Into the Known, a Pathway to Dramaturgy
(2024)
author(s): Picalogy
published in: Stockholm University of the Arts (SKH)
A breakdown of how and why dramaturgy became essential for my artistic work. I go through the development of my dramaturgical thinking starting from the year 2000 when digitalization of media was making its final breakthrough. In this study, I touch on the media field, performing arts, and an online storytelling tool designed to gather and share my practical knowledge of dramaturgy.
HONEYMOON IN POMPEII - work in progress
(2021)
author(s): Sven Vinge
published in: International Center for Knowledge in the Arts (Denmark)
“HONEYMOON IN POMPEII – work-in-progress” is an artistic research project conducted at the National Film School of Denmark. In it, I explore transmediality through the production of a prototype artwork spanning film, literary text, sculpture, and virtual reality all loosely inspired by the archeological technique used to cast the Pompeian victims of the Vesuvius eruption in 79 ad.
I describe my initial inspiration and how I changed my intentions of exploring a consistent storyworld to more abstract associations and themes and the different collaborative efforts in producing the four parts of the prototype (a test not meant for public exhibition). The prototype ended up consisting of:
1) A film representing a foot specialist helping a costumer try running shoes in a sports store but showing an obsessive interest in her feet and crossing her personal boundaries.
2) A literary text consisting of selected passages of Wilhelm Jensen’s short novel “Gradiva” (1902) translated to Danish in which we meet the young archeologist Norbert Hanold and notice his obsession with an ancient bas-relief portraying a young woman walking.
3) A sculpture consisting of four transparent plastic reliefs depicting a walking woman (copies of the bas-relief described in the novel) suspended in a 1x2x2 meter aluminum frame.
4) An erotic virtual reality experience in which the perceiver’s bodily movements affects the virtual world. When moving, the represented scene freezes and vice versa.
We conducted a test of the joint transmedia artwork with a small group of respondents who answered a questionnaire reflecting on their experience. I reflect on the respondent’s answers and propose further questions and themes that may be interesting to explore through artistic research: How does one explore transmediality not necessarily in relation to a consistent storyworld but also relying on abstract characteristics? What are the limits (if any) between mixed media art, transmedia art, and installation art? How can transmediality be explored as either a goal in itself or as a development tool for artists working with particular media in mind? Could it be beneficial to explore transmediality through the metaphor of archeology and how?
Storyworld 2.0
(2020)
author(s): Simon Jon Andreasen
published in: National Film School of Denmark
In this project we are exploring how you can use gaming technology to create digital STORYWORLDS (transmedial universes) as a basis for creating film, theater, games, television, comics, books, VR and formats we do not yet know.
The exposition contains:
- a personal artistic and practical journey through familiar yet unknown story territory where we build an actual world
- a series of interviews with professional storytellers about their artistic ways and how they use and can use storyworld thinking
- three excercises which can be used in teaching of students as well as professionals in the art of creating storyworlds.
Finaly the exposition propose a new UNIVERSE DEVISING model blending game and theater methods to create transmedial universes.
An Interdisciplinary Approach to Jazz Performance
(2015)
author(s): Priscilla Nokoe
published in: KC Research Portal
This research is an exploration in how other performing arts disciplines, namely Dance/Movement and Theater, can be used and implemented in a jazz performance to possibly create a interdisciplinary performance.
What is Music Theater?
(2015)
author(s): Claudia Hansen
published in: KC Research Portal
Name: Claudia Hansen
Main Subject: T.I.M.E.
Research Coaches: Ines van der Scheer and Arnold Marinissen
Title of Research: What is Music Theater? (A definition by a staging musician.)
Research Question:
What is the difference between Music Theater – the modern performance art form and sub-genre of Music Theater – and other hybrid art forms that include musical and theatrical elements grouped under the hypernym ‘Music Theater’? And, is it possible to construct a definition for Music Theater?
Research Process: I used the word ‘music theater’ to describe the hypernym and the word ‘Music Theater’ to describe the subgenre. First, I researched the history and the evolution of the tendencies in Music Theater as hypernym genre and made a historical overview from the beginning of Music Theater up until the emergence of the subgenre ‘Music Theater’. I focused on the development of Music Theater as a subgenre.
In order to find out what the essence of Music Theater is, I analyzed the three major components of Music Theater. I made an overview of challenges that a creator faces in Music Theater and proposed several solutions, which are based on reasoning and existing performances. I tried to see as many performances as possible, which in the widest sense could be considered to be Music Theater, in order to get a wide overview of present day streams and chose six performances that in my opinion are perfect examples to illustrate my concept of Music Theater, and analyzed the various components of these works (such as music, visuals and text) in detail. Finally, I worked towards a new definition of Music Theater.
Summary of Results: Music Theater is a heterogeneous but symbiotic performance genre, which is constructed with a multitude of art forms. The name might suggest that the main focus lies on music and theater. However, any existing art form can be included. The art forms can be divided into three major categories called components: music, theater and visuals. Each art form is equally important as Music Theater is based on the structural equality of voices. Music Theater is constructed by first distilling four innate languages out of the art forms and then applying them to either the same art form or inducing them into another art form: musical language, verbal language, body language and visual language. Each language element has a valuable existence of its own and
is an autonomous element of the performance that adds a particular atmosphere to the whole picture. The languages are either layered in the performance or the aspects of the performance, such as the protagonists (human or material) or the art forms themselves. Music Theater is a performance genre that rather focuses on the impact that it has on the audience than on the compositional art forms. It is outcome-based and not medium-based. This creates space for each audience member to have a completely personal experience and interpretation of the Music Theater performance.
MY PUBLIC STAGE
(last edited: 2024)
author(s): Ioannis Karounis
This exposition is in progress and its share status is: visible to all.
"My Public Stage" is not merely an artistic practice; it is a dynamic fusion of performance art and civic engagement that transcends conventional boundaries. At its core, this practice navigates the intricate relationship between the artist and the public sphere, offering an unconventional perspective on how art can reshape our understanding of the world.
The essential aspect of this artistic journey lies in the intentional placement of artistic interventions and performances within public spaces, where the encounter with viewers is not a predetermined spectacle but a meeting. This deliberate approach seeks to dissolve the traditional separation between the artist and the individual, fostering a unique connection that is spontaneous and genuine.
I view public space as not only a material but also a social environment that is produced, reshaped and restructured by the citizens through their experiences, their intentions for action and the relations they develop in it. My project draws on Lefebvre’s (2019) approach to urban public space not as a neutral container of social life, but as a fluid entity, both constructed and produced by social practices. Lefebvre’s approach confirms and expands my view that public space is not fixed, yet it requires a conscious effort to intervene in its production.
The philosophy driving "My Public Stage" aligns with the concept of civic engagement. By presenting long durational performances in the heart of everyday life, the artist consciously assumes the role of a creator, using performance art as a medium to unveil the interconnected elements that bridge art with life. This philosophy echoes the sentiment of Joseph Beuys, who believed that everyone is an artist, actively sculpting the intricate sculpture we call life.
In embracing the public sphere as its canvas, this practice transcends the conventional boundaries of art and daily reality. It becomes a catalyst for a different perspective on how individuals perceive and engage with their surroundings. The transformative power of performance art is harnessed to reveal the latent artistic potential within each person, emphasizing the symbiotic relationship between art and life.
kartografie - Analyse en Reflectie - Ellen Dupré
(last edited: 2023)
author(s): Ellen Dupré
This exposition is in progress and its share status is: visible to all.
Spanning in de praktijk
vrouwonvriendelijkheid in theater
stereotype vrouwenrollen
gender ongelijkheid in theater
The Walk-
(last edited: 2020)
author(s): katta pålsson
This exposition is in progress and its share status is: visible to all.
How we can be capable of extended compassion and how theatre and immersive media can collaborate and reach out to and with an audience.