| 1. |
-
Material of movement and thought : reflections on the dancers´s practice and corporeality
- 2013
-
Samlingsverk (redaktörskap) (refereegranskat)abstract
- The articles in this volume have grown out of a research project entitled "FromMovement out of Reflection in Becoming: The Dancer and the Creative Process",gathering both professional dancers and theoreticians, and funded by theSwedish Research Council. The overall goal of the project was to approach anunderstanding and a conceptualization of the artistic process of the dancer, takingthe work in the creation ofina Christe!Johannessen's choreographic pieceNOW SHE KNOWS as a point of departure.The focus was both that of the dancer from within the process, and that ofexterna! observers. These viewpoints were not deadlocked hut rather aimed atan interaction and a dialogue between the theoretical and the practical levels.The research methods grew out of an at times quite intimate teamwork wherethe participants' different approaches came to cross and intersect.A number of issues were explored: How does the dancer work in the processwhere the dance takes shape? How does the understanding of a movementmaterial shift through the actual performing of it? What is it to understandor experience a movement from the perspective of the performer? What is itto understand or experience a movement from the perspective of the spectator?What kind of body is the dan ing body and how can it create a variety ofmeanings? Through what concepts are we to think the dancer's practice andcorporeality?The anthology contains essays by Cecilia Roos, Anna Petronella Foultier,Chrysa Parkinson, Katarina Elam, Cecilia Sjöholm, and Irene Hultman.
|
|
| 2. |
- Unander-Scharin, Carl, 1964-, et al.
(författare)
-
The Vocal Chorder : Empowering opera singers with a large interactive instrument
- 2014
-
Ingår i: CHI '14 Proceedings of the SIGCHI Conference on Human Factors in Computing Systems. - New York, NY, USA : Association for Computing Machinery (ACM). - 9781450324731 ; , s. 1001-1010
-
Konferensbidrag (refereegranskat)abstract
- With The Vocal Chorder, a large interactive instrument to create accompaniment, opera singers can get more power over the performance. The device allows performers to interactively accompany themselves through pushing, leaning on and bending steel wires. The design was guided by the unique needs of the solo-singer, explored through autobiographical design and material explorations, some on stage, and later tested by other singers. We discuss how designing for opera and for the stage requires extraordinary durability and how opera performances can change with a bodilyoriented instrument such as The Vocal Chorder. Through a designerly exploration, we arrived at a device that offered (1) a tool for singers to take control over the rhythmical pace and overall artistic and aesthetic outcome of their performances, (2) an enriched sense of embodiment between their voice and the overall performance; and (3) a means to empower opera singers on stage.
|
|
| 3. |
- Zaccarini, John-Paul
(författare)
-
Circoanalysis : Circus, Therapy and Psychoanalysis
- 2013
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- There is an object/artefact of circus and a subject/process that makes it. This research considers the subject of the circus-making in order to bring it to the foreground of future discussions about pedagogy, practice and production. If the shift from Traditional to New Circus brought with it changes in education – the incorporation of theatre and dance – then the emerging Contemporary Circus may need a more refined set of tools to facilitate its creative growth. This thesis sets out how psychoanalytic theories can be adapted and its key practices adopted to bring about this shift from New to Contemporary Circus in pedagogic practice. The practice tends to the subject that is traditionally mute in the face of the demands of circus, to which it complies becoming an object with minimal agency. Psychoanalytic praxis is adapted to give the subject a voice in order to develop a methodology specific to circus; circoanalysis. Following Freud it starts with the analogy of the circus act and the dream, the proposition that both are productions of the unconscious and contain hidden meanings and desires disguised by the formal content. It continues with the analogy of the symptom, which must be repeated for the partial and ambiguous satisfaction of unconscious desire and is at the threshold of the somatic and the psychic. Winnicott's theory of play is utilised to examine how artists explore and work through certain aspects of anxiety provoking psychic content in their work. Anxiety, in its Lacanian formulation, present in both circus and the consulting room, provides the key to understanding the importance of the Other in the act. Circus, like psychoanalysis, needs its other to recount its story to. Over one hundred research participants, students and professionals, engaged in the practices of questionnaires, focus groups, consultations, interviews and extended periods of circotherapy. The thesis describes the development of a technique of talking through the manifest, formal content of the circus act in order to get to the unconscious desires that create it. The act is then seen as a symbolic compromise formation enveloping a kernel of real jouissance. In a series of case studies hysteria, obsessive neurosis, masochism, paranoid fantasy and melancholia are seen both as a series of subject positions with regard to circus and its spectator and as ways of managing an excessive enjoyment. Circus is put into a new context as a healing practice for its practitioners, whether in the form of repetition compulsion that turns bad objects into good ones or as a homeopathic self-immunisation against pain, anxiety and the relation to the Other. It casts new light on the problematic the circus has with the theatrical performance tropes of character and narrative which emerge as disavowals of this latent content and relation to the Other and suggests that a move forward, beyond this Other of the circus, implies a certain form of mourning.
|
|
| 4. |
- Ölme, Rasmus, 1973-
(författare)
-
From Model to Module: A move towards generative choreography
- 2014
-
Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- The thesis engages in Choreography and Dance Technique by delineating the concepts and practices that the artistic research project MODUL has generated. A modular method of choreographing is articulated. The MODUL method of choreography starts by making a topographical movement analysis of the context that the work engages with. This analysis results in an identification of the different agencies at work within the context approached. They are considered as Choreographic Agents and as elements of the modular assemblage. The choreographic act then performed consists of a re-articulation of the relations between the different elements. The MODUL method links movement practice and art production as the topographical movement analysis is also applied to, and conceptualised through, the body.In terms of dance technique the MODUL method works with the same topographical movement analysis to explore bodily functionalities as Choreographic Agents. The technique is called Body-Self Attunement and aims at tuning the self, understood as the symbolic body, with the biological body. Body-Self Attunement does not try to unify the symbolic body and the biological body but affirms the gap as generative. The term Generative Choreography is coined in order to emphasise the performative aspect of choreography that is not defined by what it is, but what it does.
|
|
| 5. |
-
Action Research in Circus; Learning the Methods of Teaching the Methods of Artistic Research.
- 2011
-
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.
|
|
| 6. |
- Behrndt, Synne K.
(författare)
-
Dance, Dramaturgy and Dramaturgical Thinking
- 2010
-
Ingår i: Contemporary Theatre Review. - : Informa UK Limited. - 1048-6801 .- 1477-2264. ; 20:2, s. 185-196
-
Tidskriftsartikel (refereegranskat)abstract
- The article discusses the relationship between dance and dramaturgy, and takes stock of the ongoing discussions and debates surrounding this relationship. The author goes on to advocate for 'dramaturgical thinking' as something which is shared by everyone within a creative process.
|
|
| 7. |
- Damkjaer, Camilla
(författare)
-
On the Ropresentation of Space
- 2012
-
Ingår i: Dance Spaces – Practices of Movement. - Odense : Syddansk Universitetsforlag. ; , s. 119-136
-
Bokkapitel (refereegranskat)abstract
- This article is an examination of the specific spatial characteristics of the circus discipline vertical rope. Starting from the assumption that we cannot compare the spatial characteristics of arieal disciplines to dance until we have understood the discipline's internal spacial articulation, this article leaves the floor in order to go into that space, above, often vaguely understood as "in the air". This articles describes the space that the vertical rope articulates as a a set of interweaving tensions, activated and intensified by the movement of the human body in the rope.
|
|
| 8. |
-
Documentation of CARD : circus artistic research development
- 2012
-
Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- CARD consisted of a dense program with 27 different presentations and activities. The hope was to address artistic research in circus in the intersection between physical practice, reflections on practice and theory. The event therefore consisted of keynote lectures, performances, presentations of methods, presentations by emerging artists, and not least: a four day workshop led by 4 invited group leaders.The key note speakers were: Tilde Björfors, John-Paul Zaccarini, JeanMichel Guy and Rolf Hughes. They all presented their point of view on artistic research in circus and at the same time put forward a specific question that the participants would continue working on during the workshop in the afternoon.The workshops were guided by four group leaders: Ivar Hecksher, Nalle Laanela, Jean-Michel Guy and Maksim Komaro. The group leaders guided the groups in their work on the question as they transformed it into discussions and physical experiments.CARD also contained sessions where artists presented their methods. Thus Ilona Jäntti , Paola Rizza, and Daniel Gulko shared their methods with the participants. In addition to this, the emerging artists Marie-Louise Masreliez, Jacob Cold, Celso Pereira and Francesca Lissia presented their work.During CARD several performances were also presented. The Company La Scabreuse presented [ TAlTEUL ] created by Jean-Michel Guy, Nathan Israel, Julie Mondor, Tom Neal and Jordi L.Vidal. La Scabreuse also presented a workin-progress: LARD -a creation project by Nathan Israel, Volodia Lesluin and Paola Rizza. In addition to this Hona Jäntti presented two solos: Muualla/Elsewhere and Footnotes. The performances were discussed by the participants of CARD, lead by Monica Sörensson, Cilla Roos and Nalle Laanela.
|
|
| 9. |
- Dykhoff, Klas
(författare)
-
Non-diegetic sound effects
- 2012
-
Ingår i: The New Soundtrack. - Edinburgh : Edinburgh University Press. - 2042-8855. ; 2:2
-
Tidskriftsartikel (refereegranskat)abstract
- Most films tell a story. This story takes place in a constructed world that only exists in each specific film. It makes no difference if the story is set in a fantasy world, a historical or a future world, or even if it’s a documentary that depicts reality. Every film still creates it’s own filmic world, its diegesis.. Everything which happens inside this world is called diegetic and what happens (in the movie) outside this world is called non-diegetic. Traditional film music and voice-over narration are typical examples of non-diegetic sounds. The characters in the film are unaware of them, because they don’t exist in the same world. These sounds are messages from the filmmaker directly to his/her audience. Music played inside the film’s world, for example by visible musicians or from a radio seen on screen, is diegetic, as is dialogue and sound effects. The characters in the film are meant to be aware of these sounds. Whether the actors heard these sounds while shooting the scenes or if they where added during sound editing, they influence the audience’s interpretation of the characters, the situation and the narrative.
|
|
| 10. |
|
|
