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Teaterproduksjon

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ISBN: 9788202590253 Year: Pages: 267 DOI: 10.23865/noasp.43 Language: Norwegian|English
Publisher: Cappelen Damm Akademisk/NOASP (Nordic Open Access Scholarly Publishing)
Subject: Performing Arts --- Arts in general
Added to DOAB on : 2019-03-01 11:21:02
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This anthology presents research in theatre studies developed by a group of colleagues at the Department of Arts and Media Studies at the Norwegian University of Science and Technology. The research is conducted through arts-based research and practical-theoretical teaching at the department. Theatre production is a central arts-and knowledge-creating field of work for students and teachers in theatre studies. The work is characterized by a dynamic relationship between body, text, visuality and sound, media methods and techniques and the relationship between professionals and students. Theatre production is a complex learning arena; it is both multimodal and developed in dynamic movements between experience, dissemination, response and reflection. There is a need for a rich range of strategies, methods and techniques. The anthology presents ten different inputs to theatre production. Laboratory with experimental methods is the framework for articles on scenography, sound, the body and text of the actor. Production processes setting the creative and reflective student in the centre is the frame for articles on dramaturgy, text processing, production phases and target group- oriented work. The role and function of the university teacher in supervision and assessment is themed in two closing articles. In discussing the different aesthetical inputs to theatre production the authors use examples, images and audio material.

Reflexive dramaturgy

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ISBN: 9788202572631 Year: Pages: 377 DOI: 10.23865/noasp.48 Language: Norwegian|English
Publisher: Cappelen Damm Akademisk/NOASP (Nordic Open Access Scholarly Publishing)
Subject: Performing Arts --- Arts in general
Added to DOAB on : 2019-02-06 08:17:53
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The fact that you are reading these words means you have already stepped over the threshold of a collection of what the author calls reflexive études. Here, the author is expanding on the word étude as it is used in music’s most ‘classical’ department, where it denotes a practice piece designed to address an isolated problem of musical technique, and transforms it to serve as a practical thought exercise for the (theatre) field as a whole. The reflexive étude therefore serves as a practical-theoretical exercise in trying to think one’s way to freedom from the (often) unconscious or semi-conscious assumptions and obstacles that the art actor constantly has to contend with. Implicit here is the notion that thinking through also constitutes an exercise and that the art of thinking is inextricably associated with art in general. Like musical exercises, the reflexive études are characteristically specific: each focuses on practice relevant to something particular – perhaps one performance, an issue of acting technique, an acute theatre -sociological situation, or the question of what a theatre script can and should look like. The ambition is to develop what I have called a reflexive dramaturgy. This conception of dramaturgy does not limit itself to analyses of the theatrical text, or to the theatre’s arsenal of calculated stage effects, but is capable of expanding its reach to identify other kinds of action that exert a powerful influence, despite their being seemingly inconspicuous. In this sense, reflexive dramaturgy becomes a kind of theoretical practice that seeks to identify and articulate those actions which (reflexively) set the limits for aesthetic experience, but which are often insufficiently covered by the ways that art and theatrical art view themselves.

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