Using theatre and performance for greater reflexivity in planning and design education (original) (raw)
Related papers
2017
their continued support, guidance and advice in this process. Heike, your straight talking and wisdom has got me through the toughest times of this PhD, and I will be forever grateful for your ongoing presence. Words cannot sum up what you have done for me, but I truly thank you for your patience. Mike, your creativity and support have helped me tremendously with my practice, and for that I will be forever grateful. Gareth, you came in in the final stages but you have been a beacon of hope in these final months, so for that I thank you. Thank you to
A. Rotondi (ed.) Make a Move - Debating Idependent and Non-Institutionalised Theatres in Europe
Mise en Abyme International Journal of Comparative Literature and Arts, 2020
This publication was developed as part of the Make a Move – An Art Incubator for European non-institutionalised and independent theatre project and co-founded by the Creative Europe Programme of the European Union. The Make a Move – An Art Incubator project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. The special issue of “Mise en Abyme” dedicated to the Make a Move project represents a complementary academic outcome to "Make a Move – An Art Incubator for Contemporary European Non-Institutionalised and Independent Theatre” (project co-funded by Creative Europe), with critical essays on excellence parameters and business model, case studies and specific focus, including a mapping section on festivals, markets, companies, training centres, and funding organization. The issue include contributions by Armando Rotondi, Valentina Temussi, Daria Lavrennikov, Eugen Păsăreanu, Raluca Blaga, Traian Penciuc, Freya Treutmann, Lyudmyla Honcharova. The initiator and leader of the project is an arts organisation – Creative Laboratory of Contemporary Theatre KRILA from Rijeka, directed by Ivana Peranić. The main partners of the project are the Galway Theatre Festival (Ireland), the Institute of Arts Barcelona (Spain), the University of Arts Târgu-Mureș (Romania). The associate partners are ACTS (Oslo, Norway), MOVEO (Barcelona, Spain), Platform 88 (Montpellier, France), Poulpe Èlectrique (Arcueil, France), ToTum TeaTre (Barcelona, Spain) and Workinglifebalance Ltd. (Graz, Austria). The project has been co-funded by the Creative Europe Programme of the European Union, RIJEKA 2020 LLC, Ministry of Culture of the Republic of Croatia, Kultura nova Foundation, City of Rijeka, Primorje-Gorski kotar County, Austrian Cultural Forum Zagreb, the European Capital of Culture Galway 2020, the Galway City Council, the Arts Council of Ireland, the Ajuntament de Sitges and the French Institute Barcelona. The Make a Move project has been developed under the European Capital of Culture programme – Rijeka 2020: Port of Diversity, project “Unreal Cities”.
The story of what art as an institution came to mean in the 20 th century visual arts is well-recorded in canonical histories of conceptual art. A brief summary could be handy here. After Marcel Duchamp imposed the idea that a urinal can be an art work, the art world was confronted with the kind of institutionalizing agency that it had allowed to artists, and consequently imposed also upon the world of objects and meanings. Duchamp showed the relation between, on the one hand, agency, language and performativity (the urinal became an art work because the artist declared it to be by signing and submitting it to an exhibition committee) and on the other, the institutional world of the visual arts and the agents and apparatuses that comprised it: artists, critics, exhibitions and so forth. A few decades later, conceptual artists brought the implications of Duchamp's performative acts upon the world of objects and concepts to various conclusions regarding the institution of art or, better, art as an institution. For example, Michael Asher's ready-made travel trailer parked each day at a different spot in the city of Münster for the duration of the public art exhibition Skulptur Projekte Münster (1977), and demonstrated that the institution of art, and the designations such an institution implies, are not located in the physical and architectural space of the exhibition, the museum, the art collection etcetera, but inside our head: whoever would see the trailer parked at a street without knowing it is an art work would think about it as a caravan. But whoever knew it was an art work, would think about it as art -a readymade, a conceptual art work. Information on Asher's project was available at the central reception building of Skulptur Projekte Münster.
Education & Theatre Journal, Issue 24
Education & Theatre, Issue 24 - Hellenic Theatre/Drama & Education Network (TENet-Gr) , 2023
Education & Theatre A journal for the promotion of research on and practice of drama/theatre and other performing arts in formal and non-formal education © Hellenic Theatre/Drama & Education Network (TENet-Gr) Editing Committee for this Issue: Katerina Alexiadi, Nassia Choleva, Betty Giannouli, Mary Kaldi, Ιro Potamousi, Hara Tsoukala, Christina Zoniou Editors of Issue 24: Mary Kaldi, Betty Giannouli Founding editor: Nikos Govas
Revue d’Historiographie du Théâtre 4. Special Issue: Études théâtrales et humanités numériques, 2017
After a critical presentation of the state of the art in scholarly activities at the intersection of theatre and digital humanities, in Canada and elsewhere, this paper suggests how the two disciplines might work together to articulate and facilitate new modalities of knowledge production emerging in each individually. Its aim is to make explicit the values of the inventive knowledge production characteristic of design and performance, and to propose that theatre and digital humanities might best acknowledge and enable inventive knowledge by shifting their emphasis away from production-oriented prototyping and towards experimental prototyping, provotyping, and experience design. Du développement des outils au design expérimental Jusqu'à présent, les chercheurs travaillant à l'intersection des études théâtrales et des humanités numériques ont eu tendance à se lancer dans le développement d'outils électroniques, conçus pour faciliter deux grands modes de création de savoirs: à travers des recherches sur l'histoire du théâtre (y compris la numérisation et l'archivage de textes ou de traces de représentations), ou à travers l'aide à la création théâtrale (à savoir la facilitation et la documentation des processus de création). Dans les deux branches d'activité, l'accent a été mis sur le développement d'outils prêts à l'emploi, ou de prototypes prêts pour la mise en production, susceptibles d'être disséminés largement et appliqués à des contextes variés par toute sorte d'utilisateurs, avec leurs objectifs spécifiques. Dans d'autres mots, la recherche à l'intersection du théâtre et des humanités numériques a été orientée par la création de produits et de plateformes ; nous avons imité les entreprises commerciales de production de software avec notre ambition de créer des objets numériques qui puissent aider d'autres chercheurs à générer ou à transmettre des savoirs. Quoique les outils qui en ont résulté, ainsi que notre engagement critique avec leurs épistémologiques, ont été une réussite (au Canada, ils se comptent parmi les plus notables dans le champ des humanités numériques), les objectifs et les méthodes qui ont porté ce travail ont eu relativement peu d'impact sur les buts et les méthodes, établis ou émergents, soit des humanités numériques, soit des études théâtrales comme disciplines indépendantes. En me fondant sur les projets que je connais le mieux – principalement des projets canadiens dans les humanités numériques et mon propre Simulated Environment for Theatre (SET)-, je souhaite soutenir ici que les humanités numériques ont à offrir plus aux études théâtrales, et réciproquement. L'idée principale de cet article est que les réussites du projet SET, qui a su répondre aux tendances dominantes dans son domaine, sont moins intéressantes que les possibilités suggérées par ses échecs et ses à côtés, surtout dans le champ de la construction du savoir et des objets d'étude. Le théâtre et les humanités numériques pourraient aller plus loin et tirer plus de profit en mettant moins l'accent sur le prototypage orienté vers la production, et en se consacrant plus à un prototypage expérimental ou au « provotypage », pour faire plus de place, dans un champ dominé par des méthodes de recherche issues des sciences sociales ou des sciences exactes, à des méthodes plus propres aux sciences humaines et susceptibles créer, sans exclusive, des savoirs