Stockholm University of the Arts
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Darko Dragičević in conversation with Synne Behrndt
No full textThis is a transcribed conversation between visual artist Darko Dragičević and dramaturg Synne Behrndt in connection with Dragičević's exhibition 'Exhaustion and Exuberance Or I Can, I Can’t: Four Figure Studies,' 16/6-21/08/2023, Museum of Contemporary Art, Beograd. It is included in the catalogue and documentation for the exhibition, pp. 32-44.
Scenkonstproduktion med reducerad påverkan
No full textThe purpose of this project is to explore how we can minimize the climate impact through the way we plan, produce, and support performing arts productions. The overarching research question was: How can we continue to create relevant and innovative performing arts with a smaller climate impact? The faculty in performing arts at Stockholm University of the Arts worked with Harry Martinson's Aniara from their various disciplines.Parts of the eposition are only published in Swedish.</p
Hur ser ett ledarskap ut i en samskapande process? : Undersökande frågeställning inom konstnärliga praktiker
No full textIn the early stages, my team discussed the working method we want to implement in our final project in performing arts, which we described as follows: Through a co-creative process with an equal focus on all components, we aim to create a performance that flows with images and multilingualism, where various aesthetics and expressions collide and juxtapose. In my thesis, I explore how we relate to our working method through different tools, including those from leadership studies. This paper details how we define our working method within a co-creative process and examines how decision-making has been structured and has influenced our artistic process. With great hope, I see how my research can contribute to collective work within artistic practices and which useful methods can be used
The mountains are connected to our screens : Reimagining apocalyptic storytelling through documentary filmmaking
No full textThis thesis is an attempt to reflect on my own creative process and put it in relation to critical ideas and artworks that deals with themes of apocalypse, ecology and political theory. By doing this I hope to examine the role of apocalyptic narratives in our society today and see how my own film relates to these ideas. By putting my artistic process and film in relation to a theoretical framework I hope to discover new perspectives on aesthetics and how to tell an apocalyptic story in our day and age and how this relates to documentary filmmaking and digital culture. To engage with a critical perspective on the ecological questions regarding my work I am taking help from thinkers such as the finish art historian and media professor Jussi Parikka and his ideas about geology of media where the earth crust itself can be considered a mediating force. I am also introducing the concept of buen vivir presented by the post-colonial theorist Rolando Vásques to critically examine the documentary process in Sápmi. Furthermore, I explore the religious idea of the holy fool who appears in the film from a societal perspective by turning to the media theorist Byung- Chul Han. I also make us of the theologian Ola Sigurdsons ideas about the transcendental power of comedy to understand the more comical sides of my filmmaking. By putting these theoretical ideas against my practice I try to find an expanded understanding of the apocalyptic film genre and how the artistic process relates to healing and transformation in times of societal and existential crisis.
Heading to Violetta : the living path of an opera singer”
No full textDevelop a character, delve into the skin, into the psyche, what the character looks like,how they speak, how they react, what their worries and fears are, what their joys, their goals and their greatest desires are; is not easy. It takes time to think, to observe, to read, to search, to wait. For a singer the search is twofold. We must look for the dramatic but also musical character, as expressed in music in style and vocal technique.In our professional life, time passes in different ways, preparation times are often very short, not to mention substitutions, where many times you have to jump into a production that is already in progress, without time to think, just to do. It was a desire I had for a long time to rediscover my own process, to dedicate time to scrutinize details where I had not been able to before. To observe my path as a student again and have the time to savor learning new things.Violetta seemed like the biggest challenge of my career and I definitely wanted to go to another level. Violetta, a door, a key to develop my strengths as an art and stage professional. The most difficult thing I could find, the strongest challenge that a soprano can face... I put it at the centre of my time and my research
Am I Human?
No full textAm I Human? challenges societal and performative norms surrounding disability and interrogates the boundaries of humanity. By using live performance methods to foreground lived experiences, Am I Human? initiates critical discussions about identity, agency, and embodiment, recognizing the disabled body as performative and inviting audiences to confront biases and advocate for inclusivity. Asking, “What can be discovered about disabled and identity performativity in relation to how identity is constructed, revealed, and expressed?”, the project explores the intersection of disability, identity, and performance, highlighting an individual’s agency in shaping alternative narratives. Am I Human? will contribute to discussions on emerging technologies' ethical implications and the disabled’s potential for resistance and innovation. Methods involve performance tools and techniques, media and performance analysis, engagement with post humanist discourse, and academic writing, thereby situating the work within performative and media-based practices. Objectives include challenging normative perceptions of identity, amplifying marginalized voices, and contributing insights into the performativity of identity from a hidden disability perspective. Structured into four phases, including explorations of scenography, the role of the disabled body, bodily augmentations, and materiality, it culminates in a presentation of findings realized as a series of opera scenes. Documentation and exposition will address ethical issues such as dignity, representation, informed consent, and intersectionality. Am I Human? contributes to wider discussions on disability rights, social justice, and the ethical implications of emerging technologies
Staged Conversations : Using dialogue as both method and form when staging documentary material for theater and film
No full textBetween 2017 and 2024, I have conducted an artistic research PhD project at Stockholm University of the Arts resulting in a feature length documentary film (The Raft, 2018), a documentary based theater play (The Invisible Adventure, 2020) and a book with my work diaries documenting the process of creating the two works (Staged conversations, 2024). The research project focuses on using the conversation as both method and form for staging documentary material for theater and film. The Raft reunites seven people who were all part of a social experiment crossing the Atlantic on a raft in 1973. The film mixes archive footage from the original journey with scenes shot in a studio, where participants share memories onboard a scenographic replica of the real raft. In The Invisible Adventure three characters – a scientist, a video artist and a transplantation patient – meet for an intimate conversation on identity and transformation. The performers who interpret the characters through repeating dialogue from a sound script in hidden ear-pieces, sit together with the audience members in a circular scenography, where there is no separation between stage and audience seats. Both the film and the play are using the staged conversation as a shape for the storytelling and share similarities in their visual expression with wooden scenographies set in a black box studio environment. In the film it is the real people from the raft journey who reunite 43 years later in the studio. In the play the script is based on three separate interviews with people who have never met, but who are interpreted by performers. The research project will be finished and presented publicly in January 2024. The film and play will be presented together with the release of the book at Gothenburg International Film Festival in collaboration with Gothenburg City Theater.The book will be available as pdf in June/2024.</p
Theatre and Performing Arts, Disability Citizenship and Community Development : Perspectives from the Global South and North
No full textHow might inclusive arts practices strengthen active citizenship and community participation? This is the main question that inspired the global collegial networks that led to this book project. The authors of the introductory chapter, 12 peer-reviewed research chapters and six practical encounters engage with theatre, performance, dance, visual arts and/or other cultural practices from critical disability perspectives in local contexts in the Global South and North. The authors critically present and discuss methods and models for inclusive and innovative arts and cultural citizenship practices that leverage off of disability as the special driving force and game changer for a more open society. The perspectives and practices elaborated on reveal how art-practice in the community is a way of activating partnership and participation. With this book the editors and authors argue that through artistic citizenship practices, the space and possibilities of being a citizen develop.NTNU Norges teknisk-naturvetenskapliga universitet</p
CHEZ MICHOU (The Mystery of Blue) : (Queer Archive of Feelings) An Interdisciplinary Perspective by Žak Branko Valenta
No full textMobilizing the format and legacy of the cabaret genre, the Chez Michou project intertwines the image of the French singer and drag artist Michou with a poetic reflection on disorientation. The bodies on the stage activate a queer spatiality that erases the border between the inner and outer world, between abstraction and the reality of fiction. Guiding the imagination in the confusion of identity, the choreography reveals a cartography of dislocation saturated with vivid textures of objects, gestures and words. The collapse of heteronormative structures is radicalized through the possibility of flesh to oppose fixed coordinates and perform a subject that is somehow out of place. The choreographic language is associated with the mystical insights and screenwriting actions of the cult American director David Lynch. Dramaturgy supported by musical quotes from feminist and activist icons: British music diva Annie Lennox, female post-punk band Le Tigre and iconic queer synth pop ensemble Visage Chez Michou functions as an invitation to lose ourselves, celebrates the disappearing horizon and returns to the affective territories of Otherness. The performance work "Chez Michou" is accompanied by a Choreographic Object / Object called SPOMENAR / Queer Archive of feelings as its complementary, but also independent part. Both works were premiered to the public on May 26 and 27, 2024 at the Modern Dance Theater (MDT) in Stockholm as part of the graduation mini festival. works by students of the master's degree in choreography at the University of the Arts in Stockholm. (https://mdtsthlm.se/makor-mixa-xxl-deluxe-pocetak-svega-ostalog).In the text that you can find attached to the recording of the performance, a special section is dedicated to the topic "Aging in Dance".an important and large topic that I intend to devote myself to in the future through more extensive interdisciplinary research.And finally, in this introduction, as a person and an artist I want to show strong solidarity with all the victims of wars, violence, oppression, colonization, racism and discrimination who are currently suffering around the world.I wish you pleasant reading and viewing!</p
Ljusets teckenbärande möjligheter på teatern i förhållande till realism
No full textThe semiotic properties of lighting on stage in relation to realism - how I as a lighting designer balanced between expressing my artistic vision and recreating a semblance of realism in a both realistic and unrealistic setting. In my text, I am attempting to identify which semiotic properties can be used and which can be downplayed or outright ignored in relation to realism as a genre. I am discussing both the feeling I am looking to convey and the concrete properties of the lighting fixtures I am using. I am also discussing the point of no return - in what moment I disregard realism wholly. I am closing with a general reflection of my work and how I will use the experiences from it in future projects