Susanne Martin

Improvisation, Performance, Dance
en

 

Susanne Martin (PhD) is a Berlin-based choreographer, performer, researcher, and teacher in the field of contemporary dance and theatre. She presents her work internationally in solo performances and collaborative stage works. Her artistic practice and research focus on improvisation as choreographic practice, critical practices and narrations of age(ing) bodies, contact improvisation, artistic research methods, and improvisation-based approaches to learning, knowledge production and knowledge dissemination. Festivals that presented her performances include: International Dance and Theatre Festival (Gothenburg), Aerowaves (London), Nottdance (Nottingham), Opera Estate (Bassano del Grappa), Tanec Praha (Prague).

Her PhD dissertation Dancing Age(ing): Rethinking Age(ing) in and through Improvisation Practice and Performance was published 2017 by transcript. In her postdoctoral research at EPFL, Switzerland she examined dance improvisation in its potential to rethink and advance processes of learning and researching in a technical university.

www.susannemartin.de


research

research expositions

  • Embodying Recognition: Dance Improvisation for Scientists (2023) author(s): Susanne Martin published in: Research Catalogue
    In this exposition (text, videos, photos) I discuss a series of participatory lecture performances as one major outcome of my artistic research on dance improvisation in and for science and technology oriented higher education. These lecture performances aim to give different stakeholders in the science field an initial insight into dance improvisation and to facilitate discussion of its potential for the scientific learning, teaching and research culture. From the perspective of a dance artist and artistic researcher, I trace the details of how and why I created events for scientists to encounter dance improvisation through shared exploration and shared reflection. Interlacing descriptive and reflective writing, I unfold the argument that by engaging in improvisation as an embodied recognition practice, reflective processes can be set into motion, which critically question habituated forms of bodily, social and epistemological exclusions within academia. In other words, by conceptualising dance improvisation as recognition practice, I hope to shed light on its critical potential which exceeds questions of spontaneity and creativity.
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