Stockholm University of the Arts
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SINNLIG (sensuous) in Beijing : towards an Artistic Ethnography
No full textProjektet bygger på åtta veckors fältarbete på en oberoende teater i Peking våren 2017,baserat på antropologisk och konstnärlig metod. Det är ett försök att utveckla begreppet konstnärlig etnografi, samt tillämpa det praktiskt. I detta är konsten inte huvudsakligen en produkt eller en presentationsform, utan ett sätt att tänka, att förhålla sig till världen. Materialet består av fältanteckningar, video, foto, rörelsematerial, personliga berättelser, minnen av dofter, ljud och smaker och någonting så vagt som stämning – stadens tempo, känslan i en repsituation… Hur kan scenen förmedla en plats och dess människor? Kan jag levandegöra mina upplevelser så att de blir angelägna för någon annan än mig själv? Det praktiska arbetet utgör ett försök att besvara dessa frågor. Vilka bilder har vi, och vad ser vi när vi speglar oss i varandra? Vad betyder det att våra världar redan är sammanflätade? Spegeln som bild och lek, träder fram både som tema och metod. Begrepp som exotism, representation och mötet med den andre diskuteras, liksom växlingen mellan identifikation och främmandegörande (”othering”) som en grund för förståelse. Hur påverkas människors liv av Kinas snabba samhällsförändringar, balansgången mellan socialism och kapitalism? Och vilken roll har scenkonsten i detta? Här diskuteras frågor om yttrandefrihet, liksom relationen mellan politik och spelstil, så kallad ”fejk realism”. Frågorna knyts samman genom en diskussion om autenticitet, följd av en betraktelse om utanförskap, för att slutligen återvända till det personliga mötet, till en berättelse om kontaktsökande – om vänskap.This project is based on eight weeks of fieldwork at an independent theatre in Beijing in the spring of 2017, based on anthropological and artistic methods. It is an attempt to develop the concept artistic ethnography, and apply it practically. In this, art is seen not mainly as a product or a form of presentation, but as a way of thinking, of relating to the world. The material consists of field notes, video, pictures, movement material, personal stories, the memories of smells, sounds and tastes and of something as vague as atmosphere – the pace of the city, the feeling of a rehearsal situation... How can the stage render a place and its people? Can I bring my experiences to life, making them relevant for anybody else? The practical artistic work with an exposition is an attempt to answer these questions. What images do we have, and what do we see when we mirror each other? What does it mean that our worlds are already intertwined? The mirror as image and play appear both as a theme and a method. Concepts like exoticism, representation and the encounter with the other are discussed, as well as the movement between identification and othering, contributing to understanding. How are people’s lives affected by China’s rapid social changes, balancing between socialism and capitalism? What role do the performing arts have in this? Questions about freedom of expression are discussed, along with the relation between politics and styles of acting, the so called “fake realism”. The research questions are tied together in a discussion of authenticity, to finally return to the personal encounter and a story of seeking contact, of friendship.Sinnlig - the movie finns länkad dels i dokumentet och dels som egen filMovit –Direction and Dramaturgy of movement based Performing Art
Den kommunikativa närvaron
No full textBegreppet närvaro används ofta inom teatern, men att ha närvaro på scenen kan nästan låta som något magiskt. Som om närvaro är något jag som skådespelare kan ha turen att ha, eller oturen att inte ha. Vad är egentligen närvaro? Genom att sätta ord på en praktisk erfarenhet av att arbeta som frilansande skådespelare och på det konkreta sceniska arbetet och genom att spegla denna erfarenhet i filosofisk litteratur visar jag på tilliten, modet, ansvaret, leken och det gemensamma målet som nödvändiga förutsättningar för närvaro. En kommunikativ närvaro i dialog med oss själva, med varandra och i det där tredje som där kan uppstå.
I speak, I lie, I admit
No full textThis essay accompanies Hokuto Kodama’s choreographic work Untitled (I speak, I lie, I admit), following its creation process. Through investigating the process of subjectivation of dancers using the theory of Michel Foucault, the essay questions the conventional tendency to ignore the relationship between linguistic activity and choreographed dance. The argument moves on to criticize the naïve view that takes silent image as innocent, through the image analysis of Roland Barthes. This critique is combined with careful analysis of the system in which performative utterance works, making it possible to discuss performativity of image and act through the works of Jacques Derrida and Judith Butler. This speculation meets with Foucault’s idea of government, leading the argument back to the system of societal constitution of subject through performance. The essay closes with an emphasis for the importance to resist against performativity of mass-information that shapes our perception, under the current society of control.このエッセイは児玉北斗作品「Untitled (I speak, I lie, I admit)」とその制作プロセスに沿って展開される。まず、ミシェル・フーコーの主体化論を通し、言語と振り付けられたダンスの隔離に疑問が付される。次に、言語を伴わない沈黙したイメージでさえ無害ではない、という仮説がロラン・バルトの写真論から導き出される。この説は発話のパフォーマティヴィティに関する分析と交わり、ジャック・デリダやジュディス・バトラーの論を踏まえた上で、イメージと行為のパフォーマティヴィティという議論にまで発展する。この議論がフーコーの統治性という概念と出会い「パフォーマンス」を通した主体化という主題が検討され、エッセイの最後には、現代の「管理社会」下で我々の知覚を形成する、大量生産された情報へ抵抗することの重要性が示される。This essay accompanies the performance "Untitled (I speak, I lie, I admit)".</p
Acting through Voice and Speech : A Tone Resonates. An Idea seeks support: Words grope for Wings: A Tale needs to be Told
No full textÖversättning från svenska:Språklig gestaltning: En ton klingar : En tanke söker tröst : Ord letar efter vingar : En saga behöver en röst.http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-125Konstnärligt utvecklingsarbet
Encounter space to connect with The “Self” 1-2-1 performances : through Circus and Movement practices
No full textThis research was based on the idea of creating a space of encounter and of an encounter in space. The initial idea was to create a participatory/immersive installation framed within relational aesthetics and contemporary circus: focusing on a vital language that celebrates movement /dance, play, imagination and the magic of life. But through the process I left the concept of installation and I aim for an encounter space: blurring the boundaries with fields such as Movement, Dance Theatre, Improvisation, Circus, etc… A research to explore and develop the relationship with others, specially the audience. And how the audience can become a participant through 1-2-1 performances. Furthermore, I wanted to focus on the process of the research (inspirations, methodology, detect obstacles, making space…) rather than the outcome. The main thread is: Connecting with the “Self” state. ____reVisionesA research in how to facilitate a state of connection, essence, spontaneity and honesty to oneself, though around the idea of an immersive experience for the visitor/participant. “reVisiones” aims to create a space of encounter where participants can focus on awareness of the connection between their Body/Mind/Spirit: a "Transitional Space" where they can observe, be moved or move within as they please
What? Do I look like this? : A qualitative study of mirrors’ impact on contemporary dance pedagogy students’ experiences of themselves
No full textThe purpose of this study was to describe how mirrors affect contemporary dance pedagogy students’experiences of themselves. Empirical material was collected through semi-structured interviews with four dance pedagogy students at the School of Dance and Circus, and analyzed with the help of post-humanistic perspective and Lacanian mirror stage theory. The results suggest that mirrors are active agents that participate in several things, for example they create an evaluating gaze, objectification, alienation from the subject as a unity, experience of two-dimensional bodies and distraction. The results also suggest that the mirrors actively create afront and direction, and therefore they shield dancers from sensing their ‘inner selves’ as well as others in theroom, time and space. The feeling of success and mood affect the way dancers feel about their mirror images and themselves. In summary, this study stresses that the mirror, an object, is active and agentic, instead of thinking that the dancer is the only active part in the dancer-mirror relationship
Moving Tongues : Playing Space: solo performance featuring voice, strophonion with four loudspeakers, and video
No full textProposing a ‘multivocal practice’ (German: Praxis der Vielstimmigkeit) in the vocal arts, the doctoral research project embodies an inclusive approach to the four core categories of the contemporary vocal art performance: the singing, speaking, extended and disembodied voice. Multivocality addresses various modes of virtuosity, all of which are informed by a multi-faceted artistic knowledge, whether experimental or experiential, technical or technological, improvisational or compositional. The project is driven by the investigation of the voice’s boundaries within the field of vocal performance art as of today. On the basis of the highly subjective approach to the vocal arts through the researcher’s own voice, the posed question is what the performance voice could be and sound like rather than just asking what it is or represents. Either by extending the potential ranges of the multi-register voice or by examining the in-between and the unknown of an interdisciplinary and interdependent approach to oral, vocal, bodily and technology-related practices, the performance not only uncovers that these idiosyncratic practices are informed by additional questions pertaining to technical issues to bridge the vocal terrains, but also unfolds what is conceived as a bountiful vocal imaginary.Moving Tongues: Playing Space comprises also a distilled version of the Manifesto for the Multivocal Voice which depicts a ‘discursive solo performance act’ to provide insights into developing the principles, premises, politics and discourse of the contemporary performance voice.Documented artistic research project (Doctoral Thesis) ; Monsters I Love: On Multivocal Art
Rörelsen först : om regi för rörelsebaserad scenkonst
No full textAtt göra uppsättningar som har rörelse som bas innebär på många sätt att ge sig ut i ett icke beforskat landskap. Det som ska utspelas på scenen har oftast sitt upphov i en rörelsebaserad idé och inte i en redan skriven text som ska analyseras. Hur kan detta arbete gå till? Var finns utmaningarna och vilka metoder kan man använda? Lena Stefenson har skrivit denna bok utifrån egna erfarenheter som koreograferande regissör med exempel från olika uppsättningsarbeten samt egen och andras undervisning. Texten handlar om hur man kan skapa de förhöjda rörelserna i en uppsättning. Hur kan man arbeta med tema? Med berättelse? Förhållandet rörelse/text? Vad kan det innebära att vara koreograf/regissör för en rörelseuppsättning? Hur går de sista repetitionsveckorna till? Boken riktar sig till den som är, eller vill bli, koreograferande regissör eller aktör inom den rörelsebaserade scenkonsten med former som dans, mim och cirkus. Den riktar sig även till den som rent generellt vill göra sitt sceniska arbete mer fysiskt. Making performances that have movement as a base means in many ways to venture out into an unexplored landscape. What is to be played on stage usually has its origin in a movement-based idea and not in an already written text to be analyzed. How can this work go? Where are the challenges and what methods can be used? Lena Stefenson has written this book on the basis of her own experiences as a choreographing director with examples from various works as well as her own and others' teaching. The text is about how to create the elevated movements in a performance. How to work with theme? With story? What is the relation between text and movement? What does it mean to be a choreographer / director for a movement-based work? How are the last rehearsal weeks going? The book is aimed at anyone who is, or wants to become, a choreographing director or actor in the movement-based performing arts with forms such as dance, mime and circus. It is also aimed at those who generally want to make their scenic work more physical.Konstnärligt utvecklingsarbet
Vem får dansa? : en studie av en konstnärlig process i en inkluderad dansensamble
No full textAnnika Notér Hooshidars projekt ”Vem får dansa? En studie om kommunikation i en inkluderande dansensemble” ingår i forskningssamarbetet DANSResearch och har som mål att bidra till ökad kunskap om inkludering och tillgänglighet vid högskolan. Det övergripande syftet är att undersöka hur dans kommuniceras i arbete med dansare med funktionsvariationer, med specifikt fokus på kommunikation och interaktion mellan gruppens medlemmar. Projektet redovisades skriftligt, samt genom ett antal presentationer på olika orter och en paneldiskussion. Annika är lektor i dansinterpretation och i modern och nutida dans
Falling : The Thought of Circus
No full textSex, death, seduction, trauma and an intimate yet distanced relationship to an amorous other: circus and psychoanalysis have much in common. This book looks to the story circus tells when it is on the couch; a love story of impossible desires, improbable fantasies deeply indebted to masochism and utopian longing. However, trapped as it is in its conservative and narcissistic aesthetics of infatuation – stunning, erotic and impressive – its queer core of anti-normative and anarchic desire has been co-opted as the poster-child for neoliberal success. This work looks to its fundamental and disavowed romance with failure to show how progressive its thinking could be.The Ethics of Circu