| 1. |
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| 2. |
- Skånberg Dahlstedt, Ami, 1967, et al.
(författare)
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Artistic Research: Being There, Explorations into the Local
- 2017
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Ingår i: Nordicum-Mediterraneum. - : The National and University Library of Iceland. - 1670-6242. ; 15:1
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- How does artistic research engage with the concept of local? In what ways can art practice be an intervention into traditional notions of history and culture? How does it engage with local and global identities? This book raises questions about transient art practices and site-specific works within communities, as well as art and research based experiences localized in urban and rural spaces, within the body and memory. Being There is a wide-ranging anthology that demonstrates the field of artistic research has never been stronger. The essays and meditations are by visual artists, writers, performers, filmmakers, historians, sound artists, and activists who have worked together in the Nordic Summer University and who share a desire to unite their creative practices with critical enquiry. Their contributions were generated within twice-yearly symposia that moved between Nordic and Baltic countries over a three year cycle of practice-based research. Some contributions are enigmatic meditations on place, whilst others, paradoxically, address the question of what is local through the notion of the nomadic. Whether describing quests of individual artists, or relating to collective endeavours, these works are engaged with the spaces in between. Each offers the reader a thoughtful encounter with the aesthetic, and the political, within a myriad of art practices across a rapidly evolving Europe. A part of the series NSU-press and the subject areas Philosophy and Art
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| 3. |
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| 5. |
- Bowman, Jason E., 1967
(författare)
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Speaking Mandy
- 2014
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Ingår i: European Artistic Research Network Conference: Thinking on Stage, May 2 2014, National College of Art and Design, Dublin, EIRE.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- I will present at the very beginning of a research process, towards the making of a new art work through which I aim to interrogate the heritage of the phonocentric Oralist tradition in the education of Deaf people. I seek to ‘read’ and deconstruct Alexander McKendrick’s film, Mandy (1952) through a co-participatory process - with Deaf people educated through Oralism and of the same generation as the child protagonist in the film - to question the advocacy of entry into the symbolic via the ‘spoken’ and ‘speech-identification’ and its relations to psychoanalytic and inter-subjective, spectator-focused film theory. Through mimetic and performative processes inherent to Oralism (such as speech-reading, lip-reading, ventriloquism, echo-practice, dubbing and lip-synchronisation) I aim to adapt Mandy - itself an adaptation of Hilda Lewis’ novel, 'The Day is Ours' (1947) – in ways that reveal the psychoanalytic dynamics of shame at play in Oralism’s delineation of Deafness as a culture and its adherence to Deafness as a disability.
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| 6. |
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Intersections PARSE JOURNAL
- 2020
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Ingår i: PARSE JOURNAL. ; Summer:11
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE journal concludes the theme of “Intersectional Engagements in Politics and Art”, first initiated as a research arc within PARSE in 2018. Under this theme, artists, scholars and students, as well as a wider public have gathered to share a critical exploration of the nexus of race, coloniality, gender and sexuality in contemporary art-making, scholarship and artistic research. Focusing on socially engaged practices related to memory, history, embodiment and alterity, the journal issue offers yet another set of considerations that brings together research by practitioners and scholars from a wide range of fields, disciplines and contexts. The theme began as a way to address and explore interest within arts research about the notion of intersectionality as a mode of creative practice, as well as a form of critical analysis. This interest, arguably following a turn towards the intersectional in feminist artistic practice and pedagogy, came as scholars in the humanities and social sciences were already debating the various appropriations and reifications that had seemingly made intersectionality into “a grand theory of everything”, to use Kimberlé Crenshaw’s words, with the effect of positioning intersectionality as a deeply contested, seemingly overdetermined concept.
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| 7. |
- Orru, Anna Maria, 1976, et al.
(författare)
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AHA! festival 2016
- 2016
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- For the third year, the AHA festival investigates the meeting between art and science in a three-day event at the Chalmers University of Technology hosted by the Department of Architecture and the Department of Physics. An international festival intended to provide enlightening experiences, staging surprises, new thoughts and displaced perspectives that lead to alternative modes of thinking about exploring the world through art and science. We invite scientists (physicists, historians, astronomers, engineers), artists (dancers, musicians, painters, poets, acrobats) who reside in these borderlands and wish to share their vision and work. The key intention is to celebrate both art and science as key knowledge building devices.The first year’s theme ’Embodiment’ (2014) explored the body as our anchor in the world, followed by the 2015 theme on ’Numbers’, a delightful net we cast over the world. This year's theme is ’Uni-verse,’ again a natural consequence of our interest in the relation between art and science. The elemental force that drives science as well as art is curiosity. Come be curious with us! During the festival we have chosen to divide the word universe into three: uni and "-" and verse. Uni means that something is combined into a whole. Verse means that we are turned in a direction, the origin of the word tells us that it is the plow that turns at the end of the field. And the dash "-" is all the spaces and cracks where new discoveries can grow. Art and science unfolds in the gap between what we know and what we want to know.
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| 8. |
- Lindborg, PerMagnus, 1968-
(författare)
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Sound Art Singapore : Conversation with Pete Kellock, Zul Mahmod and Mark Wong
- 2014
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Ingår i: eContact!. - 1910-4650. ; 16:2
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Tidskriftsartikel (refereegranskat)abstract
- This paper is a “constructed multilogue” oriented around a set of questions about sound art in Singapore. I have lived here since 2007 and felt that a “community report” should aim to probe recent history deeper than what I could possibly do on my own, in order to give a rich perspective of what is happening here today. I was very happy when Pete Kellock, Zul Mahmod and Mark Wong agreed to be interviewed. Each has a long-time involvement in the Singapore sound scene, in a different capacity. Pete is an electroacoustic music composer who has worked in research and entrepreneurship, and is a founder of muvee technologies. Zul is a multimedia artist and performer who has developed a rich personal expression, mixing sonic electronics, sculpture and robotics in playful ways. Mark is a writer and sound artist who has followed Singapore’s experimental scenes closely since the 1990s.I sent the three of them a letter containing a range of observations I had made (which may or may not be entirely accurate) and questions (admittedly thorny and intended to provoke), including the following:The geographical location and Singapore’s historic reason-to-be as a trading post has instilled a sense of ephemerality — people come and go, ideas and traditions too — as well as a need to develop contacts with the exterior. The arts scene in general seems to be largely a reflection of whatever the current trading priorities demand. In what way does the current local sound art reflect the larger forces within Singaporean society? Since art is mostly orally traded, how are its traditions nurtured and developed?Around 2010, the Government seems to have indicated a new task for cultural workers, including sound artists and musicians: to define — create or discover, stitch-up or steal — a “Singapore identity”. The Singapore Art Festival shut down two years while the think tanks were brewing. Will this funnel taxpayer money and (more importantly) peoples’ attention towards folkloristic or museal music, rather than to radical and/or intellectual sound art? At the same time, there is considerable commercial pressure to subsume music / sound listening into an experiential, multimodal, game-like and socially mediated lifestyle product. Are commercialization and identity-seeking two sides of the same coin — one side inflation-prone, and the other a possible counterfeit? Is there room for a “pure listening experience”, for example to electroacoustic music? Or is the future of sound art ineluctably intertwined with sculptural and visual elements?Different kinds of creative people involved in sound art are entrepreneurs, programmers, academics, educators, curators and journalists. Which institutions nurture talent and bring audiences to meet new experiences? Where are the hothouses for developing ideas, craft, artistry, innovation and business?The interviews, loosely structured around these themes, were made in January and February 2014. Our conversations often took unexpected turns (mostly for the better). I diligently transcribed the recordings, and each interviewee made corrections and additions, before we gently nudged spoken language a little closer to prose. I then brought out a pair of big scissors and a large pot of coffee, and made a cut-out collage, weaving the texts into the multilogue that follows. The idea has been to create an illusion of four people conversing with each other under the same roof. Deceit or not, at the very least, we all live and work on the same small island, somewhere in the deep southeast. I hope you will enjoy reading Sound Art Singapore.
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| 9. |
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| 10. |
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Scenography and Art History: Performance Design and Visual Culture
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- Scenography and Art History reimagines scenography as a critical concept for art history, and is the first book to demonstrate the importance and usefulness of this concept for art historians and scholars in related fields. It provides a vital evaluation of the contemporary importance of scenography as a critical tool for art historians and scholars from related branches of study addressing phenomena such as witchy designs, Early Modern festival books, live rock performances, digital fashion photography, and outdoor dance interventions. With its nuanced and detailed case studies, this book is an innovative contribution to ongoing debates within art history and visual studies concerning multisensory events. It extends the existing literature by demonstrating the importance of a reimagined scenography concept for comprehending historical and contemporary art histories and visual cultures more broadly. The book contends that scenography is no longer restricted to the traditional space of the theatre, but has become an important concept for approaching art historical and contemporary objects and events. It explores scenography not solely as a critical approach and theoretical concept, but also as an important practice linked with unrecognized labour and broader political, social and gendered issues in a great variety of contexts, such as festive culture, sacred settings, fashion, film, or performing arts. Designed as a key resource for students, teachers and researchers in art history, visual studies, and related subjects, the book, through its cross-disciplinary frame, does consider, implicitly and explicitly, the roles of both scenography and art in society.
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| 11. |
- Velasquez Atehortua, Juan, 1963
(författare)
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Juan
- 2017
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Ingår i: Disobedience.live.
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- Disobedience Live var en direktsänd dokumentär om fyra aktivisterna Sigrid, Kevin, Juan och Sarakka som gav sig av på en resa för att delta i en civil olydnadsaktion för klimatet. Tillsammans med tusentals andra ville de blockera infrastruktur för uppgrävning och förbränning av brunkol i Rhineland, Tyskland. Dokumentären pågick dygnet runt 22-27 augusti 2O17 och visades i realtid. Detta konstprojekt genomfördes av Troja scenkonst, som ville belysa demokratins tillstånd idag samt olika former av engagemang som människor ägnar sig åt – med civil olydnad som utgångspunkt. Mer info om scenkonstkollektivet Troja finns på trojascenkonst.se
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| 12. |
- Rosen, Astrid von, 1964
(författare)
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Database as Utopian Performer
- 2021
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Ingår i: ANTS Utopia and Performance, Stockholm, 30 september-02 oktober, 2021.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Abstract: In this paper, a relational database, a digital technological device, constructed by humans for humans, is understood as an active agent, a precarious and even utopian performer, acting in the broader field of performing arts historiography. The database was constructed, and is still being developed, within a cross-disciplinary research project called Expansion and Diversity: Mapping and analysing independent performance in Gothenburg 1965-2000 (funded by the Swedish Research Council). During 2021, the last year of Expansion and Diversity, as project leader I find it timely to reflect upon and analyse the particular role of the database in relation to the ambitions and dreams connected with its existence. With the Swedish city of Gothenburg as a case study, the role of the database was and still is to help better representing and making accessible the complex diversities of independent performing arts from 1965 to 2000. On the one hand, I can demonstrate that the database is capable of doing precisely this and explain how it does it. On the other hand, since its launch in 2020, the database has been described as ugly, difficult to operate, lacking functions, or unable to meet wishes for archival representation. To debate and explore these frictions, I have started to play with the idea of understanding the database as a utopian performer, an agential feature, who affects and is affected by, the humans engaging with it. Drawing on Victor Hugo, I will start by considering the database-performer “utopian” as it thrives on a scholarly dream of a future performing arts historiography that will be more just, inclusive, diverse and democratic. Second, by turning to Slavoj Žižek, I will grapple with the urgent struggles and areas of friction involving the database. For example, in what ways does it account for and represent the materialities of performance, the materialities of archival remains as well as the material dimensions of scholarly work? Equally urgent is to address the frictions between the project’s findings and common media and historiographical beliefs of what groups and features are “important” to represent. Third, the database forms part of a participatory or “dig where you stand” approach in terms of practitioner involvement in the research. As suggested by Jill Dolan, utopia “takes place now, at the interstices of present interactions, in glancing moments of possibly better ways to be together as human beings”. By including the relational database among the “beings” forming utopia in the present, I yearn to find ways of accounting for the potential community building that goes on in the here and now, in the everyday struggle to shape and shift performing arts historiography.
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| 13. |
- Wulia, Tintin, 1972
(författare)
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Memory is Frail (and Truth Brittle) – performance lecture
- 2024
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Ingår i: Jakarta, MACAN Museum, 13 Jan 2024.
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This performance lecture is based on an eponymous installation of 115 charcoal and graphite drawings the artist made in 2019, which was based on a text published in 2018. It questions the nature of reality and the building block of human knowledge, which is perceived mainly through humankind’s limited senses, the main part of which is the eye. At an allegorical level, it interrogates how our understanding of the world is largely constructed visually and recorded through memory, and how these are also prone to manipulation, for example in state propaganda and isolated versions of state-sanctioned history. --- Art does not merely articulate an artist’s personal expression but is often inseparable from a larger historical, political, and geographical context. To kick off the 2024 Museum MACAN public programs, artist/researcher Tintin Wulia presents a performance lecture and discussion session, Memory is Frail (and Truth Brittle). Exhibited as 115 illustrations drawn with charcoal and graphite, Memory is Frail (and Truth Brittle) presents a connection between major world events scattered across different times and places, and how these events are recollected by humans. As the subject navigates through ideas surrounding reality, frailty of memory, and human geography and history, Wulia interrogates what we believe to be reality is constructed largely from our sensory perception, state-sanctioned histories, and fragile memories of humans.
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| 14. |
- Florea, Ioana, 1981
(författare)
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Gazeta de Arta Politica : Political Art Gazette
- 2017
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Ingår i: Gazeta de Arta Politica. - 2559-6446. ; 5:18, 19
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Gazeta de Artă Politică discusses, analyzes and promotes the social and political dimension of the most diverse forms of cultural and artistic projects. G.A.P. aims at: • disclosing the political dimension of artistic objects, including those that do not explicitly assume it; • analyzing the potential impact of major cultural programs and public policies in the cultural sphere; • promoting artistic projects with emancipatory goals and contributing to the consolidation of an Eastern-European left-wing-oriented arts network; • elaborating a revolutionary artistic discourse and practice, from a local perspective.
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| 15. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Scenographic Dialogues: Staging Carl Grabow’s 1907 Designs for A Dream Play (Part 1)
- 2019
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Ingår i: Dokumenterat. - 1404-9899. ; :51, s. 4-42
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- In a series of articles we, an art historian – von Rosen – and a theatre historian – Szalczer –, set out to reassess Carl Grabow’s 1907 designs for the world premiere of August Strindberg’s A Dream Play at the Swedish Theatre (Svenska Teatern) in Stockholm. By doing so, we challenge the persistently negative narrative on Grabow’s work with the production, to be found both in Swedish and international theatre and art history. The first article in the series focuses on Grabow’s color designs for the production, kept at the Swedish Museum of Performing Arts (Scenkonstmuseet) in Stockholm, and are made digitally accessible for the first time here in Dokumenterat. Within the broader field of scenography research designs have been proven to have agency beyond their realization on stage, and can also be used to access visual, spatial and multimodal resources of past performances. Our goal is to probe into how a scenographic approach to Grabow’s designs, understood as vital parts of the performance archive, may contribute to developing new historiographic methods while yielding new insights on the production history of A Dream Play. Throughout our first scenographic journey with Grabow’s designs we tested iconography as a method to explore and experience the world created by them. As we shall see in the next article, the testimonies of reviewers and illustrators indicate that Grabow’s collaboration with the production team resulted in different solutions than the perhaps early ideas envisioned in these designs. What is significant for us, however, is that regardless of its stage realization, the design-series manifests an autonomy, a unified artistic vision, conveyed by the succession of images as a painterly and multi-sensory reflection of the world of the play. What became apparent is that far from being haphazard superficial sketches, Grabow’s designs present a consistent interpretation of A Dream Play, with strong occult-spiritual overtones and attempts at painterly dematerialization, which counteract the realism and the materialization of the dream he was accused of by critics ever since. In our next article, we will further explore Grabow’s designs, including drawn and written information on their backsides, in the context of contemporary critical and pictorial response to the actual stage production. By staging a dialogue between the designs and the performance within its cultural milieu, we not only hope to learn more about Grabow’s craft and working process, but also about the constructive use of the scenographic approach in archival research.
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| 16. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
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Suriashi as a ceremonial, subversive act
- 2019
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Ingår i: WNM 2019: Walking’s New Movements’: a conference to discuss the latest developments and future prospects for radical walking and walking arts.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Abstract My presentation departures from my PhD project ‘Suriashi – an interventionist practice in urban spaces’, where I look at society from within a Japanese practice called suriashi. Suriashi is practiced in performance, martial arts and Sumo wrestling. On stage, suriashi often represents the traveler in constant flux, either travelling between geographical places or travelling from a spiritual state to a human state. The practice not only depicts geographical places, it also depicts metaphysical and liminal spaces and time. For my research, I have since 2014 practiced suriashi at a very slow pace in urban spaces, in squares and on streets, inside busy places, as a solo act, a conversation act, an activist act, a thing-to-do-together-act, a gift-act, a friendship act etc. I will present what I have found since I started to practice in 2000 with the master Nishikawa Senrei in Kyoto. The slow practice has become a methodology to approach spaces, while investigating the location of bodies and immaterial and material monuments, and thereby challenge how we relate to each other and to spaces.
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| 17. |
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| 18. |
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On the Question of Exhibition, PARSE Journal Issue 13: Parts 1,2,3
- 2021
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- This issue of PARSE, published in three parts, examines the question of the exhibition. One of the aims of this series-issue is to turn attention to the material, experiential, as well as conceptual and political conditions of the exhibition that may have been overlooked within the growing literature on curatorial and exhibition histories. Our aim, as editors is not to elevate the exhibition form. Rather, we wish to interrogate exhibition as a pervasive category of display and mediation where principles of exposition, demonstration, exemplification, taxonomy, circulation, commentary, spectatorship and valorization are operative. Since the 1990’s curatorial discourse has sought to position the curatorial away from, or at the very least as in excess of, the practical tasks of exhibition-making whilst the burgeoning field of exhibition histories has created a historiographic approach to the forms, developments and questions posed by exhibition. This series of contributions seeks, in some respects to return to the fundamental question of exhibition-to interrogate it as a self-explanatory category. Part 1 published in June 2021 includes contributions from Dave Beech, Kathrin Böhm, Alaina Claire Feldman, Samia Henni, Steven Henry Madoff, Saul Marcadent, Lisa Rosendahl and Jéssica Varrichio; and roundtables with Rasha Salti, Nick Aikens, Kristine Khouri and Anthony Gardner; and with Yolande Zola Zoli van der Heide, Gavin Wade, Mick Wilson and Franciska Zólyom. The contributions in Part 2 extend the considerations initiated in Part 1, by bridging the world-making and ordering techniques of exhibition–what we might broadly call its onto-epistemological register-with the pragmatic and technical questions of exhibitionary apparatuses, or its operational register. The purpose being not to create a dichotomy but rather to set up a field of tension and interference between different moments of production-analysis. This part offers detailed analyses of individual exhibitions, allowing for an interplay between the specificities of singular instances coupled with a wider angle from which to survey the field. Part 2 contains contributions from Ingrid Cogne Patrizia Costantin, Kris Dittel & Jelena Novak, Catalina Imizcoz, Joey Orr, Barbara Neves Alves, Mateusz Sapija, Vladislav Shapovalov, Sasha Shestakova, and Joshua Simon. The restless questioning of exhibition underpins Part 3, where artists curators and researchers unpick exhibition’s entangled relationship to pedagogy, to institutional processes, to aesthetics, to constituent work, to lived experience and the ways in which the political arises out of these entanglements. Part 3 includes texts by Doreen Mende, David Morris and Grace Samboh, Ola Hassanain, Li Yizhuo, Ginevra Ludovici, Cătălin Gheorghe, Sabine Dahl Nielsen, a visual essay by Paul O’Neill and a roundtable with Jeanne van Heeswijk, Maria Hlavajova, Damon Reaves & Mick Wilson
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| 19. |
- Rosen, Astrid von, 1964
(författare)
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Eric Axel Söderberg
- 2022
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Ingår i: Svenskt biografiskt lexikon (SBL).
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Biografisk artikel om scenografen Eric Axel Söderberg.
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| 20. |
- Rosen, Astrid von, 1964
(författare)
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Scenographic approaches: conceptualizing multisensory heritage
- 2017
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Ingår i: GPS400 conference 8-9 November 2017.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- During the last decades the concept of scenography has not only undergone considerable theorization but has also expanded beyond more traditional theatrical settings to include potentially all environments, objects, actors and actions (McKinney & Butterworth 2009, Lotker & Gough 2013, McKinney & Palmer 2017, Aronson 2017). This expansion has to an increasing extent emphasized the critical, transformative potential of embodied, multisensory dimensions of scenographic events emphasizing the roles of participants and performers. In recognition of this the aim of my presentation is to identify productive approaches within scenography research to better conceptualize and examine multisensory heritage. In particular the paper will explore relational, affective and material approaches to multifaceted performative, socially engaged and artistic events. I will for example look into Dr Alda Terracciano’s multisensory digital installation Zelige Door on Golborne Road from the arts and heritage project Mapping Memory Routes of Moroccan Communities.
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| 21. |
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| 22. |
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Human PARSE JOURNAL
- 2020
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Ingår i: PARSE Journal. ; :12
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- The 2019 PARSE conference “HUMAN” invited contributions to “reimagine, remake, expose and expand the human vis-à-vis notions of the nonhuman, inhuman, subhuman, post-human and inhumane.This collection offers no singularly defined notion of human. Instead it offers positions and analysis, performances and speculations on variegated ideas of the human—with its multiple pre-fixes, hence *human. The contributors all search for revitalised understandings of human in the context of revised histories, uncertain present conditions and in a future when technology, algorithms and environmental concerns, biodiversity and human biology converge in an ethical and political quagmire.
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| 23. |
- Bowman, Jason E., 1967
(författare)
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Elements of Performance Art : The Theatre of Mistakes
- 2015
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Ingår i: PARSE Conference, Universitty of Gothenburg, 3-6 November.
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Konferensbidrag (refereegranskat)abstract
- Elements of Performance Art. The Ting: The Theatre of Mistakes ‘Working without a watch and without a tape-measure, the performance artist may come to rely on a sense of “performance time”- where yards are expressed by strides and feet by paces, where minutes are expressed by counts and, where time and space are expressed by any means that may be devised.’ Instigated by Anthony Howell, a poet and dancer and founder of conceptualist magazine Wallpaper, The Ting: The Theatre of Mistakes was a UK-based collective formed in 1974, which disbanded in 1981. Their foundational work was generated through a series of openly advertised events at which, from 1974-1976, attendees co-developed a series of game-based exercises via instructional rules informed by spatiotemporal mechanisms, which were collectively named The Gymnasium, and thoroughly recorded in a suite of eponymous notes. Their sole publication Anthony Howell and Fiona Templeton’s Elements of Performance (refined by activities developed via The Gymnasium from 1974-76) was self-published and distributed by Ting in 1976 in an initial edition of 60 and in 1977 in a revised edition of 800. The Ting: The Theatre of Mistakes’ ethos and methods of production are outlined in the publication against six convergent elements: conditions, body, aural, time/space, equipment and manifestation with a total of 42 exercises to be structured via chance allowing for multiple formations and focalised structures. Designed as a comb-bound instructional manual with an introductory manifesto, Elements of Performance Art offers a unique insight into how Ting advocated the temporal liveness of performance art be created via instruction and chance with cross-disciplinary activities. It remains an out-of-print but influential publication within the history of inter-disciplinary and is arguably the first manifesto for Performance Art in the UK. Jason E. Bowman will curate a career survey of The Theatre of Mistakes in 2017. For the PARSE conference he has invited Anthony Howell to workshop, with a series of participants, a re-activation of exercises from Elements of Performance Art. Bowman and Howell will subsequently be in conversation regarding Elements of Performance Art, temporalities and inter-disciplinary concepts of time.
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| 24. |
- Kjellmer, Viveka, 1964
(författare)
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Indra’s Daughter and the modernist body: Costume and the fashioned body as scenography in A Dream Play (1915–18).
- 2019
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Ingår i: Studies in Costume & Performance. - : Intellect. - 2052-4013 .- 2052-4021. ; 4:2, s. 179-191
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Tidskriftsartikel (refereegranskat)abstract
- In this article I analyse Swedish scenographer Knut Ström’s costume and set design sketches, made in Germany in 1915–18, for his production of August Strindberg’s A Dream Play. I focus on the costume sketches for the main character, Indra’s daughter, and discuss how the act of costuming is more than just dressing up a body onstage; it also produces the body and makes it meaningful in relation to the scenographic whole. The modernist female body could, among other aspects, be understood as a body with agency, a clothed body in motion where clothing, staging and patterns of movement all helped create a new, slim silhouette. This view of the female fashioned body, I argue, leaves an imprint on Knut Ström’s visual thinking in the sketch material where Indra’s Daughter emerges in corsetless, straight dresses. Ström’s staging of Indra’s daughter as a modernist woman not only anchors her in the process of social change; it also underlines the ‘othering’ qualities of costume and serves to distinguish her as an outsider in the play. As pointed out by Barbieri, costume can communicate with the spectators both metaphorically and viscerally. In the case of Indra’s Daughter, Ström could be said to use the modernist costuming of Indra’s Daughter metaphorically to set her apart from the other actors in more traditional costumes, and physically, with colours and shapes of her costumes that visibly stand out from the scenographic landscape. Ström’s creative work with the sketches for A Dream Play shows how he understood the power of the costumed body as a vital part of the scenographic whole.
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| 25. |
- Velasquez Atehortua, Juan, 1963
(författare)
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NO2LNG in Gothenburg, Sweden
- 2017
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Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- FILM FROM THE DEMONSTRATION 6 AUGUST 2017 DURING CLIMATE CAMP SWEDEN AGAINST THE CONSTRUCTION OF A LIQUID NATURE GAS TERMINAL IN GOTHENBURG, SWEDEN. NO2LNG MUSIC: VARNING TILL DE RIKA, BY CATS AND DINOSAURS, PERFORMED LIVE IN THE CAMP.
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| 26. |
- Rosen, Astrid von, 1964, et al.
(författare)
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Digging Where You Stand? Critical approaches to participatory and activist heritage work
- 2020
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Ingår i: ACHS 2020 Futures.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Recent years have seen growing interest in participatory, community-led and activist approaches to knowledge production across a range of disciplines and practices including heritage, archive and public history work (Flinn 2011). Frequently such practices have been associated with radical and social justice orientated politics but participatory methodologies have also been critically examined as complex and contested, not least because of unequal power and trust relations often embedded in such approaches (Sexton 2015). Dig Where You Stand (DWYS), a complex mixed methods D-I-Y history methodology, rooted in history from below movements of the 1970s and expounded by Swedish author Sven Lindqvist (1978, 1979) is a still influential, fruitful yet challenging model for participatory and activist orientated heritage practices today (Flinn & Sexton 2018, von Rosen 2017). The papers in this double session will explore some of the challenges of participatory heritage and archive work by describing recent transformative developments of DWYS, combining a 1970’s ethos that ‘history is too important to be left just to historians’ (History Workshop Journal 1,1976) with contemporary critical thinking and the affordances of digital technologies, including the use of big data and social media, participatory system design, citizen sourced materials, and the many ethical concerns that are often left invisible and unexamined when studying digital archives and heritage and their affect. By doing so, the session will re-imagine DWYS and other similar D-I-Y participatory history and heritage methodologies in a dialogue with the future, opening up for multiple human, non-human and hybrid critical dialogues challenging authorized heritage discourses and practices and supporting social justice struggles in the present and the future. The papers presented represent current critical approaches to heritage, archives and digital humanities, practised across a range of disciples and developed within the joint University College London University of Gothenburg Centre for Critical Heritage Studies.
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| 27. |
- Rosen, Astrid von, 1964, et al.
(författare)
-
Expansion och mångfald - en relationell forskningsdatabas : Expansion and Diversity - a relational research database
- 2021
-
Ingår i: Expansion och mångfald: Digital kartläggning och analys av den utominstitutionella scenkonsten i Göteborg 1965-2000.
-
Annan publikation (övrigt vetenskapligt/konstnärligt)abstract
- I svenska teaterhistorier ses perioden 1965–2000 som en tid för framväxt och etablering av en utominstitutionell scenkonst. Fältet expanderande kraftigt när institutionsteatrarna utmanades av ”fria” grupper och en ny mycket varierad scenkonstkultur växte fram. Denna nya scenkonst ifrågasatte hierarkier, sökte sig ut från de traditionella scenerna, överskred genregränser, experimenterade konstnärligt och mötte en ny publik. En mångfald angelägna föreställningar för barn, migranter, arbetare, queera personer, studenter och många andra skapades av människor med olika kulturella bakgrunder och kompetenser. Historieskrivningen har observerat detta skifte, men endast lyft fram några få grupper, verk och välkända artister. Därmed har en endimensionell bild fått fäste i historieskrivningen, men nu har det blivit dags att utmana tidigare forskning genom att se perioden på ett nytt sätt och bejaka dess mångfald. Det är dags att inkludera de många olika uttrycken och grupperna i en historieskrivning som gör det fria kulturarvet rättvisa. Forskningsprojektet Expansion och mångfald vill använda digitalt material och metoder för att analysera, lyfta fram och tillgängliggöra frikulturen som ett värdefullt kulturarv som angår och engagerar många olika människor. Den viktiga mångfalden av uttryck, grupper, relationer och spelplatser i det expanderade fältet har visat sig vara svår för att hantera för traditionell historieskrivning. Den har genom sin linjära karaktär inte kunnat ge plats för exempelvis karnevalers mångfacetterade uttryck, migranters kulturföreningar, jazzdans som folkrörelse och konstnärlig katalysator, fysisk teater, spex och populärkulturella uttryck, danskonst i offentliga rum, och scenkonst för barn. Med mångfald och skillnader som utmaning för forskningen krävs att arkivmaterial från det expanderade fältet undersöks och görs tillgängligt på nya sätt och att tidigare oanvänt källmaterial görs åtkomligt och tas i anspråk. En grupp bestående av humanistiska och urban-sociologiska forskare med stor erfarenhet av scenkonstforskning och stadsanalyser kommer att tillsammans med experter från digital humaniora undersöka och tillgängliggöra den frikulturella mångfalden.
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| 28. |
- Robardey-Eppstein, Sylviane, 1965-
(författare)
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Ciceri, Pierre Luc Charles 1782-1868
- 2023
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Ingår i: Dictionnaire Victor Hugo. - Paris : Classiques Garnier. - 9782406146247 ; , s. 197-197
-
Bokkapitel (refereegranskat)
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| 29. |
- Rosen, Astrid von, 1964
(författare)
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Scenography as co-creative agent
- 2018
-
Ingår i: Time Here Becomes Space : scenography / Lars-Åke Thessman ; translation: Gabriella Berggren, Eva-Marie Barker, Bettina Schultz.. - Stockholm : Art and Theory Publishing. - 9789188031624
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 30. |
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Scripts of Kingship : Essays on Bernadotte and Dynastic Formation in an Age of Revolution
- 2008
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.
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| 31. |
- Tente, Christina, 1992
(författare)
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Spasms over balance: Posthuman perspectives, antinormative becomings, and the sticky runway of vogue femme
- 2021
-
Ingår i: Platform : Postgraduate e-Journal of Theatre and Performing Arts. - 1751-0171. ; 15:1, s. 59-73
-
Tidskriftsartikel (refereegranskat)abstract
- This article explores vogue femme as a performative way of creating ruptures with normative understandings of balance. As normative balance, I define a set of binary and heteronormative stereotypes and conventions that are enforced on a sociopolitical level, contributing to the survival of the capitalist patriarchal system. The focus lies on two specific elements of vogue femme: the spins and dips, and the floor performance. Both elements open up, I suggest, possibilities for ‘posthuman becomings’, as they are improvisational, coincidental and ephemeral, based on the here and now of the dancing bodies. The article is based on fieldwork conducted between January and March 2020. I employed participatory observation and ethnographic interviews with voguers in vogue femme sessions and ballrooms in Berlin and Malmö in order to explore and analyse potential posthuman aspects and the aesthetics of the dance, the possibilities it offers for deconstructing normative identities and becoming-other through erratic spins, dips, and drops. In this process, spasm and sweat are considered to be central generators of affect. The characteristics of the voguing space, as well as the atmosphere that is constructed every time the bodies meet and collide with each other are also explored.
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| 32. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
-
A Body of Accents
- 2018
-
Ingår i: Nordic Journal of Dance. - 1891-6708. ; 9:1, s. 44-51
-
Tidskriftsartikel (refereegranskat)abstract
- Dance practice is often hidden inside dance studios where it is not available for dialogue or interdisciplinary critique. In this paper I will look closer at one of the accents my body holds, since the year 2000. To Swedish dance academies it is maybe the most foreign accent I have in my dance practice. It has not been implemented as ‘professional dance’ in Western dance studios. This foreign accent is called Nihon Buyō, Japanese dance, also known as Kabuki dance. Nihon Buyō, Nō or Kabuki are local performing arts practices for professional performers in Japan. A few foreigners are familiar with these practices thanks to cultural exchange programmes, such as the yearly Traditional Theatre Training at Kyoto Art Centre. There is no religious spell on the technique, or a contract written that it must be kept secret, or that it must not leave the Japanese studio or the Japanese stage. I will compare how dance is being transmitted in the studio in Kyoto with my own vocational dance education many years ago. Are their similarities to how the female dancer’s body is constructed? Might there be unmarked cultural roots and invisible originators to the movements we are doing today in contemporary dance? Dansutövandet hålls ofta dold innanför dansstudion där det inte görs tillgängligt för dialog eller tvärdisciplinär kritik. I denna text kommer jag att se närmare på en av de dialekter som min kropp har sedan år 2000. För svenska dansakademier är det kanske den mest främmande dialekten som jag har i min danspraktik. Den har inte implementerats som "professionell dans" i dansstudior i väst. Denna främmande dialekt kallas Nihon Buyō, japansk dans, även kallad Kabuki-dans. Nihon Buyō, Nō eller Kabuki är lokala scenkonstformer för professionella scenkonstnärer i Japan. Några få utlänningar känner till dem tack vare olika kulturutbytesprogram, till exempel den årliga traditionella teaterträningen, T.T.T., på Kyoto Art Center. Tekniken är inte belagd med någon religiös besvärjelse. Det finns heller inte några skrivna avtal om att den måste hållas hemlig, eller att den inte får lämna den japanska studion eller den japanska scenen. Jag kommer att jämföra hur dans kommuniceras och förs vidare i studion i Kyoto med min egen yrkesdansutbildning för många år sedan. Finns det några likheter i hur den kvinnliga dansarens kropp konstrueras? Finns det några omärkta kulturella rötter och osynliggjorda upphovskvinnor till de rörelser vi gör idag i nutida dans?
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| 33. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
-
Suriashi - a Meditation on the Local through Artistic Research
- 2018
-
Ingår i: L. Greenfield, M. Trustam (Eds.): Artistic Research Being There. Explorations into the local. - Aarhus : Aarhus University Press. - 978 87 87564 92 2
-
Bokkapitel (refereegranskat)abstract
- In this text I will look at the particular medium of dance, the dancer and the choreographer. I will investigate how a walk, formed initially in a local Japanese context, might become an artistic medium for myself, a female Swedish dancer, and for other people. The walk is called suriashi. It is the core method for the performance of traditional Japanese dance, known as Nihon Buyō. Suriashi prepares the dancer/actor for the particular body posture that is needed for the dramatic dances of Nihon Buyō, an art form that combines abstract movements with narrative, often historic, compositions. What characteristics of the walk have struck me? How can I make these features visible outside of their local Japanese context? Referring to the local I do not only mean Japan, I also refer to the dance field as ‘local’, and how this field might change when it meets with new discursive spaces.
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| 34. |
- Bowman, Jason E., 1967
(författare)
-
Accidentally on Purpose: Curating Aleatoric Certainties
- 2017
-
Ingår i: Goldmsmiths College Choreographic Seminar Series.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In this presentation Jason E. Bowman will offer two case studies of his curatorial endeavours, both being survey exhibitions incorporating live works: Yvonne Rainer: Dance and Film (Tramway, 2010) and the current, In Case There’s a Reason: The Theatre of Mistakes (Raven Row, 2017). Jason has worked on this latter project for over 10 years, firstly cataloguing the divergent records and ephemera of the UK performance company The Theatre of Mistakes (1974-81) including manifestos, diagrams, instructions, logbooks, photographic documentation, correspondence etc. He will address how hypertemporal frameworks have operated in the organisation and manifestation of these projects and in particular consider how In Case There’s a Reason: The Theatre of Mistakes seeks to develop ways in which to make ‘exhibitable’ the logics of this artists’ group in terms of their working processes and their commitment to additive and subtractive forms of replication. He will also consider the problematics and discontents of revitalising performances.
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| 35. |
- Bowman, Jason E., 1967
(författare)
-
Three exhibitionary iterations on artist-organisation via curating.
- 2019
-
Ingår i: Valand Academy Research Day 2019.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Jason E. Bowman will present on three exhibitions that are constitutive of his recent practice-based, artistic research: ‘In Case There’s a Reason: The Theatre of Mistakes’ (Raven Row gallery, London. 2017); ‘Setting the Table’ (BALTIC Contemporary Arts, Newcastle. 2018) and ‘queer timɘs school prints’ (Gallery of Modern Art, Glasgow. 2018). Collectively these interrogate different modes and constellations of artist-organisation as possible forms of ‘curating’.
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| 36. |
- Rosen, Astrid von, 1964
(författare)
-
Dream-Playing the Archive: Exploring the 1915–18 Düsseldorf production of A Dream Play
- 2018
-
Ingår i: August Strindberg and Visual Culture: the Emergence of Optical Modernity in Image, Text, and Theater / edited by Jonathan Schroeder, Anna Westerthål Stenport, Eszter Szalczer.. - London : Bloomsbury. - 9781501338007 ; , s. 141-146
-
Bokkapitel (refereegranskat)abstract
- August Strindberg and Visual Culture addresses the multiplicity of Strindberg's artistic and literary output. The book charts the vital intersections between theatre, aesthetic theory, and visual elements in his work that have been left largely unexplored. Rather than following traditional genre-bound critical approaches, this book focuses on the intermediality of individual works, the corpus as a whole, and their connections to a wide array of historical and contemporary artists, writers, photographers, film, theatre and museum practitioners. The book is beautifully illustrated, with many never-before-seen images from Strindberg's work, and includes contributions from actress Liv Ullmann, director Robert Wilson, and curator and museum director Daniel Birnbaum. Art historian and former dancer Astrid von Rosen activates performance archives in several countries to scenograph a 1915-18 forgotten production of Strindberg's A Dream Play.
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| 37. |
- Rosen, Astrid von, 1964
(författare)
-
Kroppsligt kunskapande i dansarkivet: sinnliga, scenografiska och transformativa forskningspraktiker
- 2019
-
Ingår i: På Spissen forskning / Dance Articulated. - : Norwegian University of Science and Technology (NTNU) Library. - 2464-2258. ; 5:1, s. 1-18
-
Tidskriftsartikel (refereegranskat)abstract
- I artikkelen med tittelen «Kroppsligt kunskapande i dansarkivet: sinnliga, scenografiska och transformativa forskningspraktiker» undersøker von Rosen kroppslig læring og kunnskaping i en forskningsprosess som fokuserer på dansearkiv. Som et resultat av undersøkelsen argumenterer forfatteren for verdien av kroppen som historiografisk forskningsverktøy. Hun spør, og svarer på, hvordan forskningsmetoder også kan være kroppslig forankrede og fungere som et verktøy for arkivbasert historisk danseforskning.
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| 38. |
- Rosen, Astrid von, 1964, et al.
(författare)
-
Scenographic Dialogues: Staging Carl Grabow’s 1907 Designs for A Dream Play [Part 2].
- 2022
-
Ingår i: Dokumenterat. - 1404-9899. ; :22, s. 4-41
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- With the present article we continue our investigations of Carl Grabow’s work as set designer for the 1907 world premiere of August Strindberg’s A Dream Play at the Swedish Theatre (Svenska Teatern) in Stockholm. While the first part of our series focuses on the iconography of Grabow’s color designs in dialogue with Strindberg’s script, we now extend our study to include drawn and written information on the back of the designs and consider them in the context of pictorial and textual responses to the actual stage production. Our intention is not to reconstruct the production in detail, but rather to explore it as a “scenographic event”, a holistic, durational, multisensory occurrence, where set, lighting, bodies in costume, sound and music, theatre architecture and audience members craft webs of relations and affective atmospheres. By turning to archival echoes of the premiere, we hope to contribute new insights on the production history of A Dream Play and on Grabow’s part in fashioning the scenographic event. We seek to challenge the predominantly denigrating narratives of the role Grabow played in the creative process, found both in international and Swedish art and theatre history. As we shall see in further detail, these narratives were handed down to us and have been treated as factual accounts without the support of archival evidence, mainly based on Strindberg’s remarks and sometimes on selected reviewers’ comments about the premiere.
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| 39. |
- Bäckström, Per, Professor, 1959-, et al.
(författare)
-
The intermediality of performance
- 2022
-
Ingår i: Intermedial Studies. - London : Routledge. - 9781032004549 - 9781003174288 - 9781032004662 ; , s. 198-224
-
Bokkapitel (refereegranskat)abstract
- In this chapter, we will focus on performance as an aesthetic orcommunicative event that unfolds at a specific time and in a specific space set apart from the social world. Not only people come together in a performance, bu talso many different kinds of materialities and media. In the unique moment ofperformance that unfolds in time and space, the performer interacts with anaudience but also with other objects: props such as the famous skull thatHamlet holds in his hand or technical devices such as the microphone in astand-up act. In this chapter, we will look closely at how different kinds ofbodies and objects interact in a performance and at how the presence and emergence of an event interact with mediation and transmediation. Pantomimes, stand-up comedy acts, drama and music concerts can be understood as different qualified media types that take place in the context of different architectural framings that already in themselves indicate which conventions areat play, what kind of performance the audience should expect and what kind ofresponse is expected from the audience.
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| 40. |
- Bowman, Jason E., 1967
(författare)
-
Coming of Age: Deveron Arts at 21
- 2016
-
Rapport (övrigt vetenskapligt/konstnärligt)abstract
- A written provocation that marks the 21st Anniversary of the founding of the UK-based arts organisation, Deveron Arts. The provocation uses the method of back-casting, requiring its respondents to design the future organisation that may replace Deveron Arts in 21 years. There are sixteen questions accompanied by tasks as if the respondent has no agency to intervene, re-determine, re-imagine or re-purpose. The provocation demands a detailed scoping of a future that hopes to reveal the processes and forces of current conditions, which if sustained without intervention, may concur with forms of administration, organisation and management that are oppositional to social practice and its imaginary possibilities.
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| 41. |
- Johnson, Marc
(författare)
-
Dear Beloved Reader : 30% seminar lecture
- 2022
-
Annan publikation (refereegranskat)abstract
- My 30% seminar is divided in 7 chapters.1. Labour of access2. Restricted by law3. Genealogical imagination4. We are cyborgs5. Plur1verse of genres6. Disclosure7. Future plansI have been conducting a series of experiments that all relate to finding ways to re-enact and re-enable an experience of the past in the present and into the future; excavating methods to repeat fragments of history whose importance might not have been fully understood or acknowledged.The seminar goes along the politics of access to the archive(s), artistic research strategies used, and the proposed ongoing works.I will be discussing with Jyoti Mistry (Professor of Film, Photography and Literary Composition Unit at the HDK-Valand - Academy of Art and Design, Gothenburg).
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| 42. |
- Rosen, Astrid von, 1964, et al.
(författare)
-
Re-vitalizing Dig Where You Stand: Place as agent in participatory performance history
- 2020
-
Ingår i: ACHS 2020 Futures.
-
Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- By mobilizing place as a particularly pertinent agent in participatory history making, this paper contributes a Swedish case study, to the ongoing re-vitalization of the dig where you stand realm. Both contributors are leading scholars within the international and Swedish movement to update Sven Lindqvist’s Dig Where You Stand (1978) method and ethos in an increasingly digital world. Within this broader research and activist context, this paper focusses on how place oriented urban-sociological analysis, can contribute to expanding and diversifying our knowledge of downplayed independent performance heritage. First, our focus on Gothenburg, Sweden’s second city, and its suburbs, will help counter previous theatre histories national bias and over-emphasis on source materials from the capital Stockholm. Second, our “local digging” and place analysis will not only charter established venues, but also include previously neglected rehearsal studios and other types of alternative places used by local communities in their performance making. Thus, place orientation enables us to better scrutinize conditions pertinent for independent performance culture, and critically relate them to shifts in urban and cultural policies. Third, as memory strongly connects with place, interviews involving performers and their artistic practices within a diversity of cultural hubs, will contribute new knowledge challenging previous elitist and excluding theatre historiography. The research is conducted within the Swedish research project Expansion and Diversity: Digitally mapping and exploring independent performance in Gothenburg 1965–2000, situated at the University of Gothenburg.
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| 43. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
-
Vreden mot den konstnärliga forskaren på universitetet
- 2016
-
Ingår i: Curie - en nättidning från Vetenskapsrådet om forskning.
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- Krönika av Ami Skånberg Dahlstedt, koreograf, filmare och doktorand, om den viktiga uppgift som konstnärlig forskning har inom akademin.
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| 44. |
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| 45. |
- Rosenberg, Tiina
(författare)
-
Theories of Performativity
- 2002
-
Konferensbidrag (refereegranskat)abstract
- This conference paper discusses the contemporary ideas of performativity in gender studies and in performing arts.
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| 46. |
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| 47. |
- Belgrano, Elisabeth, 1970
(författare)
-
'Lasciatemi morire' & 'Rochers vous etes sourds': interpreting Arianna's tears, sighs and pain by investigating Italian and French ornaments through vocal practice-based research
- 2009
-
Ingår i: Singing Music from 1500 to 1900: style, Technique, Knowledge, Asssertion, Experiment. 7-10 juli 2009. National Early Music Association International Conference, University of York, UK.
-
Konferensbidrag (refereegranskat)abstract
- ABSTRACT: In my PhD research I depart from a female singer’s perspective of interpreting 17th century opera laments , based on musicologist Mauro Calcagno’s statement signifying the voice of the female singer as a symbol of Nothing in association with the concept of aesthetics in the early 17th century opera genre . The female singer, he points out, justified the relevance of “pure voice” and “over-vocalization” referring to two recurring tropes, pronounced within a larger discourse among 17th century intellectuals in Italy and France, concerned with the concept of aesthetics: the concept of nothingness and the singing of the nightingale. In this presentation I show my perceptions of the voice of Arianna. My aim is to better understand the use of ornamentation in my performance of Italian and French 17th century vocal music. Knowledge of ornamentation can be obtained by investigating at depth the singer’s process from the first encounter with the text and musical score, to the actual performance of stage. There are two important aspects I take into consideration. First, the intellectual discourse, contemporary to the creations and performances of the two laments by Monteverdi and Lambert, carries a great deal of information significant to vocal interpretation. Second, the oriental ornamentation is reflected upon the arts and architecture in Venice during the 16th and 17th centuries, but has not yet been fully addressed in relation to vocal ornamentation in the 17th century opera repertory. I have been observing the life and career of Signora Anna Renzi Romana, one of the first opera prima donnas active in Venice during mid 17th century. Her interpretations of laments and mad scenes made a great impact on her audience as well and on the intellectual academies supporting the early operatic events in Venice. As the sounding voices of the Greek Sirens seducing Odysseus and his sailors , Anna Renzi and her female colleagues seduced their audiences in the Venetian opera theaters. Renzi’s performances are described in a volume published to her honor in 1644, “La Glorie della Signora Anna Renzi Romana”. In my research I explore and reflect upon the vocal sounds of ‘trillo’, ‘esclamazione’ and ‘coup de gosier’ by merging these vocal ornaments and my experience of PURE VOICE to theories of Nothingness, debated by Italian and French17th century intellectuals in Venice and Paris. I also combine their thoughts and theories to philosophical theories of Nothing referring to Jean-Paul Sartre and Marcia Ça Cavalcante Schuback . My personal experience of the lamenting sound is then analyzed along with the glorious description of Renzi’s performances of the laments. Finally in my search for sources of vocal ornaments, I listen to voices and vocal music from the ‘east’, following the 16th and 17th century Venetian trading routes. The Eastern throat–beating ornaments and vibratos appears similar to the ones described by 17th century composers and authors like Giulio Caccini and Benigne de Bacilly, and they inspire my research towards different possible ways of performing the sighs, tears and pains of Arianna. This research and presentation is part of my PhD research project“Passionate Women’s Voices on Stage and an Interpretation of the 17th Century Lamenti and Scene di Pazzie”. See: http://www.konst.gu.se/forskarutbildning/doktorander/Elisabeth_Belgrano/
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| 48. |
- Skånberg Dahlstedt, Ami, 1967
(författare)
-
Suriashi as Experimental Pilgrimage in Urban and Other Spaces
- 2022
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This practice-led PhD-thesis draws on an existing Japanese movement practice called suriashi, which translates as sliding foot. Suriashi is a specific gender codified walking technique in classical Japanese dance and theatre, and an important method for acting on stage. It is one of the foundations for how the performer positions him/herself for movement on stage. My thesis asks whether suriashi could also be a method to act, as being active, or to activate, in other spaces outside the theatre. A key feature is the practical application of this artistic practice outside the theatrical contexts where it is usually located. This relocation brings a traditional form into new configurations, connecting to everyday practices and sites of resistance and performance. It also contributes to the burgeoning field of walking arts practice, bringing a Japanese dance-based practice into a dialogue with debates and practices of Western dancing and walking. The practice-led research includes suriashi walks, labelled as ‘experimental pilgrimages’, which are documented especially for the thesis. They have been captured on video and serve as material evidence of what kind of questions and answers suriashi as experimental pilgrimage activated. The video documentations, to which readers are guided to through specific links and timecodes, provide the possibility to experience suriashi walking both visually and corporeally. They also represent the artistic artefact and outcome of this practice-led research. The video capturing suriashi adds to an expanded perspective on screendance as durational artistic practice. The thesis shows how suriashi embodies ideologies, such as gender, as well as discussing how our presence in urban spaces is always gendered. Suriashi as a gendered technique provided a tool for walking with integrity - a flâneuse strategy - which led to the application of suriashi for political engagement through embodiment.
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| 49. |
- Rosen, Astrid von, 1964, et al.
(författare)
-
Re-imagining Scenography in Relation to Art History
- 2021
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Ingår i: Scenography and Art History: Performance Design and Visual Culture. - London : Bloomsbury Visual Arts. - 9781350204447 ; , s. 1-12
-
Bokkapitel (refereegranskat)
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| 50. |
- Rosen, Astrid von, 1964
(författare)
-
Why Scenography and Art History?
- 2021
-
Ingår i: Konsthistorisk tidskrift/Journal of Art History. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 90:2, s. 65-71
-
Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)abstract
- It has to be noted that the longstanding and complex concept of scenography pertains not only to theatre and performance studies, but also to design, architecture, technology and – last but not least – art history. For example, in Sweden where I live and work, scenography studies has been a marginalized sub-field of art history since the 1960s.1 This special issue of Journal of Art History explores scenography’s current relevance to art history more broadly and looks into ways in which art history and scenography can interact and vice versa. The “Scenography and Art History” session that gave rise to this special issue was held at the 2018 NORDIK conference in Copenhagen, and was co-organized by me, and my colleague Viveka Kjellmer, both art historians at the University of Gothenburg in Sweden. While the individual contributions in this special issue emanate from the NORDIK session, I will here discuss the most recent developments within scenography theory, and propose approaches that can hopefully be inspirational and useful for art historians as well as scholars from related disciplines such as visual studies. What brings the diverse articles in this special issue together is their capacity to unpack and exemplify the significance of a scenographic approach to art and related occurrences.
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