Browsing by Subject "Live art."

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  • Kucia, Karoliina (2014)
    Oops! Sorry, later just Oops! was a group practice of micro-events and animation for 4 persons that took place in 2009 in the public spaces of Helsinki. It was also staged as a performance production and presented at the Theatre Academy in November 2010. The entire process was circling around a situation of lapsus (a lapse, slip, faux pas). We used lapsus to experiment with cooperation, which is not based on sympathy or consensus. I chose lapsus for its sensual-emotional complexity and immediacy, to be an occasion for alternatives in self-organizing and collective co-emergence. I chose to do research, not through affirmation of any exact alternative or potentiality of alternative, but by inhabiting a state of disruption. I asked people who share my affection for moments of lapse or ones to whom those moments happen frequently to join the project. We were working through combining mechanical and organic processes of dialogue, exchange and production. Methods and tools used in this practice were: lapse, parody, mockery, inconsistency, reanimation and personal resistance. The main reason to initiate this research was to try out a process that would embrace a condition of fuzzy, fractalized and flexible precarious work structure in cognitive production with its possible collapses. As an event producer in an age of commodification of time, experience and event I decided to play with this structure and to invite a lapsus as a moment of disruption; to see how do we get out from there. Does a collapse produce stiffening or a reinvention of the norm? I see in a lapse an everyday practice of letting go of self-control. Letting go of the constant creation of my face, body and personality as something to be looked at. Letting go of one's own desire to look good. The event of a lapse never fails me. It always works. It always disrupts the consistency of emotions, production, play, drama and interpretation. I believe in tools that are not pretty. A lapse is anti-aesthetical. It disrupts aesthetics, any order and any structure of representation and meaning. In the written part of my thesis I write about the conceptual base for the Oops! project. The concept of Oops! relates mainly to Giorgio Agamben's idea of parody and it's coexistence with fiction, Paolo Virno's concept of joke as a diagram for innovatory action in public, Félix Guattari's minor notions of lapse in Chaosmosis, and Richard's Schechner's idea of dislocation (not-not-me) relating again with Agamben's concept of remnant. Through this theoretical background I try to make sense and formulate my idea of lapse as a fallacy, micro collapse and minor event of the every day, a momentary state of dealing with the possibility of becoming both, a joke or a failure. After that I depict what we intended to do with Oops! the plan I wrote before we started to work and during the practice. This part contains a description of the background for the work and the research, how did the group come together and how did it sustain itself for the period of the work. I also describe my main method of working, the method of reanimation and how I have created this sort of prosthesis to deal with the documentary results of live action and with the live action producing documentary results. Following that I talk about what actually happened in the process of Oops! I concentrate on the most interesting points. I describe the end result, the performance, and point out what was interesting in what we did and what I have found out conceptually and practically. I refer to Franco “Bifo” Berardi's writings on automatism, virtual time and the social consequences of increasingly immaterial labor, and describe surprises, reflections, touching moments and some tools or techniques developed and ready to be carried on. At the end I draw some conclusions and present a short plan for my next attempt to work with lapse; as an appendix I am attaching the script for Oops!, a collection of concepts, scores and structures we followed on the way. Throughout the entire text I relate to other artistic projects beside our Oops! project. In the case of the question of parody I refer to the piece by Jeremy Deller, Battle of Orgreave and the documentary of this work by Mike Figgis, both from 2001, also to a work by Yael Bartana from 2011, And Europe will be Stunned and to the film Attenberg from 2010, by Athina Rachel Tsangari. When talking about the method of reanimation and lapse I refer to Martin Arnold's Passage à l'acte from 1993, Jeremy Deller's piece again, my own previous works and Joan Jonas' pieces, Vertical Roll, 1972 and Reanimation, 2012.
  • Konnaris, Petros (2017)
    Nakedness can mean not wearing any clothes but it could also mean not having your socks on. I see nakedness as a social construct that can shift meanings depending on the context, the culture and the subject(s) being or not being naked. In Approaching Nakedness and Its Problematics I use personal experiences I had in Europe and Thailand, the words Naked, Nude and Τίτσιρος (:Titsiros), borrow ideas from Donna Haraway, the trans philosopher Talia Mae Bettcher, and the indigenous scholar Irene Watson to introduce the multiplicity of nakedness. I present some of the problematics of nakedness such as objectification, male gaze, exhibitionism and voyeurism, toxic masculinity, gender binaries, and normalized body images. Afterward, I present queer and feminist theories of Judith Butler, Diane Ponterotto, and Talia Mae Bettcher on how to resist those problematics. I then contextualize my work in relation to other artists, their work and the mentioned problematics. I continue with my artistic project A Bathing Performance, a 1-1(one with one) happening of nakedness and care, presenting my methodology, my aims, my reflections and observation. In the project, I limit the spectrum of nakedness and focus on nakedness as an intimate, platonic act. Additionally, I introduce the term one with one and explore performance as a meeting, a mutual, interconnected exchange with another person. I approach both nakedness and the performance as a multiplicity, a range of options and choices that one can decide how, when and where he/she/they want to experience nakedness. The written part of my thesis includes an academic text and a handwritten book: a replica of the scorebook I used in the performances in June 2017 which includes the updated version of my 30 bathing scores/proposals.
  • MacDonald, James (2018)
    This thesis is a companion to my artistic work in stand-up comedy, comprising artistic-based research and approaches comedy from a performance studies perspective. The question addressed in the paper and the work is "How is the body of the comedian part of the joke?" The first section outlines dominant theories about humour-superiority, relief, and incongruity-as a background the discussion. It touches on the role of the comedian both as untrustworthy, playful trickster, and parrhesiastes who speaks directly to power, backed by the truth of her lived experience. It also provides some context for the contemporary comedian, whose work follows them off stage and into the thunderdome of social media, where trolling and speaking truth are taken very seriously. Another section presented as background to the discussion is on transgender bodies in performance, focusing on performance art and in stand-up comedy. I argue that embodied transgender performances are largely still situated in the act of encountering a trans body. Speaking of contemporary stand-up comedy, I discuss the ways in which an abject identity or body may be exploited by the comedian onstage for laughter and also for activism. The comedy of Tig Notaro, Maria Bamford, Hasan Minaj, Jess Thom, Eddie Izzard, Dave Chappelle, Cameron Esposito, and others come into play. Comedy is a complex and interesting site of resistance and social change, since it deals in mockery and non-seriousness, but precisely these qualities allow it to convey messages that are necessary and not polite elsewhere. Finally, I describe my final artistic work, a one-hour comedy show called Gender Euphoria, which is about my own experiences in transitioning from female to male. I describe the ways in which the space and experience were designed to mimic the conditions of a stand-up club inside an institution of learning, and to what aim. The arc of Gender Euphoria is described as an autobiographical work of discovering identity, encountering medical institutions with that identity, encountering new social norms, and travelling through wave after wave of certainty in identity towards more complication, ambiguity, and liberation. I also discuss the material that I was too afraid to do, or that I self-censored out of a sense of not being able to convey the message properly, and fear of backlash from a community I attempt to support. As a whole, this thesis attempts to provide a viewpoint towards the playful and serious contradictions in stand-up comedy, in a way that is informed by practice in the field, from the point of view of a subject whose identity has up until recently been the object of derision, rather than the subject of resistance.
  • Nissinen, Vili (2018)
    This thesis analyzes hate speech from a performance studies perspective. The theoretical aim is not to justify hate speech, but rather to deconstruct it and discuss hate speech asa performance, and how it can be performed through language, prejudices and power relations. I will analyze the dramaturgy of hate speech and its performers, as well as the audience needed in order for this performance to happen. I will also reveal that there is a little racism inside us all. We can either let it take control over us, or we can try to deal with it and silence it when possible. In this thesis, I refer to this phenomena as the Charm of the Black Sun. Along with these theoretical issues, I'm also writing critically about my artistic thesis Vihapuhenäytelmä 2015 (Hate Speech Play). The style of this thesis is mostly autobiographical and the primary theoretical framework comes from the Cultural studies tradition from such writer as Sara Ahmed, Hannah Arendt, Judith Butler and Slavoj Zizek. Approaching hate speech as a performance in a theoretical view is a new approach to the issue. When observing hate speech through the performance studies lenses, we will find a performative, stating that someone is something, with a purpose of hurting the target. The symbolic violence of hate speech works through language: hateful language simplifies the target violently as a single feature containing our expectations and visions of the object. The linguistic injury, as Judith Butler puts it, can also build social constructions. The aim of the expression is many times intended to situate the target in a subordinate position against the speaker. The performative aspects of hate don't work only on the linguistic level, but also on a non-verbal symbolic level: different gestures and visual messages (such as a burning cross) deliver the same hateful messages.
  • Theurich, Ilka (2015)
    This scientific work concentrates on the question: How do relations between elements have to be set up so that a poetic encounter in public urban space can emerge? This thesis is based on two practical research projects Kallio my Kallio at the Theatre Academy Helsinki (held between 15th March and 15th May 2011) and The City of Dream and Futureii at Space MASS in Seoul (held between 1st September and 27th November 2011). Two answer the research question I examined also the following questions in this text: how does the recipient encounter performance art in public urban space and vice versa? How do people encounter poetic moments? When does such a moment start, when does it end? What is a poetic moment? Does one have to be prepared for such a moment in order to be able to see it? My first approach in this thesis is that of perception. For me perception as a ground and starting basis of all cognition finds its true supreme discipline in artistic research. My second approach is intervention as it is discussed under the term action in chapter two. I have defined this free space that is to be designed as a space of poetic encounter in chapter three. For this, I use a social-poetical performance practice as a design tool, which I would like to introduce here as a contribution to the discussion on the way to a possible open city. This thesis investigates visual prerequisites, eephemeral phenomena that enable a poetic encounter in public space to emerge and to be reflected in the mode of playing. I have tried to figure out that through serious play an energetic space will be constituted in the streets of a district and that bymeans of this energetic space, the passers-by will get one more possibility to read the action. Based on my personal belief that each human being is insular and cannot get out of that insularity, but that there are strog moments when somewhere finds an intersection with someone else, when an idea of something enters the space, poetic encounter is possible in any situation and for anyone. You do not have to be prepared for such a moment, to encounter.
  • Kivinen, Sari (2011)
    Spin-Fold-Spill is a solo performance, installation and written thesis that explores the Role-System, a system of roles that represents parts of a personality. The performance and installation took place during May 2011. This written component articulates and documents the performance whilst aiming to re-perform the live performance in a textual form. This body of work fits within the fields of live art and performance studies. Spin-Fold-Spill is about how to obscure autobiographical material through the fiction of roles. It is about exploring monologue, about speaking subjects, about telling ones own story and simultaneously playing with the certainty of whose story it is/ was. The body of the performance and this written component are structured in twelve parts that are represented by twelve colour combinations. The audience / reader can choose the order by selecting a colour order of their choice. Various overlapping themes are explored within Spin-Fold-Spill such as: multiple persona in artistic practice, compartmentalisation, melancholia and performativity, storytelling, and the function of the video camera in developing a role's fictitious history.
  • Arlander, Annette (2014)
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