Stockholm University of the Arts
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Den mänskliga rösten : personlig sånggestaltning som återspeglar människan bakom rösten
No full textEn skrift om hur du som sjunger kan finna din personliga röst och samtidigt vara trogen dig själv, ditt personliga uttryck med ett stärkt självförtroende så det konstnärliga uttrycketgrundat i en gedigen vokalteknik låter det unikt personliga finnas som botten i allt gestaltande
Rösten och gestaltningen
No full textVad är det du undersöker och varför? Jag har undersökt de dualistiska krafterna inom den mänskliga rösten, på olika plan, och den ömsesidiga interaktionen mellan röstens funktioner, å ena sidan och gestaltningen och gestaltningsviljan, å andra sidan. Vad kommer vi få ta del av under din presentation? Ni får ta del av prat. En sammanfattning av vad jag sysslat med, experimenterat med, reflekterat över och skrivit om.What are you researching and why? I have been investigating the dualistic forces within the human voice at different levels and the mutual interaction between functions of the voice, on the one hand, and embodiment and the will to perform, on the other. What will we hear during your presentation? You will get to talk. A summary of what I have been with experimented with, reflected on and written about
Disorienting Front
No full textThis live performance is a study of how performers create and experience the physical concept of front through dis/orientation and facing. The text is drawn from a compilation of old dictionaries, science fiction, poetry and theoretical writings on performance, as well as personal experience and anecdotes. The choreographic parameters are determined by the specifics of each performance space. The text and performance were developed in the artistic research project Front, Facing and Dis/Orientation.FRONT, FACING AND DISORIENTATIO
To put it into words : a qualitative study of dance teachers’ understanding of presence and communication in relation to grading and assessment praxis within a vocational dance education at upper-secondary level
No full textDance pedagogy is an under-researched field. Much of the research within a Swedish school context focuses on the Aesthetic program, Dance. Therefore, the present study focuses on the Swedish vocational program for dancers at upper-secondary level. The aim of the study is to contribute to an insufficiently researched field with knowledge regarding dance teachers’ grading and assessment praxis. In this study, the focus is on how vocational teachers in dance understand presence, stage presence and communication with an audience in relation to their grading and assessment praxis. The method used for collecting data was semi-structured interviews. Thematic analysis as defined by Braun and Clarke (2006) was used as an analytical method. The results show that presence, stage presence and communication with an audience are intertwined and can be referred to as presence and communication in a broad sense. Furthermore, the results show that the teachers’ understanding of presence and communication is reflected in their grading and assessment praxis. In conclusion, five components are shown to be of great importance concerning the understanding and grading of presence and communication. These are independence, awareness, reflection, dance technique and working with feedback. A concept of reflection-around-action is presented as a didactic tool as well as concepts for working with feedback and collegial learning
Soundscape 1&2 : (Re)Creating a space using sound. An artistic research project at Stockholm University of the Arts
No full textAfter having worked in film sound for forty years I already knew that sound can create a powerful illusion of a space. The question is if this is only a consequence of the ”audio-visual contract” as described by Michel Chion, or if it works in the non mediated world as well? A cinema audience is prepared to be tricked, or seduced, they have even payed for that. The same applies for someone visiting an art gallery to take part of a piece of sound art. In everyday life however, things are different. Nevertheless our perception of a space and a situation appears to a large extent to be dependent on what we hear, even if it’s contradicted by what we se and by our preconception. When I tried the recording of the subway station in our main hall, students and staff came running out of their offices to see if there was actually a train passing through the building. I had forgotten to issue a proper warning about my test… When I played back the recording during our research days, I observed spectators moving to different positions in the hall, to get different perspectives. It is in deed an interesting thing to have your senses fool you!One explanation to the powerful illusion may be that the soundscapes are in full scale. They are recordings of big spaces played back in another big space. The main hall has the same length as the subway station, and the recording of the Central railway station with it’s high ceiling creates an illusion that the space expands beyond the loudspeakers, in three dimensions. The voices, footsteps and the trains give us information about what’s happening around us. The way those sounds reverberate gives us information about the space, the size of it, and its acoustic properties.The answer to my original question is undoubtedly yes. It is in deed possible to create a ”place” using sound, a stereo field big enough to move around in and so consistent that you don’t loose it as you approach one of the loudspeakers. So how can we use this knowledge?One could try this recording technique to record background sounds for films that will be screened in Barco Auro or Dolby Atmos. And it’s obviously a way to create interesting sound installations that allows the audience to move while listening. For me it has raised another possibility. By transforming a familiar space, we can begin questioning who we are in different situations. I’m not the same person when I’m walking the corridors in our college building as I am walking on a beach while on vacation. So if I hear the sounds from that beach walk in the corridors of my workplace, will that change the way I feel and act? I made an experiment in our staff canteen. Now during the Corona restrictions it’s an empty place where you often find yourself totally alone while having lunch. So I made a soundscape, using sound effects from my library, that turned one end of the canteen into a posh restaurant, with a piano player, discreet voices and other sounds referring to fine dining . At the other end I put a lively english pub ambience, and in the kitchenette i put the sound of a german fine dining restaurant kitchen.The transformation of the place was quite remarkable. As you enter you pass through the german kitchen, and then you can choose if you prefer to be one of the guests in the fancy restaurant or to join the cheerful crowd in the pub. Where ever you choose to sit, you still hear sounds from the other spaces. This is where this project is going to take me next. To change familiar places in order challenge our self image and our feeling of belonging or being a stranger in a space
KONSEKVENSANALYS - NEDSTÄNGNING AV SKH OKTOBER 2020
No full textInför förslaget att genomföra ett strömavbrott, som ett led i Lina Perssons konstnärliga forskning vid Stockholms konstnärliga högskola, sammanställde fastighetschefen en konsekvensanalys från samtliga av högskolans avdelningar. Här är en sammanställning av den dessa konsekvensanalyser.climate-just worlding
Relationen och undervisningen
No full textA reflection on the relationship between teachers and students in teaching situations. The work contains its own reflections and thoughts, but also raises other people's views on the subject by means of a survey. The survey was sent to all students and teachers at the Opera University in Stockholm
Slutrapport, internt forskningsprojekt inom Stockholms Konstnärliga Högskola
No full textJu fler kollegor jag talade med, desto mer uppenbart blev det hur ofta inhopp i olika former förkommer – känslan var också att inhopp blivit vanligare i vår tid där projektanställningar dominerar över fasta, eller längre anställningar – något som ger en ökad rörlighet på arbetsmarknaden – varav fler avhopp och inhopp i teaterproduktioner är en av följderna. Jag fascinerades över att så många skådespelare var positiva till inhopp, trots bristen på möjligheter till egna konstnärliga val kombinerat med korta repetitionstider. En av anledningarna är att det trots allt genererar arbete, en annan är att många också stundtals verkar uppskatta den frihet från ansvar som bristen på konstnärlig frihet i sig innebär – ”Det är bara att gå in och köra!” När jag började mitt projekt var jag i huvudsak intresserad av den som hoppar in och de förutsättningar som ges till den/dem. Efterhand blev jag mer och mer intresserad av de som så att säga ”blir kvar” i en ensemble. Det emotionella i att någon lämnar och någon ny kommer in. De personliga relationerna påverkar arbetet i stor grad, även om vi sällan adresserar dem. Det faktum att den inhoppade skådespelaren ofta har en ytterst begränsad repetitionstid gör att det finns något nästan spektakulärt över processen, känslan av att göra något omöjligt. I praktiken innebär det att jag inte hinner tveka, inte får dröja i mitt arbete, utan måste spela ut för ”fullt” redan på ett tidigt stadium innan jag egentligen har koll på vad jag håller på med. Den blandningen av skörhet, förvirring och satsning gör att jag snabbt kommer in till någon sorts kärna i skådespeleriet, en skärningspunkt där det enda som existerar är nuet. Delvis beroende på att nuet är det enda jag vet något om då all tankekraft går åt till ta mig genom moment för moment då jag ännu inte lärt mig navigera i den aktuella uppsättningens rytm, tidslinje och helhet
Danslärarkroppen som resonanslåda : en hermeneutisk fenomenologisk studie om danslärares upplevelser av att observera (sin) dansundervisning
No full textAbstract Title: The dance-teacher body as a sounding board - a hermeneutic phenomenological study about dance-teachers experiences observing (their own) dance education. Author: Anders Frisk, Stockholm University of the Arts - School of Dance and Circus Language: Swedish Key words: Dance, dance teacher, dance education, dance pedagogy, phenomenology, kinaesthetic empathy, interaffectivity, bodily resonance The aim of this study is to give insights into how dance teachers experience observing (their own) dance lessons. The interest lies in what they are reacting to and what gives an action in the form of feedback, guiding or ending an exercise, and how these reactions and actions are manifested in the body. Two teachers at the Swedish school of sport and health sciences (GIH) in Stockholm were observed and filmed during dance lessons with PE&H-student teachers. The subject of the lessons were experiencing and exploring dance as expressive form. From the videos of the lessons, different situations were chosen and discussed during a so-called re-experiencing interview. The interviews were transcribed and the text has been analysed using a hermeneutic phenomenological method. The analysis resulted in the following findings: To observe one’s own teaching seems to be a valuable tool for the teachers in order to reflect upon didactical considerations and possibilities for developing the teaching. The teachers seem to react on (lack of) movement, presence, focus and movement qualities. This creates a dissonance in their own bodily resonance that seems to create an embodied experience that they react upon. They act by guiding the students by adding more movement, verbal affirmation or instruction, metaphors or by ending the exercise. Sometimes they postponed reacting in order to give the students a chance to find their way back in focus. The teachers also have a focus on creating a learning environment where the aim is for the students to explore and to experience their own bodily resonance and how this can relate to other bodies. It seems that the teachers show a sensibility for the situation and the harmony in the dance studio that could be derived from a professional-personal competence or from an embodied practical pedagogical knowledge. The results of the study are discussed with the concepts of interaffectivity, mutual incorporation and kinaesthetic empathy. By raising awareness around how bodily (and embodied) interactions are intertwined within dance education these concepts might help and support the development of teaching in this specific context.
Mental training in opera
No full textI started thinking about mental training in singing quite late in my studies. I had many problems with my nerves when I was at the beginningof my professional studies. I remember having a course for three months that was called ”Performancetraining”. When I look back the only thing I remember from that course is what not to do and getting even more nervous when walking on the stage. I remember thinking that I cannotdo this, I will never be a good singer. I have luckily had good singing teachers who have had a lot of time, understanding, commitment and compassion towards me. I have managed to control my nerves and learned to love to perform.What happens if a singingteacher cannotsolve these problems? I myself have studied to be a singing teacher and during my studies I have never faced the challenge to solve these kinds of difficulties. It requires a good understanding in the human psyche to train people to reach their very best and to overcome traumas that prevents us to perform on our best. It takes a whole village to raise a child, as the saying goes. So why should the training of the voice, becoming a great individual performer and artist, rely on the shoulder of the singing teacher? When I think about the singing lessons, shouldn ́t most of the time be spend on training the voice, exercising the muscles that help us to sing? Have you ever heard a football player going to the practise and spending 50% of that timein solving problems they have faced? Probablynot. I’m notsaying that football players don’t have problems they feel are holding them back in playing football and performing at their best. They just have another time and place to fix these problems. Thiswork happens with the mental trainer