Research Catalogue

an international database for artistic research

• 3. X-position Stockholm University of the Arts publication series: X-Position, ISSN 2002-603X;3

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  OSAMSAS - A movie on how to develop scenography (2022) author(s): Linn Henriksson Strååt published in: Stockholm University of the Arts (SKH)
  This movie is an attempt to capture how I develop scenograpies using devising
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  choreo | graphy: artistic research project documentation (2022) author(s): Eleanor Bauer published in: Stockholm University of the Arts (SKH)
  This page contains a chronological overview of documented artistic research and expositions created within the doctoral research project "choreo | graphy," at Stockholm University of the Arts. This research project generated text publications (documented here in pdfs), live performances (documented here in videos), scores for those performances, interview podcasts, and works for video, all included herein. A summary of the project is located at the top of the page, entitled "choreo | graphy: doctoral project summary." It explains the research questions and methodology, offering context and orientation for the expositions and documents on this page. Reading this document as a guide to the Research Catalogue contents will assist in understanding each item in relation to the overall research. ABSTRACT The research project "choreo | graphy" is an inquiry into the relationship between thinking through dance and thinking through written language, taking the notion of choreography literally as dancing-writing. Respecting that different media afford different thought processes, ideas, and concepts to be reached, this practice-based artistic research project has unfolded within artistic processes and experiments to explore and develop the relationship between dancing-thinking and writing-thinking. Investigating the media-specificity of thought in dancing together (khoreia) as it relates to the media-specificity of thought in language and specifically writing (graphia), the research strives for an adequate relation between the two, one that serves both art forms and respects their differences. The separation of the word choreography into "choreo | graphy" signals the project’s intention to open space for consideration and reinvention of the poetics of choreographic practice and discourse.
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  Studies on Fantasmical Anatomies (2021) author(s): Anne Juren published in: Stockholm University of the Arts (SKH)
  Studies on Fantasmical Anatomies is an ongoing transdisciplinary artistic research, which encompasses the spectrum of experiences and practices that I have developed as a choreographer, dancer and Feldenkrais practitioner. By drawing on various fields of knowledge – anatomy, psychoanalysis, feminist and queer theories, poetry and somatic practices – the research expands choreography towards disparate discourses, practices and treatments of the body. Based on Feldenkrais’ speculative use of language, imagination and touch, I have developed several body-orientated practices situated at the intersection of the therapeutic and the choreographic, the somatic and the poetic. The research is articulated through three transversal movements. The first movement is the expansion and distortion of the Feldenkrais Method® from its initial somato-therapeutic goals into a poetic and speculative way of addressing the body. Secondly, I propose experiences of diffraction, "blind gaze" and dissociation as a strategy for troubling the dominant regime of vision. The third movement consists of the co-regulation of bodies and dynamic relationships between the individual and the collective. Combining fantasy, the fantasme and phantasmagoria, I invented the word “fantasmical” to emphasize how the ability to imagine may create phantom limbs that are as concrete as pieces of bone. Studies of Fantasmical Anatomies are simultaneously a set of practices, methods and places where the corps fantasmé is tangible.
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  Movement first : Directing for Movement-Based Performative Arts (2021) author(s): Lena Stefenson published in: Stockholm University of the Arts (SKH)
  Making performances that have movement as a base means in many ways to venture out into an unexplored landscape. What is to be played on stage usually has its origin in a movement-based idea and not in an already written text to be analyzed. How can this work go? Where are the challenges and what methods can be used? Lena Stefenson has written this book on the basis of her own experiences as a choreographing director with examples from various works as well as her own and others' teaching. The text is about how to create the elevated movements in a performance. How to work with theme? With story? What is the relation between text and movement? What does it mean to be a choreographer / director for a movement-based work? How are the last rehearsal weeks going? The book is aimed at anyone who is, or wants to become, a choreographing director or actor in the movement-based performing arts with forms such as dance, mime and circus. It is also aimed at those who generally want to make their scenic work more physical.
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  Voicelanding - Exploring the scenographic potential of acoustic sound in site-sensitive performance (2021) author(s): Mareike Nele Dobewall published in: Stockholm University of the Arts (SKH)
  This practical artistic research project explores how the performance of acoustic sound in dialogue with site can create a sonic scenography, experienced by an audience from within the sonic structures. Six art projects were carried out in the context of this research. Their form varies due to the site-sensitive approach that is employed: the space and the participating musicians are both the source and the frame for the resulting spatial sound performances. During workshops the collaborating musicians are introduced to site-sensitive methods. They learn full-body listening, spatial sounding, and space-care. The musicians learn to co-create with the space. In a collaborative process, spatial sound compositions are created using the site-specific sonic material that is elicited from the dialogue between the performers and the space. The relation to the audience plays an important role in the sharing of the performance space and the experience of the sonic scenographies. Therefore, active audience encounter is considered during the creative process towards the performance and it is further explored during each performance. As sound is invisible and ephemeral it is a vulnerable material to engage with when creating scenographies. In this research its instability has revealed itself as an indispensable quality of a scenography that aims to connect the elements of a shared space and make their relations perceivable. There is a tendency to make ‘reliable’ material scenographies and to sustain spatial sound through audio systems while attempting to overcome the challenges a site brings to performance. This approach to performance, scenography, and spatial sound composition, however, limits the relation between acoustic sound and site. In my sonic scenographies the performers are dependent on the dialogue with the space in order to create sonic structures that can be experienced by an audience. The attention needed for this collaboration is space-care. It includes care for all entities in the space, and especially the audience. The ephemeral quality of acoustic sound creates an active sonic scenography that performs together with the musicians, and engages multimodal listening. The resulting spatial sound performance includes the placement and movement of sonic expressions that are specific for each instrument-site relation. In the created performance, as the audience can ‘roam through’ it, they can experience a sonic scenography that unfolds around them. In the interaction of performers and audience in these shared spaces (architectural space and sonic space) a social space can develop that allows for an ephemeral community to emerge.
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  Moving through Choreography – Curating Choreography as an Artistic Practice (2021) author(s): Marie Fahlin published in: Stockholm University of the Arts (SKH)
  The purpose of the artistic research, Moving through Choreography – Curating Choreography as an Artistic Practice, has been to consider choreography and curating in their similarities and differences. Thus, at different phases of the working process, choreography and curating were treated as one and the same artistic practice; while, in other moments, as practices that are distinct from each other. Curating has been implemented as a ‘taking care’ principle and a relational activity impacting the production, presentation and documentation of choreography. Choreography has undergone a process of self-reincarnations, or rather, of trans-carnations, whereby the entire body of work has been scrutinized and altered. Key figure/body/agent of these trans-carnations has been the horse, or rather, the assemblage of human and horse, women and horses, here called ‘Centauring.’ Curating and choreography have been integrated to a scrutiny of the art of riding, specifically, the choreography of dressage. In dressage, the research has identified the rigor needed by the research to both steer and unleash the working process. The research has been pursued by purely artistic means, within a circumscribed field. Different perspectives and the making use of ramifications and loose ends, has proliferated into a plethora of intra-related works, objects and choreographies within which research result and artistic result coincide. The research har proceeded in consecutive phases. Each phase has developed its own specific artistic methodologies. The overarching methodology has provided for a clear navigation of undetermined directions and dramaturgies. The concept of ‘One’ has produced and collected both core outcomes and residual manifestations. The exhibitions and the exhibitor have carried, pursued and embodied the works and otherwise choreographies, throughout the research process.
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