Exposition

From paper to performance: nonverbal communication as a vehicle for expression (last edited: 2019)

Renato Dias Peneda
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About this exposition

This artistic research project focuses on the use and role of nonverbal communication as a means to effectively communicate narratives and display characters in modern percussion works, with particular emphasis on visual cues, i.e. physical appearance and kinesics – facial expressions, posture, and body and ocular movement. Research into this topic was motivated by the author’s desire to become a more expressive performer and had the added benefit of expanding the author’s solo percussion repertoire. The research strategy applied was the realisation of two case studies, on Cie. Kahlua’s Ceci n’est pas une balle and F. Sarhan’s Home Work. The mixed methods approach to the topic included literature research, analysis of the scores and videos of performances, interviews, coaching by experts in music, theatre and dance, quasi-experiments, and autoethnography. The interventions resulted in the author’s own versions of the compositions, each with its own narrative and corresponding characters, which are made clear by the use of nonverbal cues. In addition, the author designed a general method for preparing engaging performances that can be followed by other musicians and thus provides a contribution to the field. By the end of the research process, the author had improved his body awareness, stage presence, and nonverbal communication skills to the point where he could effectively communicate his artistic ideas to the audience.
typeresearch exposition
keywordsNonverbal communication, Body percussion, physical theatre, Body awareness, narrative, Character, emotion
date28/12/2018
last modified22/02/2019
statusin progress
share statuspublic
affiliationCodarts, University of the Arts
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/550063/550064
external linkwww.codarts.nl


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name2018 From paper to performance - Renato Penêda
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nameRenato Peneda - Reference Recording
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name02 Intermediate recording for feedback – David Prins
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name03 Intermediate recording for feedback – René Spierings
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name04 Coaching – René Spierings
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name05 Intermediate recording for feedback – Andreas Scharfenberg
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name06 Experimentation 1 – Andreas Scharfenberg
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name07 Experimentation 2 – Andreas Scharfenberg
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name08 Experimentation – Silent version with a real ball
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name09 Experimentation – Introduction with a real ball
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name10 Experimentation – Bars 5 and 6 with a real ball
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name11 Experimentation – Bars 24 to 28 with a real ball
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name12 Experimentation – Silent version without ball
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name13 Experimentation – Introduction without ball 1
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name14 Experimentation – Introduction without ball 2
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name15 Experimentation – Introduction without ball 3
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name16 Experimentation – Bars 5 and 6 without ball
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name17 Experimentation – Bars 24 to 28 without ball 1
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name18 Experimentation – Bars 24 to 28 without ball 2
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name19 Experimentation – Strictly musical (“white mask”) version
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name20 Practising examples – Intro 1
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name21 Practising examples – Intro 2
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name22 Practising examples – Airplane arrival 1
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name23 Practising examples – Airplane arrival 2
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name24 Practising examples – Present Catch 1
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name25 Practising examples – Present Catch 2
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name26 Practising examples – Football tricks
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name27 Practising examples – First section
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name28 Practising examples – Second section (partial)
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name29 Practising examples – Bounce intro (reprise) 1
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name30 Practising examples – Bounce intro (reprise) 2
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name31 Practising examples – Bounce (energetic) West Side Story
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name32 Practising examples – Second section
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name33 Practising examples – Egg timer
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name34 Practising examples – Third section
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name35 Practising examples – Fourth section
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name36 Practising examples – Tricks (enhanced rotation) (partial)
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name37 Reference Recording 2 – Ceci nest pas une balle
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name38 Reference Recording 3 – Home Work
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name39 Reference Recording 3 after feedback – Hans Leenders
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name40 Intermediate recording for feedback – René Spierings
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name41 Coaching – Katharina Conradi (warm-up kinesphere and action drive motifs)
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name42 Coaching – Katharina Conradi (core strength exercises)
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name43 Intermediate recording for feedback – Hans Leenders
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name44 Intermediate recording after feedback – Hans Leenders
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name45 Experiment – alternative narrative
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name46 Intermediate recording for feedback – Cézanne Tegelberg
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name47 Coaching – Cézanne Tegelberg (multiple characters)
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name48 Experiment – multiple characters old man
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name49 Experiment – multiple characters politician
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name50 Experiment – multiple characters child
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name51 Improved text – ‘Home Work’
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name52 Strictly musical version – ‘Home Work’
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name53 Reference Recording 4 – Home Work
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