Research questions:
What follows, when a performance is based on physical experience instead of watching? What if a performance, is not made for the sense of sight, but for the body of the spectator, bodily encounter, and physical contact?
What happens, when we move into the field of interactive and participatory performance, and the body of the spectator-participant becomes the scene? How does this affect the performance, performers, spectators, and art itself?
In my artistic research, I explore and create theoretical principles that clarify how this kind of a performance type works. My aim is to create a spectator-derived performance theory, where the basis is the bodily encounter and perception of the spectator-participant.
Research plan and methods of the study:
The study consists of three different artistic works. The main method is the planning, carrying out, reflecting and theoretical analysis of these artistic performances. Rehearsals form the basis for practice-based research. The performance event is an experiment, which on one hand, explores the material attained from the rehearsals, and on the other hand, rises question relevant for the study. Information, on these relevant issues and answers for the upcoming questions, can be attained only through practical work.
Artistic works:
1. The Realm of the Invisible – an interactive performance (2008) Kiasma (Kontti – exhibition room, 4 floor) and Hurjaruuth (theatre space, black box)
-Reality Research Center (Helsinki)
2. Dialogues – a participatory performance event (2009) Kiasma-theatre
- Julius Elo & Working Group
3. Circle (2013)
-Reality Research Center (Helsinki)
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