This project explored how different art practices from different fields cross-pollinate in the process of making interdisciplinary art. I want to trace how the process of exploration and thinking in different mediums create a dynamic interchange of ideas that leads to the development of new ways of relating to practices. I used different approaches and techniques, from somatic practices to experimenting with digital tools, to understand how different practices interact with and inform each other. The process becomes an intricate system of similarities and feedback loops, where one can reflect and interpret in many different mediums. Referenced documentation can be found in Research Catalogue. https://www.researchcatalogue.net/view/2145583/2183542

Sammanfattning Denna studie genomfördes 2009, som en del i ett större projekt; ett konstnärligt och pedagogiskt utvecklingsprojekt på Teaterhögskolan (Stockholms Dramatiska Högskola).   Syfte och frågeställningar Syftet med min studie är att fånga upp och analysera mina egna upplevelser, vid arbete med kroppslig gestaltning, utifrån Viewpoints, Mask och kostym/Karaktär. Vad gör arbete med Viewpoints för min upplevelse vid kroppslig gestaltning?  Vad gör arbete med Mask och kostym/Karaktär för min upplevelse vid kroppslig gestaltning? Vilka moment upplever jag som speciellt kritiska?                                                    Hur förändras mina upplevelser under processens gång?   Metod Studien bygger på att jag har gjort en deltagande observation, med hjälp av introspektion. Jag har gjort en så kallad samtida introspektion. Forskarsubjektet och forskningsobjektet är en och samma person, vilket kallas för forskarintrospektion. Empirin utgörs av den förda fältdagboken, varur jag valt ut ett antal av mina nedtecknade upplevelser att analysera och tolka.   Resultat De tre metoderna Viewpoints, Mask och kostym/Karaktär väckte olika typer av känslor, sprungna ur affekter. Ett kausalt samband kan ses mellan Viewpoints och de positiva affekterna glädje och intresse/nyfikenhet medan Mask och Kostym/karaktär oftare väckte starkt negativa affekter så som rädsla. De negativa affektupplevelserna var påtagligt kroppsliga. De negativa affekterna förändrades över tid, i slutet av min empiri ger jag uttryck för de positiva affekterna glädje och intresse/nyfikenhet, även i arbete med Mask och kostym/Karaktär. Genom att föra dagbok tydliggjordes mina ”förhandlingar” med mig själv, vad gäller min syn på och upplevelse av könskategorisering och heteronormativitet.   Slutsats Viewpoints, Mask och kostym/Karaktär kan alla tre på sitt eget särskilda vis betraktas som kraftfulla pedagogiska redskap och bidra till personlig utveckling, när det gäller kroppslig gestaltning / Abstract The following research was conducted 2009 as a part of a bigger project; a development work in the Arts at Teaterhögskolan (Stockholm Academy of Dramatic Arts).     Aim The aim with this research is to capture and analyze my own experiences during physical interpretation, based on work with Viewpoints, Mask and costume/Character. How does work with Viewpoints affect my experiences, during physical interpretation? How does work with Mask and costume/Character affect my experiences, during physical interpretation? What moments do I experience as extra critical? How does my sense of experiences change during the process?   Method The research is built up on participant observation, through introspection. I have made a simultaneous introspection. The researcher and the subject of research is the same person, which is referred to as researcher introspection. The empirical material consists of my kept journal, from where I picked out a number of the noted experiences for analysis and interpretation.   Results The three methods Viewpoints, Mask och costume/Character raised several kinds of emotions derived from affects. A causal connection can be noted between Viewpoints and the positive affects of joy and interest/curiosity whereas Mask and costume/Character more often generated strong negative affects such as fear. The experience of the negative affects was unmistakably physical. The negative affects transformed over time by the end of my empirical material I gave voice to the positive affects joy and interest/curiosity as well, when working with Mask or costume/Character. By keeping a journal my ongoing “negotiations” became obvious containing my view upon/ experience of categorizing gender and heteronormativity.   Conclusions The three methods Viewpoints, Mask and costume/Character can all, in their own particular way, be seen as powerful educational tools and contribute to personal development, when it comes to physical interpretation.

Hanna Normann and her artistic team will present the concept of stalking, examining who is stalking who. Stalking as a phenomenon, I ask myself as an actress: Audience as a stalker or actress as a stalker? Who is stalking who? - Who is dependent on whom? What do "the gaze of the audience" and "the gaze of the actress" look like when I start working with their conventions? As an actor/actress, how do I get the feeling of being equal to the audience? I ask myself, "How come I feel a sense of relief from not creating directly in front of an audience in the same time and space?" What is it? Why do I feel a greater desire to create in front of the camera and capture what is called the present and what is called presence on film instead of on a stage in direct connection with an audience? What does the audience expect from the actor if I challenge the audience, the traditional theater space, and the traditional meeting that occurs on stage between the actor and the spectator? How do I create the "now" in a different discipline? How long does one "now" last? How do I catch one "now"?

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En reflekterande text utiifrån frågeställningen "hur gör man en sammanhängade design för en föreställning när akterna skiljer sig markant i sin form?". Texten utgår från reflektioner gällande processen av att arbeta som en av två maskörer i en produktionsprocess där de två akterna skrivits av olika dramatiker och regisserats av två olika regissörer och hur det praktiska och konstnärliga arbetet formats av dessa förutsättningar.

This is Not Not My Dance is a practice‐based research project that advances processes of choreographic re-enactment through a method of choreographic re-documentation. I propose a means of re‐documenting choreography to make it a digital resource for new creation. This thesis presents a renegotiation of notions of performance and documentation, emphasises aspects of alteration in processes of preservation, and re‐evaluates ideas of exclusive ownership rights of dance works. Lepecki’s claim that choreography is an inconclusive ghostly matter ‐ derived from Derrida’s philosophical use of the terms ghostly and haunting, together with Schneider’s notion of cross‐temporality ‐ theoretically support an understanding of choreography constituted by a process of re‐documentation.

Ett undersökande i hur skådespelarnas kroppar kan användas i en designprocess för att fördjupa kostymdesignen och karaktärsgestalltningen.

<p>The purpose of this study was to explore the union of technical and imagery-based instruction (hereinafter, T-I instruction) in two phases. Phase one: The researcher (1) explored T-I instruction&rsquo;s influences on aspiring performing artists&rsquo; acquisition of learning and performing newly composed pieces and improvisation, and; (2) observed aspiring performing artists&rsquo; feelings of learning with T-I instruction versus technical instruction. Phase two: The researcher investigated (1) listeners&rsquo; perceived expressivity of aspiring performing artists&rsquo; performances that were either influenced by T-I instruction or technical instruction; (2) listeners&rsquo; perceived expressivity of aspiring performing artists&rsquo; performances of newly composed pieces versus improvisations; (3) whether there was a statistical significant difference of T-I instructions&rsquo; influence on the progressive differences in the means of listeners&rsquo; perceived expressivity between the aspiring performing artists across the time frame of the study; (4) the explanations for their ratings, and; (5) information that helps listeners perceive music as expressive using the <i> Perceived Expressivity Questionnaire</i> (PEQ). </p><p> Results for Phase one: 60 sub-themes and 13 themes emerged from the data relating to two meta-themes: <i>Learning</i> and <i>Quality of Life</i>. Results for Phase two: Cronbach&rsquo;s alpha statistical procedure revealed an unacceptably low internal consistency for listeners&rsquo; perceived expressivity of aspiring performing artists&rsquo; performances (&alpha; = .02). Hence, no further statistical analysis was implemented to answer research questions one through three. Explanations for their ratings dealt primarily with aspiring performing artists&rsquo; use of 11 musical components. The Brief Essay Responses from the <i>Perceived Expressivity Questionnaire</i> (PEQ) provided possible explanations for the low internal consistency and insight on what kind of information help listeners&rsquo; perceive music as expressive. Further discussion on the finding and implications for performing artists and educators&rsquo; use of T-I instruction are offered in this document. </p>