| 1. |
- Unander-Scharin, Carl, 1964-
(författare)
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Extending Opera - Artist-led Explorations in Operatic Practice through Interactivity and Electronics
- 2015
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- How can we re-empower opera singers, extending their control over accompaniment and vocal expressivity? To answer this question, I have opened a novel design space, Extending Opera, consisting of interactive artist–operated tools to be used on-stage. The research has its methodological groundings in Research through Design (RtD) and Research through the Arts (RttA). This particular method is coined "research-throughthe- art-form-opera" – as I have worked within the realms and traditions of opera, probing its boundaries by designing, researching and creating through its own artistic toolbox.Originally conceived for personal use, the artifacts were later used by other singers and incorporated in performances of opera in small and large scale. By composing and designing for the requirements in operatic productions, high demands on robustness were explored in and through custom-built interfaces.The work resulted in ten novel artifacts and performances exploring the expressivity of these tools. Extending Opera is guided by and probed through three questions:1. How can the design and creation of interactive, artist-operated instruments be informed by deep musical knowledge and be probed by the particular conditions surrounding an operatic production?2. What impact can interactive, artist-operated instruments have on the opera singers themselves and on their vocal technique?3. How can interactive, artist-operated instruments empower opera singers, thus challenging contemporary power hierarchies – thereby reconnecting to the explorative practice in opera's early days?My knowledge contribution has surfaced through artistic practice and consists of the exemplars and the artworks, as well as three abstractions – one procedure, one requirement and one experiential quality.Sensory Digital Intonation highlights how the fine-tuning of technologies and real-time interactivity is incorporated in a feed-back loop with artistic concerns and creativity.Performative Stamina ("The Premiere-Factor") highlights how the traditional procedures leading up to a premiere in opera influence the demands on robustness and reliability within the components and the overall design of the novel artifacts.Vocal Embodiment is an experiential quality that describes how the interactive artifacts change the singing itself.In the conclusion, Artistic Re–Empowerment is discussed, proposing that power structures in opera have been probed through the use of the novel artist-operated interactive instruments.
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| 2. |
- Arnell, Malin
(författare)
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Avhandling / Av_handling (Dissertation / Through_action)
- 2016
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- If we are being-of-the-world, how can we ever avoid participation? From this question Avhandling / Av_handling (Dissertation / Through_ action) unfolds. It invites to engage in an ongoing continuum of entanglements, where the moment of connection is unavoidable. This invitation demands that we are attentive to our mutual co-constitutiveness, that we take responsibility for what gets excluded as well as what comes to matter.Avhandling / Av_handling (Dissertation / Through_action) introduces, purposes and explores a specific format, the live dissertation, an academic instance that demands performative responses during the public defense. It is a dissertation in choreography written through space-time-language-matter with and for human and more-than-human bodies, and other discursive-material becomings. By this Avhandling / Av_handling (Dissertation / Through_action) recognizes the force of what Karen Barad conceptualized as ethico-onto-epistemologocial engtanglements through intra-action. It engages a posthumanist and agential-realist reworking of the notion of performativity, in which all bodies (not only human bodies) come to matter through the world’s performativity—its iterative intra-activity. In this framework, knowledge is made as a direct material engagement, a cutting together-apart—a process by which cuts enact violence but also open up and rework agential conditions of possibility.During Avhandling / Av_handling (Dissertation / Through_ action) diffractive choreographic methods and techniques, which had been developed through diverse intra-active studies—actions, collaborations, and works that span throughout 2010-2016, were re-activated, applied, manifested, and experienced. These practices were made present through specific agential forces that enacted them—such as breath, text, touch, voice, vegetation, spatial proximity, motion, distance, asphalt, material walls and material voids (the reactor hole), pain, and disgust. These practices also enacted processes of queering causality, agency and relationality, and dislocating authority, while (my / the / our) human and more-than-human body / bodies pursued embodied affinities, and a state of becoming-with. Through these re-activated intra-active studies Avhandling / Av_handling (Dissertation / Through_action) examines and articulates choreography and performance as ever-present negotiations of vulnerability, intimacy, force, and power as enactments that are of-the-world.As part of the choreographic practice Sugar Rush Productions | Maria Åkesson together with Tsomak Oga, Sooz Romero, and Debora Vega were video documenting Avhandling / Av_handling (Dissertation / Through_action). This documentation together with other remains (as a non-representative residue) will be made available after the defense here: dissertationthroughaction.space
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| 3. |
- Mette, Ingvartsen
(författare)
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EXPANDED CHOREOGRAPHY : Shifting the agency of movement in The Artificial Nature Project and 69 positions
- 2016
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- Through two books and a series of video documentations of live performances Mette Ingvartsen makes choreography into a territory of physical, artistic and social experimentation. The Artificial Nature Series focusses on how relations between human and non-human agency can be explored and reconfigured through choreography. By investigating and creating a ‘nonhuman theater’ questions regarding material agency, ecology, natural disasters, the Anthropocene and non-subjective performativity are posed. The resulting reflections are closely related to the poetic principles utilized to create the performances, while also drawing connections to territories outside theater. By contrast, 69 positions inscribes itself into a history of human performance with afocus on nudity, sexuality and how the body historically has been a site for political struggles. By creating a guided tour through sexual performances – from the naked protest actions of the 1960’s, through an archive ofpersonal performances into a reflection on contemporary sexual practice – this solo work rethinks audience participation and proposes a notion of soft and social choreography. The contrasting performative strategiesarticulate a twofold notion of expanded choreography: on the one hand movement is extended beyond the human body by including the agency of nonhuman performers, and on the other hand, movement is expanded into animaginary and virtual space thanks to ‘language choreography’.
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| 4. |
- Olofsson, Kent
(författare)
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Composing The Performance : An Exploration Of Musical Composition As A Dramaturgical Strategy In Contemporary Intermedial Theatre
- 2018
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- This thesis explores musical composition in the context of contemporary theatre. It suggests methods where compositional thinking – broadly understood – can be used as a dramaturgical device in the creation of theatre performances. Such musicalization of theatre provides new methods for an artistic practice and questions traditional artistic hierarchies and working structures. The investigation departs from a process of transference of radiophonic art to stage performances. From this a series of interdisciplinary works in the intersection between concert, theatre performance, radio play and music theatre has been created, each with different approaches to the roles and functions of musical composition. Through these works the creative processes and methods are examined and analysed. The notion of vertical dramaturgy and polyphony in theatre contexts is discussed and demonstrated, which pinpoints the significance of interaction between the elements of a performance. The interplay between dramatic writing, acting methods and musical composition is under scrutiny, as is the way in which visual elements as video, light and scenography are integrated into polyphonic theatre experiences. Transformation is an essential compositional and dramaturgical tool as it allows a performance to move seamlessly between different art forms, continuously creating new relationships. Through the research a model for interdisciplinary, collaborative work in performing arts emerges. The concepts of Shared space and Shared time are introduced and enable a collective ‘thinking-through-practice’ and expansion of the artistic roles. This joint arena of space and time opens up new connections, interactions and mutual exchanges between artists and art forms. The outcome provides a range of artistic methods in the field of contemporary intermedial theatre where musical composition is one of the dramaturgical devices for composing the performances.
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| 5. |
- Olofsson, Kent
(författare)
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Resonance and Responses
- 2015
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Ingår i: Divergence Press. - Huddersfield : University of Huddersfield. - 2052-3467. ; :4
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Tidskriftsartikel (refereegranskat)abstract
- The idea of resonances and responses as a fundamental compositional principle is found in many of my compositions. I have used it in instrumental pieces both with and without electronics, in theatre contexts, in conceptual works and in intertextual and intermusical referential structures. In Terpsichord, a piece for percussion and pre-recorded sounds, the resonances from the acoustic instruments form sonic bridges to the pre-recorded electronic sounds, that, in turn, prolong the resonances, re-shaping them into new sonic gestures. A dialogue of actions and reactions is created that drives the trajectory of the music. The term resonance has its origins in acoustics and describes how a vibrating object creates sympathetic vibrations in other objects. It can also be used metaphorically to describe how something we hear or see can be set in motion within us, evoking associations or strong emotions, and how works of art are reinforced and reflected in other works with similar features. In this article I present examples from my own works discussing how resonances and responses are used in solo instrumental pieces with electronics, concerto works, as well as in theatre music works.
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| 6. |
- Arlander, Annette, 1956-
(författare)
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Resting with Pines in Nida – attempts at performing with plants
- 2019
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Ingår i: Performance Philosophy. - Surrey : Performance Philosophy. - 2057-7176. ; 4:2, s. 452-475
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Tidskriftsartikel (refereegranskat)abstract
- Is it possible to respond to the challenge of a philosopher with artistic means, rather than on the one hand by attempting to philosophize, or on the other hand by resorting to illustration or application? Perhaps it is not. This text is nevertheless an attempt at responding to the challenge posed to artists by Michael Marder who, in volume 1 of this journal, challenged philosophers and artists ‘to include the spatiality, movement, and perspective of the vegetal in their work’ (Marder 2015, 192). The artistic research project ‘Performing with plants’ could be understood as a response to this challenge. In this text I will briefly outline the plan for the project, relate it to the current interest in plant thinking, plant theory and new materialist feminist theory and then focus on some works loosely related to the project, which seem to resonate with Marder’s challenge in some sense. The variations of Resting with Pines performed in September 2017 in Nida Art Colony on the Curonian spit in Lithuania will serve as attempts to include and even emulate the vegetal, and as an example of a characteristic common to many performance practices, namely the tendency to go on, to ‘keep growing’.
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| 7. |
- Behrndt, Synne
(författare)
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Dance Dramaturgy: Expanding the Discourse
- 2016
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Ingår i: Canadian Theatre Review. - 0315-0836 .- 1920-941X. ; , s. 76-78
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Recension (refereegranskat)abstract
- A review of the book Dance Dramaturgy: Modes of Agency, Awareness and Engagement, edited by Pil Hansen and Darcey Callison, published by Palgrave Macmillan.
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| 8. |
- Behrndt, Synne
(författare)
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Dramaturgy and Performance
- 2016. - 2
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Bok (refereegranskat)abstract
- An introduction and discussion of the term, history and practice of dramaturgy within an international context. The book offers historical examples as well as case studies based on interviews with dramaturgs working in different contexts and practices.
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| 9. |
- Behrndt, Synne, et al.
(författare)
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New Dramaturgies
- 2015
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Bok (refereegranskat)abstract
- Book series New Dramaturgies (Springer Nature). Editors Cathy Turner and Synne Behrndt. This series explores new dramaturgies within contemporary performance practice and deploys dramaturgical thinking as a productive analytical and practical approach to both performance analysis and performance-making. Designed to inspire students, scholars and practitioners, the series extends the understanding of the complex contexts of dramaturgy and embraces its diversity and scope. Published in the series:Dramaturgy and Architecture. Theatre, Utopia and the Built Environment by Cathy Turner, 2015. New Media Dramaturgy. Performance, Media and New-Materialism by Peter Eckersall, Helena Grehan and Edward Scheer, 2017. Ecodramaturgies. Theatre, Performance and Climate Change by Lisa Woynarski. 2020. Doing Dramaturgy. Thinking through Practice by Maaike Bleeker. 2023. Multilingual Dramaturgies. Towards New European Theatre by Kasia Lech. 2024.
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| 10. |
- Bok, Bengt, 1954-
(författare)
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Encounter with the Other : some reflections in interviewing
- 2015. - 1
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- he interview is an art form. Two people meet to talk to each other. They meet to talk about something important, or to talk about the life of the person being interviewed. Reaching deep down inside a person is a process. Being part of this process can make you dizzy, giddy. Interviewing is a job where listening and inquiry often give us someone’s life story. It’s about deciphering a person’s thoughts and testimonies; what he or she says or does not say. The interview is an art form that can be likened to understanding poetry… it’s about interpreting, cracking codes, working things out. An interview must not turn into a polite conversation or discussion, but should be a form of concentrated and honest communication. The interviewer must not be out to please or impress, but should be relatively confident in him/herself without being some kind of emotional superman (übermensch). On the contrary, perhaps the interviewer’s own weaknesses and faults often result in a sensitivity and a capacity to be able to hone in on what is really important in the encounter that is ‘the interview’.The interviewer must be equipped with a certain capacity for empathy with “the Other”. To be able to identify with trong enough to understand that these experiences are not one’s own, but those of the Other. It’s important to learn how to step into an interview with full concentration and presence, then step back and regard and analyse what is happening, and then step back in again. This allows for what is generally a necessary (and healthy) distancing of oneself, as well as some pause for reflection and repose in order to then recharge for the next ‘entry’.If it so happens that I, as the interviewer, have a capacity for empathy and a sensitivity, it’s important that I don’t lose myself in the Other’s situation, but maintain a professional attitude in the interview – a brotherly, professional, attitude. I have had this sensitivity myself since childhood, and in many instances, it has been a curse. However, in recent years I have understood and consoled myself with the fact that it has also been the foundation of my work and my way of approaching people. Without it, I might not have the ‘radar’ that has assisted me in my quest for the Other’s inner self. A journey that I never cease to be fascinated by, as my curiosity is continuously piqued anew.During a walk with a colleague and similarly sensitive soul, it became apparent that we both held a common belief that we had done our best interviews when we were heavily hung over. This was when our senses were at their most open and our own defences completely crushed. There exists a freedom in this parlous state – a freedom in which feelings and intuition have free rein. Where we can detect very subtle signals and undertones from interviewees. Any question can be asked – prestige and our own inner fears do not exist in this state.That said, to subject oneself to a heavy hangover as a working method is a highly unhealthy and just plain crazy idea! For this reason, we must try to achieve this same sense of freedom by other means.And that is what this book deals with. It is based on the encounters I have had and what occurred in these encounters. How can I make use of this experience to achieve… honesty? (not the truth)… and some meaning with it all… How can I prepare myself?
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