Pǝ'fɔ:m(ǝ)ns ABOUT US
Effect, affects and side-effects of performative acts can be observed within all the institutions at Faculty of Fine, Applied and Performing Arts. Depending on artistic genre, specific performance vocabularies/theories are formulated from on diverse forms of knowledge, which are assembled via differing processes as whilst developing performative acts. Understandings and experiences reflect the complex relations between the performer/performers and the audience with physical/psychological interaction, spatial dynamics, intentionality, and creative ambitions assembling in ways that catalyse differing forms of knowledge. Knowledge that can be as valuable to educational purpose as it is to research based on performance and performativity from artistic, practice‐led perspectives.
Our purpose is to establish a dynamic and convivial performance/performativity Collegium with the faculty that is cross-disciplinary. We seek to operate in a co-participatory way by engaging participants to create, analyze and discuss artistic and educational forms and methods related to different aspects of performance and performative arts - theatre, opera, acting, music, visual arts, literary arts, live art, performance art and Performance and Theatre studies. We are conscious of the ways in which performance also relates to teaching and to everyday life and this will also be our focus.
Our methods will encourage the group to use all senses, improvisation, nonsense and imagination to animate what we learn. Our intention is to also merge the various perspectives of performance into an intra-active performance laboratory, closely linking performing practice and theory in connection to three specific themes:
The performative/performing voice
Within this strand the group will explore vocality, voice and performance in its broadest sense, inviting members to a dialogue on topics such as the role of the artistic voice; production of sounding expression; eclecticism; dissident voices; voice, process and paradox; the voice as a tool for communication and a link between the performer and the audience; voice and the search for identity; the artificial voice; the provocative silent voice; voices, cultures and memories; documentation of voices; listening, utterance, and language; voice, movement, body and embodiment; vocal aesthetics. Our aim is also to allow for various voices to intra-actively contribute towards establishing a vocal performance glossary/archive, with specific reference to studies on artistic education, artistic research and a more general consideration of meaning-‐making in the field of vocal performance and performativity studies.
To teach is to perform!
Teaching is to act, but what kind of performance is it? Is the classroom, as a broad understanding, a stage or playground were we can act out different approaches to relational situations of learning and teaching? We will approach teaching as a performative activity, and as performance. Our aim is to approach teaching and pedagogy artistically from different theoretical and practical perspectives. What happens with teaching and pedagogy when viewed from, for example from a Performance Studies perspective, or from different ideas of identity plays or as plain entertainment? What kind of plays, games or rituals can teaching transform into? These are important questions especially for institutionalized art teachings in educational situations at institutions, such as the University. Dissolution of disciplines is in many ways a logical consequence of how contemporary and institutionalized art and art education have developed. We are all trained in different contemporary contexts where participation and cooperation are common components. But can a performative understanding of education, within the different artistic fields, create a new meta‐art‐form, a form of a teaching performance art, to be used as a tool (or craft) for understanding the specific conditions and needs in teaching art? Our aim is to turn teaching and pedagogy inside out and try out what happens when life become learning, and learning become performance.
- From every day performance, to rituals and performing objects
The everyday has been a central tenet of contemporary art of the late twentieth and twenty-first century including via the introduction of the vernacular and quotidian within performance. Through this thematic the group will explore diversified modes of performativity as rituals within the auspices and behaviours of ‘artistic practice’. Contemporary thought, emanating from the cross‐disciplinary ‘happenings’ from the late 60s and 70s, has began to suggest that objects and objecthood are no longer ‘still’ or ‘autonomous’ or even ‘props’ but, rather, are themselves ‘actors’ – their ‘thingness’ contributing to a broader ecology of thinking through, by, about and for performance. What does the interface between ‘bodies’ with ‘things’, ‘bodies with bodies’ and ‘things with things’ suggest in terms of revisiting existing, and initiating new, paradigms of performativity? What constitutes an ‘ensemble’, ‘ephemerality’ and ‘encounter’ within the rituals and excesses of contemporary practice when material and body interact, in private ritual or public arena? Our aim will be to interrogate issues relating to re-enactments, exhibition making/curatorship of performativity and the continuously expanding field of performance including in the public arena.
The overall aim of the cross‐disciplinary performance group is to give members of the Faculty a context in which to encounter and experience performativity and its meanings, whilst obtaining tools to analyze and produce discussion and of performative modes of expression and strategies as a way to explore the world, including human communication and social interaction.
The group will develop a critical mass guided by transparency in an inclusive environment, welcoming both intimate discussions and outreaching events as part of every day action and extreme excess.PERFORMANCE GLOSSARY
A performance archive/glossary based on the contents of the performance sessions/laboratories will be published on‐line but also practice‐based/led perspectives, and eventually it can be developed into a tool for teachers, students and researchers in the field of performing arts.CoordinatorsElisabeth Belgrano