Browsing by Subject "Perception."

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  • Hytönen, Tero (2019)
    In this written part of my thesis work I will trace how perception includes both political and existential aspects for me. I am interested in the wide spectrum of perception, and how this multiplicity is framed by different contexts and through conditioning. I like to think that perception is an action, it is something that we do, and from this stems the name for my artistic final work: Performing Perception. In this text, I try to find connections between my own experiences, theoretical writings and artistic practices. In the first section Thinking outloud, I will open up my own experiences, existing choreographic practices and artistic references which are setting the frame for the artistic final work. I relate my thinking to practices by Deborah Hay, Boris Charmatz and Esther Salomon. I will also share my other perception related artistic works created during my MA studies in the Master's Degree Programme in Choreography. In the next section, I will open up to theory. I will explore how perception can be seen both as a political and existential question. The political aspects I discuss alongside a text by George Lakoff, Mark Johnson and Erin Manning. The existential aspects I try to articulate together with Martin Heidegger and Edmund Husserl. In the last section Performing perception – the performance I go more into the details of the performance itself. As we were working with re-writing the perception, I will outline different practices and compositional tools that emerged from this process.
  • 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.
  • Kaila, Anni (2020)
    In this written part of my master's thesis, I explore the connections between poetic writing and dance from a performer's perspective. My own poems act as introductions to the chapters and become a kind of poetic through line in the thesis. Writing as a dancer, I write with my whole body and move between what is already presently perceived and what can be imagined. The essays of dramaturg and dance theoretician Bojana Cjević on imagination and poetics in contemporary dance serve as the main reflection points for my views. Cvejić's concept of 'feigning', used to describe the dancer's imaginary and a kind of bodily surrogate knowledge, becomes one of the central ideas in understanding the link between poetry and dance. In the first part of the thesis, I observe the ways in which poetry pierces contemporary dance practices today and also briefly describe the historical connections between poetry and dance. Writing about the poetry of the performer, I approach the topic through my own personal practice and outline different ways of writing and relating to poetic texts as a performer. The focus is on the interconnectedness of perception and imagination, and how this relationship can be viewed through the lens of both dance and poetry. Poetic image and the rhythm and weight of language also connect the act of writing to the dancing body. I use the term 'choreographic poetry' to describe poetic texts that serve score-like functions in a dance performance, and bring up contemporary dance makers who work with texts in this way. The act of translation is introduced both as a method for working as a dancer and as a philosophical frame for understanding the paradigmatic nature of dance, as philosopher Jacques Rancière sees it. In the second part of the thesis, two artistic processes serve as concrete examples of working with poetic texts and translation in the context of a dance performance. Puutarha (The Garden), my own choreographic solo work, started from the idea of turning confessional poetry into a dance performance. My own poems became the main source of material for the solo. I focus on the writing process and the editing of the poems into a script, and how these poems informed and affected the performance and the bodily expression in it. LOVE I–III is also a solo performance, based on the poetic score written by Norwegian poet and choreographer Janne-Camilla Lyster. I describe my process of working with the score and the performance guidelines provided by Lyster and the translation of these poetic texts into dance.