creates a certain amount of doubt. While formulating and being in an ongoing proces it can be fruitful to have an open dialogue, but it also makes me vulnerable to maintaining a connection with my intuition and gut feeling. Questing the quality of things. Questing entitlement. Questing why I feel it has an urgency.. \u2028
Dans, självförtroende och självkänsla : En fenomenologisk studie om danselevers upplevelse i dansundervisning
No full textThis study examines how dance education can affect a dance student’s self-efficacy and self-concept. The purpose is to shine light on the students perspective on their education. It is also to help educators to get an understanding of and interest in students perspective so that they are included in the work of adjusting the education to help develop dance students self-efficacy and self-concept. The study was done with a Merleau-Ponty phenomenological perspective through four semi structured interviews which were transcribed and analysed from Steinar Kvales methods. The results show four main factors that can affect dance students self-efficacy and self-concept and these are: The relationship to members of the group, Feedback, Comparing to others and The relationship to teachers. Since this study is limited to the perspective of four students, further research needs to be done to verify if these factors are important to the bigger population of dance students
Duke Bluebeards Castle : The Making Of An Animated Opera
No full textThis research is about the process of learning a new craft, discovering it’s strengths an weaknesses while attempting to creating something unique. Many animators in this day and age choose to animate in 3d or in other digital mediums, are we starting to forget the perks of using real models and stop motion? I’ve set out to find out what those strengths are and compare it to my earlier experiences. Secondarily I am trying to find out if opera and animation will complement or repel eachother, being both very expressive separate art forms. I present my findings in this interview with Nils Claesson.
Hope for the Future
No full textAmidst the fourth industrial revolution, the sixth mass extinction, global warming, and a world pandemic, humans face an increasing amount of complex and challenging crises on planet Earth. Over the years 2020 and 2021, the performing arts sector has been paralyzed and now in 2022 we are oscillating between coming back to normal and moving to a new normal. Our modes of creation, production, and dissemination have been disrupted. On a larger eco-socio-political scale, during the pandemic, the impacts of human activities on Earth seem to have been made more distinctly visible, inviting us to ask: what does it mean to be human today? More specifically, however, the Covid-19 pandemic is forcing circus artists to revise how we work and think about circus arts. What does it mean to be a circus artist today? How can circus arts remain relevant? And what connections might circus arts have with the wider question of human involvement in the world
Suriashi as Experimental Pilgrimage in Urban and Other Spaces
No full textThis practice-led PhD-thesis draws on an existing Japanese movement practice called suriashi, which translates as sliding foot. Suriashi is a specific gender codified walking technique in classical Japanese dance and theatre, and an important method for acting on stage. It is one of the foundations for how the performer positions him/herself for movement on stage. My thesis asks whether suriashi could also be a method to act, as being active, or to activate, in other spaces outside the theatre. A key feature is the practical application of this artistic practice outside the theatrical contexts where it is usually located. This relocation brings a traditional form into new configurations, connecting to everyday practices and sites of resistance and performance. It also contributes to the burgeoning field of walking arts practice, bringing a Japanese dance-based practice into a dialogue with debates and practices of Western dancing and walking. The practice-led research includes suriashi walks, labelled as ‘experimental pilgrimages’, which are documented especially for the thesis. They have been captured on video and serve as material evidence of what kind of questions and answers suriashi as experimental pilgrimage activated. The video documentations, to which readers are guided to through specific links and timecodes, provide the possibility to experience suriashi walking both visually and corporeally. They also represent the artistic artefact and outcome of this practice-led research. The video capturing suriashi adds to an expanded perspective on screendance as durational artistic practice. The thesis shows how suriashi embodies ideologies, such as gender, as well as discussing how our presence in urban spaces is always gendered. Suriashi as a gendered technique provided a tool for walking with integrity - a flâneuse strategy - which led to the application of suriashi for political engagement through embodiment
The Barbette project
No full textWhat happens when circus artists get in the studio and throw gender, circus practice, history, sexuality,body image, theatre, writing, devising, drag and movement into one big melting pot? This thesisattempts to answer this question. Using Barbette (a genderbending circus artist active in the early-mid20th century) as catalyst, frame and partner in this research, I set out to develop what I’ve named “theopen source play”: an innovative performance-making tool that would enable fellow circus practitionersto become active creators, guiding them in devising an autobiographical show through the lenses ofcircus history and queer theory. I began by fleshing out Barbette: his life, his person and personae asreflected through both primary and secondary sources, and within the wider historical context of dragperformance. I then investigated my own personal relationship to this research, extracting interactionsand testing the roads I envision other devising artists might travel when engaging with The BarbetteProject. Taking a step back, I examined the history of female circus artists and the tropes surroundingthem — constructing a lens for gendered analysis of circus performance which I then applied tocontemporary aerial acts that play with gender. Adding on layer after layer, I concocted The BarbetteProject’s open source play and mapped out the various methods and approaches it takes. Evaluating thetwo-year period of research, I traced the devising and creation process as it unfolded over four stages ofResearch & Development conducted with diverse teams in different environments. As for the result ofthis research, I borrow from the words of poet T.S. Elliott: “We shall not cease from exploration / Andthe end of all our exploring / Will be to arrive where we started / And know the place for the first time.
Ballet Empathy (Somatic Perspective in Ballet) : a research on the use of somatic tools in ballet classes
No full textTraditional ballet training and somatic practice have different approaches regarding how the body moves. Ballet has a specific structure where traditions and conventions affect how a body moves connected to an outside perspective, concerning how a teacher, student, or audience sees the body. On another hand, somatic has an approach that permeates the body that encourages the inner perspective, in respect of how the student understands his movement. The purpose of this study is to find out how a ballet pedagogue can use somatic tools to improve the student’s abilities regarding the technique. This is related to the use of a teaching method that includes a somatic approach. The idea is to use colors, as a somatic tool, in a ballet class, and find out if this can support the student's technique, in addition, to understanding how the participants negotiate colors with their body´s needs. My research is an empirical study that consists of a few workshops with different groups, ages, and abilities and includes an informal survey of the participants. The content analysis will be collected from the informal survey conducted after the workshop. In my research, I find that the participants felt that they got some improvement by using color as a somatic tool and this approach could be a help for their ballet technique