Mitt magisterarbete bestod av en 45 minuter lång pjäs som jag skrivit och som framfördes i januari 2016 vid två publika tillfällen på Stockholms konstnärliga högskola. Processen beskrivs inledande i skrivarbetet. Den färdiga pjäsen, Den goda skådespelaren, finns som version 14 och version 1 i slutet av skrivarbetet. Själva magister redovisningen var praktisk, det vill säga att jag skrev en pjäs och framförde den för publik och examinerades sedan då jag också skrivit om vad det var jag hade gjort. Det inledande texten består av beskrivning av metod, mål och syfte och om processen att iscensätta och gestalta kultursociologiska teorier med utgångspunkt från främst sammanfattningen av Bourdieus teorier som jag fann i uppsatsen Kulturens fält Om Pierre Bourdieus kultur och utbildningssociologi av Donald Broady. Till min praktiska framställning utgick jag från Brechts teaterteorier. Både Bourdieu och Brecht var intresserade av utbildning.  Jag ville (enligt Brecht via teater undervisa) om frilansande konstnärers livsvillkor och arbetsförhållanden kopplade till de ekonomiska förutsättningarna för konsten och konstnären. Syftet var att väcka idéer och tankar. Bourdieus teorier är i pjäsen gestaltade som dialoger om tillhörighet, vilka grupper som utestängs från de kulturella arenorna och varför? (hur eliter formeras och reproduceras), hur makteliter inte erkänner (misskännande) att de har haft vissa fördelar (socialt och kulturellt kapital) som gjort att de nått toppositioner inom sitt yrkesfält.  När jag nu fått spela min pjäs vid flera tillfällen har jag experimenterat med att, mer eller mindre, beskriva Bourdieus tankar och teorier för publiken efter föreställningen. När jag redovisat Bourdieus och Brechts teorier och begrepp så har det uppstått diskussioner om maktstrukturer inom olika fält. Exempelvis privata teateraktörer kontra fria grupper. Om jag inte redovisat teorin uppstod diskussioner av mer igenkännande karaktär. Då har diskussionen kommit att handla om egna minnen från den egna yrkesverksamheten. Diskussioner har uppstått. Brechts episka teaterteknik har på ett tydligt sätt fungerat som en grund för dialog och diskussion efter föreställningarna. Om man tittar på föreställningen som ett slutgiltigt verk är möjligen så att den konstnärliga helheten hade mått bättre av att minska antalet distansering tekniker (projektioner, att bjuda in publik i dialog, kommentera privat, distrahera genom plötsliga händelser och komik m.m.) i min föreställnings uppförande. Men det var inte målet. Brecht förespråkade teatern som ”utbildning” och i det här fallet har jag utbildat mig själv och förhoppningsvis också hittat en metod för att utbilda och väcka reflektion hos andra genom scenisk gestaltning och genom skriven dialog med noter och hänvisningar till sociologisk teori och teaterteori. Praktik och teori i ett arbete.

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This is an essay about my personal reflection of what motivates me and which methods I use to understand and maintain my motivation as a mask- and wigdesigner.

This thesis is produced with the texts that are the outlets of the artistic research on a writing practice influenced by the dance-making process for the SKH Choreography Master’s graduation performance “heartquake”.  The writing practice is a tryout to translate the studio practice that was present in the process into a different medium, into a text.  Even though this practice started as an accompaniment to the dance-making process as a translation, it became like a mirror that helped to try to figure things out and also ended up as documentation because of the nature of the text. There are two main subgroups of the texts, the ones that are produced before the premiere and after the premiere. Different approaches have appeared throughout the process, some of them could keep their presence till the end, some of them have transformed, and some of them disappeared just as it happened in the dance-making, which can be observed just like watching clouds. And these clouds were there up in my making-world's sky.

by Sin Wai-Ling, Winnie and Fung Hon-Wai. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1995. / Includes bibliographical references (leaves 85-87). / TABLE OF CONTENTS --- p.ii / LIST OF TABLES --- p.v / ACKNOWLEDGEMENT --- p.vi / Chapter / Chapter I --- INTRODUCTION / Importance of Quality Management --- p.1 / Objectives of the Project --- p.3 / Organization of the Project --- p.3 / What is Performing Arts and Its Education? --- p.5 / Performing Arts Education in Hong Kong --- p.5 / Hong Kong Tertiary Education and Arts Education --- p.6 / The Hong Kong Academy for Performing Arts --- p.7 / Problem Definition --- p.8 / Chapter II --- RESEARCH METHODOLOGY / Project Design and Data Collection --- p.9 / Case Study --- p.9 / Questionnaire --- p.10 / Focus Groups and Interviews --- p.10 / Chapter III --- LITERATURE REVIEW / Why Concern About Quality? --- p.12 / Overseas --- p.12 / Hong Kong --- p.14 / What is Quality? --- p.15 / Meaning of Quality in Higher Education --- p.17 / The Trend --- p.17 / """Fitness for Purpose""" --- p.18 / Who are the Customers? --- p.20 / The Role of the Students --- p.22 / Who Should Set the Standards? --- p.22 / The Need of Communication --- p.24 / Resistance for Quality --- p.25 / Chapter IV --- OBSERVATION OF THE SYSTEM OF QUALITY ASSURANCE AND POLICES OF THE ACADEMY / Activities --- p.27 / Characteristics and its Role --- p.28 / Corporate Structure --- p.30 / The Council --- p.30 / The Academic Board --- p.31 / Management Structure --- p.31 / Quality Assurance --- p.31 / Quality of New Programme Introduced --- p.32 / Monitoring Process --- p.34 / Quality Assurance on the Standard of Graduates --- p.35 / External Examiners --- p.35 / Assessment Methods and Standards --- p.37 / Chapter V --- PERCEPTION ON QUALITY STANDARD AND THE QUALITY ASSURANCE SYSTEM OF THE ACADEMY / The Survey --- p.39 / Format of Questionnaire --- p.39 / Contents of Questionnaire --- p.39 / "Results, Analysis and Interpretation of the Survey" --- p.40 / Overall Response to the Surve --- p.41 / Attitude of Staff --- p.42 / Behaviour of Students --- p.43 / Overall Perception Towards the Quality Standard --- p.43 / Overall Results --- p.43 / Individual Reponses --- p.48 / Summary of Findings --- p.56 / Chapter VI --- DISCUSSION / Concept of BS 5750 and Its Application in Tertiary Education --- p.58 / BS 5750 Against Standard of the Academy --- p.59 / Selection of a Model for Quality Assurance Management System --- p.67 / Problems Associated with Application of Quality Assurance Management Syste --- p.67 / Chapter VII --- CONCLUSION / The Existing Quality Management System --- p.71 / System of the Academy versus BS 5750 Standand --- p.71 / Applicability of the BS 5750 System --- p.71 / APPENDIX --- p.73 / BIBLIOGRAPHY --- p.85

Thesis (Ph.D.) -- University of Western Sydney, 2003. / Includes bibliography.

<p> American Indian music and dance traditions unilaterally contain the following three elements: singing, dancing, and percussion instruments. Singing and dancing are of the utmost importance in American Indian dance traditions, while the expression of percussion instruments is superfluous. Louis W. Ballard has composed a piece of music for percussion ensemble which was inspired by the music and dance traditions of American Indian tribes from across North America. The controversy that this presents is relative to the fact that there is no American Indian tradition for a group comprised exclusively of percussion instruments. However, this percussion ensemble piece, <i> Cacega Ayuwipi</i>, does exhibit the three elements inherent to all American Indian music and dance traditions. <i>Cacega Ayuwipi</i> is consistent with American Indian traditions in that the audience must see the instruments, watch the movements of the percussionists, and hear the percussive expressions in order to experience the musical work in its entirety.</p>

<p> This dissertation addresses the concept of the <i> experimental</i> in contemporary dance and performance. In it I argue that, although the word is used in very different ways in traditional artistic and scientific practices, a number of contemporary dance artists utilize experimental practices in their work that produce useful knowledge that is recognizable and transmittable beyond the walls of the theater or gallery. I have written about artists whose embodied work has been described as experimental, whose innovations and explorations have produced paradigmatic shifts in dance practice and new ways of knowing, both about and through bodies.</p><p> Using theories of embodied experience from performance studies, dance studies, phenomenology and enactive perception, I argue for shifting our attention beyond textual and visual models of understanding performance to a broader palette of sensory modes and ways that attendees and makers both enact them. I propose that by doing so we broaden the possibilities for understanding the effects of performance and gain much richer tools for creating, using and analyzing our experiences of performance. I make these arguments as a maker of performance and as one who attends, reads and writes about performances. </p><p> The final chapter is a reflection in language of my own experimental performance project <i>Performance Research Experiment #2</i> which was/is a <i>Practice-as-Research</i> performance project that engaged and embodied ideas and practices of scientific experimentation to specifically explore ways that artistic practice and scientific practice may inform or interrupt each other. By extension the project tried to think, and move, through different ways that we know what we know.</p>

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