| 1. |
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Action Research in Circus; Learning the Methods of Teaching the Methods of Artistic Research.
- 2011
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Proceedings (redaktörskap) (refereegranskat)abstract
- In 2011, circus as an art form had only recently entered into the circuits of artistic education at a university level and into artistic research. A working group at the Circus department Stockholm University of the Arts, formely knows as DOCH, has been teaching, analyzing and documenting a particular course that concerned the methods of artistic exploration in circus. The purpose of the project was to address the following question: which pedagogical methods can we develop to prepare students for the methods of artistic exploration and research, specifically in circus? Or in other words: how can we learn the method of teaching the methods of artistic research in the field of circus? The described project was initiated and directed by Marie-Andrée Robitaille. This documentation was written by Camilla Damkjaer in collaboration with Marie-Andrée Robitaille and the presentation was made with the participation of circus students from the bachelor program in circus arts namely Nathalie Bertholio, Quim Giron Figuerola, Patrik Elmnert.
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| 2. |
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Fabulation for the Future
- 2022
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Konstnärligt arbete (film/video) (refereegranskat)abstract
- The collective artistic research project Fabulation for Future reflects on the change of perspectives and new ways of perceiving a world shaken by multiple crises in the context of the Anthropocene. In particular, climate change in conjunction with the novel coronavirus has led to controversial debates about the future and exposed the vulnerability of the human-Earth relationship. Considering this background, the project’s artistic research process designs a collective, critical rethinking of the human condition with the goal of finding artistic ways to create post-anthropocentric worldviews for a sustainable future in which human and non-human species can coexist in sympoiesis.The goal is to build a worldwide network of thinkers, artists and filmmakers who likewise affect and involve other actors. The envisioned network is to operate in the form of a fictive International Committee to Save the Earth through Speculative Fabulation, preparing discourses, artistic actions, fabulative concepts, speculative narratives, and videos that are presented in the digital online exhibition How to Become a Posthuman. The project emphasizes the new significance of digital proximity for our increasingly posthuman way of life.Christine Reeh-Peters and Fee Altmann started Fabulation for Future in September 2021 with an international online summer school Masterclass Artistic Research in Film and Philosophy hosted by the Film University Babelsberg KONRAD WOLF. Conceived as a combination of a five-day symposium Intra-Activity: the Posthuman, Fabulation and Matter and a five-day workshop, this summer school was the creative basis for the development of artitstic projects that will soon be presented in form of a joint online exhibition.
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| 3. |
- Robitaille, Marie-Andree, 1974-
(författare)
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Circus as a practice of hope : the last Human on Earth (is a circus artist). Sensing the world through circus arts
- 2021
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Ingår i: Adventures in Circus Research– Facing a New Decade. - Web : Circus talk. ; , s. 1-6
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Tidskriftsartikel (refereegranskat)abstract
- In times of climate catastrophe, refugee crises and Covid-19, the question of the responsibility that artists and scholars have is becoming increasingly urgent. What is the role of circus within society? How far does this form of art and entertainment correlate with historical and contemporary social interests? How does circus research position itself as a relevant field of research within academia in the 21st century? Those questions will be explored within the series Adventures in Circus Research– Facing a New Decade, curated by academic Dr. Franziska Trapp. By featuring circus researchers, we give them the space to explain the nature and significance of their research directly to the circus community and to highlight the practical impact of their research on the circus world and its relevance for society. In the sixth article of the series, Marie-Andrée Robitaille, PhD at the faculty of Artistic research at Stockholm University of the Arts in Sweden, provides insights into her doctoral artistic project in which she searches for ethical alternatives to human exceptionalism in circus art.
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| 4. |
- Robitaille, Marie-Andree, 1974-
(författare)
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Circus as Practices of Hope
- 2023. - 1
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Ingår i: Posthumanism in Practice. - London : Bloomsbury Academic. - 9781350293809 ; , s. 114-132
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Bokkapitel (refereegranskat)abstract
- Problematic assumptions which see humans as special and easily defined as standing apart from animals, plants, and microbiota, both consciously and unconsciously underpin scientific investigation, arts practice, curation, education, and research across the social sciences and humanities. This is the case particularly in those traditions emerging from European and Enlightenment philosophies. Posthumanism disrupts these traditional humanist outlooks and interrogates their profound shaping of how we see ourselves, our place in the world, and our role in its protection.In Posthumanism in Practice, artists, researchers, educators, and curators set out how they have developed and responded to posthumanist ideas across their work in the arts, sciences, and humanities, and provide examples and insights to support the exploration of posthumanism in how we can think, create, and live. In capturing these ideas, Posthumanism in Practice shows how posthumanist thought can move beyond theory, inform action, and produce new artefacts, effects, and methods that are more relevant and more useful for the incoming realities for all life in the 21st century.
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| 5. |
- Robitaille, Marie-Andrée, 1974-
(författare)
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Circus as Practices of Hope : A Philosophy of Circus
- 2024
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- My doctoral artistic research project, Circus as Practices of Hope, responds to the growing complexities emerging from the convergence of the fourth industrial revolution, the sixth mass extinction, and the eco-socio-political turmoil of our time. What does it mean to be human today? What does it mean to be a circus artist today? How is circus relevant in today’s context? Core to this inquiry is the assertion that although circus arts hold the potential to foster significant knowledge, they simultaneously perpetuate outdated worldviews that restrict their transgressive potential. With this research, I investigate alternatives to regressive models of thoughts and modes of composition, aiming to identify and articulate circus’ inherent epistemic, ontological, and ethical specificities and their relevance for navigating and steering the current planetary paradigm shift.I conducted my research through embodied practices as a circus artist, as a pedagogue, and from the perspective of a human on Earth. My inquiry occurred through Multiverse, an iterative series of compositional performative experiments and discursive activities. I engaged critical posthumanism and neo-materialist philosophies to challenge and evolve my relation to risk, mastery, and virtuosity. The project conceptualizes circus arts as nomadic and fabulatory practices, culminating in a series of artistic, choreographic, and conceptual tools and methods that articulate circus arts within and beyond their disciplinary boundaries. The project advances a philosophy of circus that highlights circus-specific kinetic, aesthetic, and embodied relevancies in today’s context, situating circus arts as hopeful practices for the future.
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| 6. |
- Robitaille, Marie-Andree, 1974-
(författare)
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Hope for the Future
- 2022
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Ingår i: Voices ein Magazine des CircusDanceFestival. - Köln : Overhead Project. ; 3, s. 26-35
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Tidskriftsartikel (refereegranskat)abstract
- Amidst the fourth industrial revolution, the sixth mass extinction, global warming, and a world pandemic, humans face an increasing amount of complex and challenging crises on planet Earth. Over the years 2020 and 2021, the performing arts sector has been paralyzed and now in 2022 we are oscillating between coming back to normal and moving to a new normal. Our modes of creation, production, and dissemination have been disrupted. On a larger eco-socio-political scale, during the pandemic, the impacts of human activities on Earth seem to have been made more distinctly visible, inviting us to ask: what does it mean to be human today? More specifically, however, the Covid-19 pandemic is forcing circus artists to revise how we work and think about circus arts. What does it mean to be a circus artist today? How can circus arts remain relevant? And what connections might circus arts have with the wider question of human involvement in the world?
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