Ingen opptak til PKU kunststipendiatprogram i år

2016-12-13-13-13-06Normalt ville vi lagt ut en utlysning om ledig stipendiathjemmel knyttet til PKUs kunststipendiatordning på denne tiden. Ved at vi nå har 4 stipendiater i løp (Gunhild Mathea, Etienne, Edit og Ingvild) – har vi ikke kapasitet til å ta inn flere denne gangen.

Her kan du lese mer om stipendiater vår :


The Many and the Form – Methods for Participatory Practices in Contemporary Theatre

The aim of the research is to explore, develop and share working methods for practitioners embarking on participatory co-creative processes. It builds upon my 15-year-long practice as theatre maker creating work with non-artists from a wide range of ages and backgrounds in theatres across Europe, highlighting the complexity of often extreme or traumatic experiences, and interrogating the limits of communicability.

During the research my existing methods will be challenged and expanded by theoretical reflections and existing practices. Alongside, three contemporary theatre-makers will be invited to collaborate on developing a series of workshops exploring strategies that allow for the involvement of non-artist participants in the first phase of the creative process: the conceptualising of the performance. Through this the project intends to address the primary dilemma of participation: how to create enriching experiences for the participants while retaining high artistic ambitions for the work. It positions this question in the context of contemporary theatre (of the situation), and probes through practice the deeper issues
of participation and its potentiality for contemporary theatre aesthetics, as well as some of the broader social implications. Recent shifts to divisive rhetoric and deeds in politics and public life amplify the urgency for exploring and rehearsing more differentiated attitudes towards ‘the other’ and oneself. This brings a new relevance to the role of contemporary theatre as a space where experiences outside dominant narratives can be articulated and reflected upon, also collectively. Correspondingly, the last years have seen a surge in ‘participatory’ theatre works, performed by and co-created with people from outside of the arts. Yet, at present there is a lack of sufficient upto-date resources providing concrete artistic tools for the practice and reflection on the field by a practitioner.

The projected outcome of the research includes a series of performances developed through workshops for artists and non-artists, where new working strategies and tools for conceptualising and devising pieces based on personal knowledge of the participants are tried out and practiced. The processes of the research will be documented and shared in the first place through an online platform. This interactive forum, accessible to interested practitioners, will reflect the findings and documentation of the research project as well as facilitate an open exchange of experiences and strategies in participatory theatre. The research aims to inform and stimulate the long overdue discourse on participation in theatre from the point of view of practitioners and participants.



Borders of Representation

Focusing on representation in performance, I propose to make a research study using the piece of Luigi Nono, “Io, Frammento da Prometeo” as frame. This piece of Nono touches matters that are at the heart of my choreographic concerns such as: space, literature, philosophy/poetry, deconstruction and mythology/archetypes. This composition acts a turn in his artistic work and in the field of music theatre. The stage was no more in the centre of the representation but floating around the audience.

This very particular thought of representation has for me much in common with the first page of Proust famous novel “In search of the lost Time”, where borders are vanishing and distinctive signs and images are reorganized to compose a new representation. I divide the research into three parts:

  • Embodied borders that will be a research on the body and the various degrees of presence of performativity in a utopian body.
  • Borders in space, where I’ll reflect and experiment on what are the borders of representation in space, architecture and in the practical objects that are part of it.
  • Borders in the forms, exploring what could be a lecture as a work of art-or the other way around: A poetic lecture.

During the three years fellowship I will communicate with the staff and the students through diverse ways: Through lectures on my research as well as through work in the studio with the students of both departments. I want to include the students and the staff as much as possible in key phases and I believe the research will benefit from the expertize present in the academy. My choreographic experience and knowledge could be of great interest to the staff and students and be a valuable addition to the team. A fruitful exchange of knowledge seems possible and I feel the research will find its natural place within the academy.


Space Automatic

Holm is a theatre- and performance artist with a broad background in between theatre, performance, actionist practices, writing and visual arts, leading to an interest in the power of spaces.

The project is about how spaces for theatre and live art work, understood as materials, architecture, as well as social, economical and political structures. It looks for possibilities and consequences in modernistic, classical and other more nomadic venues, to say something about what a space does to how and what we produce and present, and how it communicates.

To do this I give the main role in my research play to the space itself, and present new spaces in different art forms. I will not perform in, but with space and architecture, and deal with processes, dysfunctionality and risk in a chain of discursive theatre machines and mobile sculptures.

The word automat is Greek for something that moves itself. It’s used on a machine that automatically dispenses goods when money is inserted, and it describes the way our brains categorize and simplify complexity. My institution critic is not at all new, but in theatre it never really happened, except for a few. To be big or small, district or central implies if you’re top or bottom, sexy or sad, but says little about quality. In Norway the institutions grow and ‘professionalize’ in big administrations and signal buildings, perhaps turning inwards towards it’s own language and preunderstandings, and away from both the audience and the art? Being outside the institution is a true precarious practice, and often means to make things that almost no one sees, and in times where visibility is crucial, – maybe with the consequence that Art try to fit the institution, and not itself.

NTA’s early history from puppetry and German Figurentheater provide me with marionettes as well as object oriented theory, closely related to performance- and installation art, and to the concepts of the historical avant-gardes’ art figures, über-marionettes, manikins, robots and automats, often from critical and popular forms as Commedia dell’ Arte. The research refers among others to works by Heiner Goebbels, Oskar Schlemmer and Charlie Kaufman, artists who make works without the actor, and where ‘The thing is the thing’ (Goebbels).

*Gunhild Mathea Olaussen

Responsive scenography

The research project Responsive scenography, explores technique, method and strategy for the design of scenography, which one or several performers can activate kinetically and affect instrumentally. When the kinetic and spatial aspects meet, it produces transformation in space over time, and by this involves dramaturgy. The aim of the research is to produce a new dramaturgical strategy, method and production of meaning in the meeting between scenography and performer. An outlined example of responsive scenography could be scenography that may be put in motion, both in power of a performers movement, and air flow, thereby producing auditive material through interaction.

The research is based on the following questions

  • Can the meeting between the responsive scenography and the subject demand a bodily experience without intellect, both regarding performer and spectator?
  • Is it possible that an interaction like this, kinetic and in relation to the nature of music, can result in experience of dramaturgical produced reality?
  • How may one include the scenographic elements in the simultaneous performativecomposition in the room, similar to movement?

Through the interaction between performer and scenography, both performer and spectator
will have to become aware of their physical presence and somatically listen to the premises of the matter. This kind of an experience will demand logic and knowledge outside of specific categories, acquired codes and concepts of daily life – and for a moment create an experience of having to learn to think, feel and act in new ways. A new way of listening appears, a new content of meaning that through interaction between performer and scenography may unfold the room dramaturgically in time, space, action and movement. In this semipermeable situation, performer, spectator and scenography all take part in the production of the event/experience (the piece), which is created from the totality of the subjects’ ´experiences – quite similar to a musical event.

The development of the research project’s scenographies will be based in the physical aspect, very similar to the movement of dance, the sound of music and the presence of the body. The work will start with a close study of the physical aspect of selected materials (the different tactile qualities such as surface, weight, fall, density, temperature etc.) and practical experiments in transformation of the material’s physicality through movement, deconstruction and composition of the material’s qualities in new configurations. These principles will form the fundament for the laboratory-based performative testing with the different performers. The work will also focus on surveys and mapping of physical sensations and experiences. In this study, I will look to theories from music and movement empathy, in particular.

Each year of the fellowship’s duration, the research will focus on different technical specialty fields: Physical and mechanical testing, digital testing and auditive testing. The technical development will be conducted in close collaboration with Information Technology and Engineering at Østfold University College, and with the observation by and the guidance of the Norwegian Centre for Technology in Music and Arts.

The work research will consist of the following work processes: Research, laboratory and
atelier work, practical testing and production, studio work/development of interaction with
performers, shows/exhibiting, documentation and critical reflection. The project’s artistic
product will be scenography, and also performative sessions in dialogue with these. The
artistic work will be presented through exhibiting work in progress, and exhibiting one or more scenographies and performative sessions in the fellowship’s final artistic production.


You can read more on PKU´s pages..


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