The Hybrid Artist. Plenary Session: Making a Living from the Arts, 14th ELIA Biennial Conference in Florence, 2016 (Invited speaker)

• Victoria Brattström presents previous experiences from her work with artistic interventions in organisations as an example of the Hybrid Artist. She concludes with reference to the research she is developing in her current thesis, Playing Oneself As If Another: Acting and Directing Strategies as Practical Approaches in Person-centred Health Care, at the Academy of Music and Drama & Gothenburg Centre for Person-centred Care, University of Gothenburg, Sweden She describes, how venturing into less conventional artistic contexts have provided an opportunity to play with and explore fundamental elements within her artistic practice as actor and director. Thereby also enhancing her work in the theatre. Victoria gives an example from employment as Artist in Residence at an industrial factory for stone wool insulation in southern Sweden. She describes how she realized the need for a radical “re-blocking of the staging” at the factory by visualizing the plant as a huge stage floor; and how she relied on the use of two central concepts from her artistic practice while working closely together with the factory floor workers – namely the Magic If and the Given Circumstances. Both these concepts are part of the system of acting techniques developed by Russian actor and theatre director Konstantin Stanislavski [1863 - 1938]. She describes how she used “re-blocking of the staging” at the plant to create a flow of dialogue between the workers from different departments at the factory, which resulted in a increased communication between the different departments, an increased motivation of the workforce and a 24% increase in efficiency in the plant which management to a large extent gave credit to the artistic intervention project. To describe the intervention process at the factory Victoria used what she deems as two central competences of her artistic practice: “the ability to recognize Given Circumstances at play” and “the art of modifying Given Circumstances at play”. Both of these competences where deployed from an actor’s “onstage perspective” and from a director’s “auditorium perspective”. Victoria’s experience with the task of trying to solve problems or instigate change in these kind of unfamiliar settings for an artist, is that it promotes a play mode where improvisation can be used; and can be an opportunity to experiment with new ways of using and combining elements from artistic training and practice. An artist learns to trust their artistic training and applying it in more non-conventional areas creates a deeper understanding of artistic tools and training.

Ämnesord

HUMANIORA  -- Konst -- Scenkonst (hsv//swe)

HUMANITIES  -- Arts -- Performing Arts (hsv//eng)

SAMHÄLLSVETENSKAP  -- Utbildningsvetenskap -- Lärande (hsv//swe)

SOCIAL SCIENCES  -- Educational Sciences -- Learning (hsv//eng)

Nyckelord

hybrid artist

acting

directing

artistic research

higher arts education

artistic interventions in organizations

art-based research

creative hubs

cultural entrepreneurship

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