| 1. |
- Reich, Carina, 1958-
(författare)
-
(OM COTEUREN) : Regifunktion i omvandling genom samskapandets processer
- 2024
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this documented artistic research project is to investigate functions of directing within an expanded understanding of co-created performing arts. My main question concerns the following. What practices and principles of directing in co-created performing arts are revealed in the sample narratives, expositions and final productions of the thesis, and what do these say about transformations within different spatial and social contexts? The project process consists of four documented stagings and a final performance. It is this way I develop the concept “The Coteur” which stands for a directorial function combining a unique, biographical director function (The Auteur) with the openness of a co-created process formed around place, collaborators and contexts, where the development of an original work start without a script. Here I am interested in what I call ”staged absence” which I consider to be an artistic principle based on the removal of “the expected”. What happens, for example when the lead vocalist and the music are taken out of a popular song to leave behind a group of beat counting back-up singers, looking for their cue and a rhythm. Or when boxers are taken out of the ring and only the choreography of the referee remains. In my artistic research project I want to challenge the premises of co-creative performing art, and the director function, by also using forms for seminars and association meetings, to stage collective readings aloud, from manuscripts. This is combined with autobiographical and reflective writing, influenced by the principles for knowledge in practice, to uncover and develop artistic principles for a co-creative director function.
|
|
| 2. |
- Maria, Johansson
(författare)
-
Skådespelarens praktiska kunskap
- 2012
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this dissertation is to articulate the actors’ practical knowledge. I have shared some of the questions that have arisen through my active years as a professional actor with a group of actors with different backgrounds and levels of experience. The actors are sceptical towards fixed theories and methods imposed on them from outside. In order to show the complexity of a character, the actor needs concrete workable images. As one such image, this dissertation uses Aristotle’s term “Lesbian rule”, a mason’s ruler made of lead so that it is adjustable when measuring an uneven surface.This dissertation has four main sections, entitled: Intuition, Courage, Anecdotes, and the Creative process. Intuitionworks on an individual level and is only one of the parameters used when creating and performing a role. This dissertation uses “what-is-currently-going-on” as a key term, as well as Swedish philosopher Hans Larsson’s use of intuition as an agile attentiveness.Acting implies exposure both of your physical and emotional self. At almost all stages in the actor’s work process s/he is also exposed to judgment from others. During rehearsal the actor has to ask him-or herself if the choices made for the representation of the character are possible to reproduce over and over again. High ambitions have to be balanced against a personal wellbeing. These perspectives are central in the discussion on courage.For the actor an anecdoteabout acting is a way of practising and showing your skills as an actor. As theactor is constantly facing new work situations, the anecdote can also tell who you are in a context of your own choice. The concept of the anecdote is used to exemplify the actor’s situated knowledge. During the creative processthe actor works with openness and introversion at the same time. Being an artist in a collective requires trust and an ability to wait for the hermeneutical process to make a whole of the individual parts. It is vital for the actor to realize that nothingis final. Every performance has to be performed as if for the first time.The main thesis of this dissertation is that the actors’ knowledge is embodied and based on situation.
|
|
| 3. |
|
|
| 4. |
|
|
| 5. |
|
|
