NILS KLIMS REISE TIL UNDERVERDENEN

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Nils Klims reise til underverdenen

Hvem er vi når alt er opp ned?

Nils Klims reise til underverdenen er en helt ny familieforestilling om å være nysgjerrig og å oppdage hvem man er i møte med det ukjente. Forestillingen er basert på Ludvig Holbergs roman Nils Klims underjordiske reise fra 1741. Sammen med Torshovgruppa har regissør Lars Erik Holter bearbeidet historien til en varm og humoristisk familieforestilling både barn og voksne kan kjenne seg igjen i.

På tiårsdagen får Nils drømmegaven av mamma og pappa. Han blir kjempeglad, men når foreldrene insisterer på at lillesøsteren skal låne gaven blir Nils sur og rømmer i sinne opp på rommet sitt. Der skjer det noe utrolig; plutselig begynner Nils å falle, og han faller og faller og faller. Når han endelig lander, har han kommet til en ny verden. Her snakker menneskene et annet språk, oppfører seg annerledes, og

har helt andre regler enn de Nils kjenner fra vår verden.

Nils begir seg ut på en spennende reise hvor han møter mange merkverdige typer. Underveis får han stadig nye utfordringer – som setter Nils kreative evner på prøve, men som også på underlig vis minner ham om det vanlige livet hjemme. Kanskje er ikke det fremmede så ukjent likevel?

For barn fra 6 år og oppover.

Med: Herman Bernhoft, Sigurd Myhre, Håkon Ramstad, Maria Bock og Janne Heltberg.

Regissør: Lars Erik Holter. Scenograf: Mone Rustøy. Kostymedesigner: Kathrine Tolo. Assistent for kostymedesigner: Thalia Steffensen. Lysdesigner: Phillip Bøe Isaksen. Maskør: Terje Rødsjø. Dramaturg: Olav Torbjørn Skare.

Nils Klims reise til underverdenen er en del av Sci-fi på Torshov.

Se intervju med skuespillerne Herman Bernhoft og Håkon Ramstad

http://www.nationaltheatret.no/Nils+Klims+reise+til+underverdenen.b7C_wZfG1C.ips

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Sound residency in Italy

Liminaria, Montefalcone di Valfortore
Liminaria, Montefalcone di Valfortore

In the summer of 2017 four artists have been invited by BEK for one week residencies in the rural region of Fortore in South Italy. The artists have produced and presented site-specific works and interventions responding to the rural conditions, developed in collaboration with local communities.

The residencies were part of a bilateral sound art exchange program between Norway and Italy initiated by Interferenze/Liminera and Bergen Centre for Electronic Arts (BEK), curated by Leandro Pisano (IT) and Trond Lossius (NO).

One of our Stipendiat, Gunhild Mathea Olaussen was part of this residency.

ABOUT LIMINARIA

Leandro Pisano is curator at Liminaria, one of the projects developed by Interferenze New Arts Festival and taking place in different rural regions of South Italy; Irpinia, Sannio and Puglia (Barsento-Trulli area) since 2003. All these projects, founded and directed by him, draw on sound art, technocultures and the rural. From the original form of the art and new technologies Interferenze festival, a series of hybrid formats (residences, laboratories, workshops, research field projects) have been developed through the years, resulting in a research platform based on multidisciplinary and critical approaches inspired by new media, cultural and postcolonial Studies.

These projects work together with local communities in building “actions” within the territory, and aim to experiment with a series of interventions that – as inspired by concepts of re-territorialization, left-overness and self-reliance – are able to reconfigure rural space as an activity center where social capital, namely the set of networks of cooperatives among individuals and collectives, represents a central point for the re-valuation of local resources.

“Actions” made in place though this project relates to different fields: from art residencies/performances and cultural events to workshops on co-working with the local schools, from the optimization of networks to the testing of new hybrid formats of new technologies; all of which are considered in a perspective where innovation and transitions are made possible among these spaces, landscapes and local communities through the experience of sustainable strategies and practices.

Both Liminaria – as a project focused on a specific rural area, the Fortore region – and Interferenze New Arts Festival – as a broader research platform – investigate rural geographies and contexts – including “in-between” territories and border spaces – using sound theories and practices. These projects are based on the idea that distinct cultures of sound art and experimental music can be brought into dialogue with one another in a process aimed at reveal[ing] the culture of Sound. They aim to develop a relational context through the format of the artistic residency, drawing on an approach that claims the possibility of taking sound art beyond the walls of museums and galleries. It invites artists to experience different geographies, enabling a (re-)negotiation of the terms of art and knowledge production, empowering new relations and cross-cultural debates.

ABOUT THE SELECTED ARTISTS

Helene M. Førde works with installations and sculptural practises. Her works are site and context sensitive, and explore the perception, awareness, sensations, memories and stories of a place. Materials and techniques vary, but often involves sound or movable and mechanical/technical elements.

The interdisciplinary work of Gunhild Mathea Olaussen relates to scenic and performing arts as well as installations, exploring somatic perception through soundscapes where space, material, body and time are considered equally important. She is driven by an interest in tactility, embodied experience and dramaturgical sociology.

“The Atmospherics” collaborative project between Trond Lossius and Jeremy Welsh is a research into notions of “place”, explored through field recording in sound and video. Material collected on field trips is processed and edited to realise large-scale audio-visual installations in which aspects and elements of different locations are combined to produce a particular temporary place that refers to, but does not literally represent, actual places that have been visited and documented.

Gunhild Mathea Olaussen and Helene Førde visits Montefalcone di Valfortore July 10-15 2017, while Trond Lossius and Jeremy Welsh visit San Marco dei Cavoti September 4-9 2017. The residencies in the Fortore region will be based on, but also challenge, the existing practises and projects of the selected artists.

Photos by Gunhild Mathea Olaussen. Supported by the Municipality of Bergen.

 

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Gunhild Mathea Olaussen (NO) is an interdisciplinary artist, based in the scenic and performing arts. Her recent work explores somatic perception through soundscapes, where space, material, body and time are treated as equal parts of the composition. Her work is driven by her interest in tactility, embodied experience and dramaturgical sociology. She is currently an artistic research fellow at the Norwegian Theatre Academy, working on her project entitled Responsive Space.

Olaussen’s diverse works in scenography, music and installations have been exhibited in Norway, Europe and the US over the last ten years. The works include self – initiated projects, commissioned works for festivals such as Hovefestivalen, Bylarm and Harpefoss Poetry festival, and collaborations with a number of artists. Amongst others, she has been collaborating with Ingvild Langgård on the musical project Phaedra who have received great reviews in publications such as The Wire and Uncut. She has also worked with Fiksdal/Langgård/Becker on the award-winning dance performance Night Tripper (2012), which has toured Europe and US the last five years.

 

Olaussen is currently an artistic research fellow at the Norwegian Theatre Academy. She holds a BA in Aesthetics and Art from the University of Oslo, and a BA in Scenography from The Norwegian Film School/ Oslo National Academy of the Arts. She has also studied Theatre Design at Rose Bruford College (London) and Romerike folkehøgskole in Norway. In 2012 she was awarded the Norwegian State´s Working Grant for young artists, and has later been in the jury for the same grant. She is also a board member of the Norwegian Scenographers union.

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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 :

* EDIT KALDOR

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.

 

*ETIENNE GUILLOTEAU

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.

*INGVILD HOLM

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..

http://artistic-research.no/stipendiatprogram-i-kunstnerisk-utviklingsarbeid-erstattes-med-doktorgradsutdanning/?lang=en

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US theatre magazine HOWLROUND on Øystein Elle´s work

“I am generally not very interested in creating meaning,” says Øystein Elle, reflecting upon his growing body of work. “Perhaps I don’t understand the concept of it. I am attracted to so-called nonsense because it often appears to me as more real than sense.”

For the past four years, the Norwegian vocalist and performer has been presenting original hybrid performances at a variety of festivals in Stavanger, Oslo, Fredrikstad, and Tokyo under the heading Capto Musicae. Drawing inspiration from concert, theatre, and visual art installation, Elle’s pieces challenge traditional categorization. Often, their ingredients work in creative opposition to one another: film projections framing live performances, abstract movement choreography with improvised vocalization, and pre-recorded “noise” mixing with classical arias. Artistically, Elle appears to revel in the borderland between forms.

“All of the projects are musically driven theatrical pieces, connected to the notion of Composed Theatre,” he explains.

The Loner- Klaus Nomi Photo by Nishimura

 

read the whole article on the pages of HOWLROUND.

http://howlround.com/the-sonic-harvests-of-ystein-elle-capto-musicae

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ReSite (Venice Biennale) – June 2017

 

“reSite” is the contribution of the Norwegian Artistic Research Programme by 6 artists and research fellows, curated by Serge von Arx and Ellen Røed. Its endeavor is to create an open space across the city, consisting of various distinct locations where specific artistic research practices engage with the Venice Biennale. The respective projects inquire and question relationships between art and power as primordial agents in Venice. By subverting the notion of the biennale as an exposition, and rather enhancing it as a context of and site for research, the artists and researchers aim to raise awareness of local and temporal environments where art and finance meet and collide.

Research fellows are Edvine Larssen, Lisa Torell, Cecilie Semec, Ingvild Holm, Bjørnar Habbestad, Brynjar Bandlien.


This event is part of the Research Pavilion’s Camino Events series, a cross-artistic program which consists of screenings, concerts, seminars, artist talks, performances and interventions from over 100 artists and artistic-researchers from art universities of Northern Europe.

The Research Pavilion is a platform for art and research that will be open in Venice from May – October in the context of the 57th Venice Biennale. The Research Pavilion is created and hosted by Uniarts Helsinki and its partners.

And here is Ingvild Holm´s diary poem (WORK) written during her interesting 11 days in Venice.

Preparation work. A parasitic nightmare work? A twisted image of clichés work? Mask and sleep mask work. Worries on how it will work work. What on earth to bring and pack work. Travel work. Buying a Norwegian souvenir troll work. Meet strangers work. Sweat work. Liking and understanding each other work. Checking in work. My room and my room mate Lisa work. Slow work. Drink work. Dinner work. Sleep work. Biennale Giardini work. Lunch work. More biennale work. Curators and artist dinner work. Visit Elisabetta in her garden by the channel work. Getting lost on the way home work. Sleep work. Meet Lisa and Edvine at breakfast work. Visit Research Pavillion work. Lunch work. Swim work. Ghost tour with guide Christina and recording work. Jumping head into the tourist industry at San Marco work. Recording people and orchestra work. Sleep work. Think and read work. Why and how work. Buying tours work. Biennale work. Hear Bjørnar play at the French Pavillion work. Dinner with Cecilie, Lisa and Edvine work. Home balcony work. Sleep work. Trying to get the overall picture of tours work… And where is the Vampire tour work? Tour with guide Mathilde at La Fenice Opera house work. Recording and interviewing work. Research into the 1996 fire at La Fenice work. Mafia work? Money work? Hunting book stores work. Sweat work. Buying a mask magnet souvenir work. Sweat work. Home work. Meet at the Research Pavillion work. Big tasty dinner with everyone work. Sleep work. Gondola ride with oversized sleep mask and a selfie stick work. Reassuring tourists that the performative touch is ok work. Research at the Venice Pavillion called Luxury work. Hm work. Interviewing work. Filming work. Recording work. Being available at the Research Pavillion work. Finding that troll souvenir and mask souvenir fit perfectly work. Documenting it work. Dinner work. Sleep work. Think work. Worry work. Breakfast with Brynjar at balcony work. Publishing troll with mask at Facebook work. Sweat work. Being available at the Research Pavillion work. Rest work. Coming too late for Ghost tour at Viareggio together with Edvine work. Dinner work. Getting an idea for a presentation of the research work. Work on it work. Sleep work. Breakfast work. Interviewing and recording mask maker Elena work. Trying to convince her to work on the oversized sleep mask work. It doesn’t work work. Finding another mask shop work. Asking for feathers work. Explaining my project and charm work. Befriending mask maker Gualtiero work. It works work! Biennale work. Eating Ellen’s autumn soup with Serge, Ellen, Geir and Bjørnar at head quarter work. Trying to sneak into the Ghost tour from yesterday work. It doesn’t work work. Feeling lonely and lost work. Planning the presentation work. Sleep work. Morning talk with Lisa and Edvine work. Fetching my oversized Venice sleep mask at the atelier of Gualtiero. Great work! Documenting work. Preparing research presentation work. 10 hours of presentation work with everyone work. Me being the blind guide ‘follow me’ work. All works worked well work. Sleep work. Long meeting with talk and reflection work. Plan for more sharing work. Economy work. Vacation work. Lido work. Renting a bicycle work. Biking with an Aperol spritz and a Prosecco within work. Whistling work. Swim work. Meeting at the beach work. Dinner work. Drinks work. Sleep work. Packing work. Leaving the apartment with my passport locked inside work. Stress and call work. Wait work. Maybe missing the plane work. Catching a boat taxi work. Ok work. Travel work. Goodbye work.

Thanks dear colleagues and no longer strangers Lisa TorellEdvine LarssenCecilie SemecBrynjar Åbel BandlienBjørnar HabbestadElisabetta Di Mambro, Serge von Arx, Ellen RøedGeir Strøm, Research Pavilion by Seppo Salminen, Gualtiero Gualtiero Dall’Osto and Tragicomica – mashere e costume. And for oversized sleep mask (ala Peggy Guggenheim, made in Norway and remade in Venice) by Hazel Barstow ( Avellana Wood)

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We have done it! Creation of an Alumni group

 

Alumni weekend 19-21 May in Fredrikstad 2017

 

Thank you to all that came and participated in the start up of the alumni network of NTA. Here follows a short summary, the protocol of the meeting and main themes that came from the discussion from Saturday:

 

Lecture and introduction by Øyvind Jørgensen.

 

Øyvind has been a prominent figure in the European and Norwegian contemporary dance scene for a long time and taught at NTA at several occasions. He held an inspiring lecture on “aging in the field”, spanning from this own beginning as a dancer in the 70s at Statens Ballethøyskole on to training with Martha Graham in New York, the discovery of Butoh, the return to dance and current collaborations. His inspiring lecture gave a contextualization for our meeting, looked at development, tendencies and challenges within a carrier and artist life as a creator, producer, teacher and performer. You can read more about Øyvind here: http://www.sceneweb.no/nb/artist/1068/%C3%98yvind_J%C3%B8rgensen

 

Presentation by artistic directors of Acting and Scenography department Karmenlara Ely and Serge Von Arx on the Artistic Research Programme and the work towards a new MA in Performance

 

The academy is in addition to its BA program, and the MA in Scenography, working towards an MA in Performance. This will lead to a restructuring of the BA programme. In practical terms this means that entry exams will be held every third year, and the acting classes will consist of 12 students and scenography of up to 8.  To read more about the current programs, structures, deadlines for application, go to http://www.hiof.no/about-us/faculties-and-units/norwegian-theatre-academy/studies?lang=eng  and stay tuned for new information through the blog and newsletter: https://blogg.hiof.no/nta/

NTA is also part of the Artistic Research Programme, collaborating on a fellowship programme and a Project programme. Further info can be found: http://artistic-research.no/?lang=en and http://www.hiof.no/about-us/faculties-and-units/norwegian-theatre-academy/research-and-development/projects?lang=eng

 

 

Next concrete working steps for the NTA alumni network that were taken:

 

  • Alumni board was chosen and consist of Marina Popovic, Nela H. Kornetova, Ivar Furre Aam and current students Kaja Egerberg and Rasmus Jensen. Work towards the next meeting in 2018 will be led by Marina Popovic.

 

  • The boards tasks will in this first instance be to organize the next Alumni meeting in the spring 2018.

 

  • We are working towards that the next meeting will be held in Oslo in the spring, preferably at the same time of current students work and showings in Oslo. We envisage a 1 day conference followed by performance by the students.

 

  • In collaboration with Anne Berit Løland we are working towards the creation of a residency space at NTA for Alumni, offering a space/studio, technical equipment and an apartment for the time of the residency. All NTA alumni should be able to apply with a project and a board of representatives should help decide who is the most eligible and relevant person/group to come. There is need to create the residency as soon as possible, even in a smaller pilot scale, so we can test how it can be incorporated into student/NTA curriculum and schedule. The residency will require an exchange between the visiting alumni artist and current students in the form of showings, lectures, workshops or other suitable exchange platforms. We will look in to the length of the residency, from 1-4 weeks, depending on spaces available at NTA. A possibility then is on the border of holidays (summer, winter, spring) When is the first one? What are the conditions and rules? How can we make a fruitful meeting with alumni and students through this? Accordingly we decide the deadline for application. Any ideas and comments are welcome and can be sent to the board or Anne Berit.

 

  • Anne Berit and the administration will financially and administratively support the implementation of an Alumni organization as a pilot-project the next 3-5 years, with the aim of a self-sustainable organization.

 

Other topics, themes and visions that were discussed:

 

  • Karmenlara Ely adressed the need for active alumni in order to foster and continue the culture of critique on and coming from NTA, enable the sharing of experience and awareness of the legacy. As NTA is a very diverse community, we do not learn just from being social and being good at parties, but what we are learning from is the critique of each others work, our conflicts and clashes of different aesthetics (all with and through “love”). NTA is not a fixed monument and it keeps developing with every new class and it evolves within the field, it is never the same. She also mentioned possible teaching and workshops led by alumni where that could be the space for meetings and discussions. Alumni needs to be also based on our own initiative. How can we take care of the alumni association? How can we keep developing? How could alumni rehearse and show unfinished work?

 

  • Serge von Arx talked more conretely about the structure of all the levels of education (BA, MA, PHD, Alumni) as highly active and slightly intertwined. NTA as a laboratory. Alumni as a synchronic identity outside time. Alumni itself needs to decide what it is. The possibility of alumni coming back as PhD researchers and research fellows.

 

  • Is there a need to reach out and gather alumni, when many work together already?

 

  • What are the benefits of formally organizing the NTA community and what are the perks of engaging with it?

 

  • Long term aims: own house/theatre/residency and leading and teaching at NTA?

 

  • Is there a wish to decentralize the meetings, ie. not necessarily having them in Fredrikstad and Oslo, but also abroad. An alumni-representative in “each” country?

 

 

  • What does the alumni organization need to be in order to have relevance, for the members as well as for the field in general?

 

  • How do we organize and share the responsibilities? An alumni contact for each year?

 

  • Sharing the experience we have after the graduation.

 

  • Crashing the hierarchy and division of BA, MA and PhD during the workshop week lead by alumni. True workshop where you can sign up and choose where to be.

 

  • Mentoring program between alumni: buddy system?

 

  • Creating a legal entity, applying for money at Fredrikstad commune, HIOF, kulturådet etc.

 

Many ideas, topics and possible collaborations were brought out during our discussion. In a very short time, we managed to make concrete steps towards our next meeting, and plant seeds for further planning, watch 2.nd years independent productions and have a great party together Saturday night. We are very excited about the possibilities and potential of the alumni! If you have any questions, ideas or would like to join in the planning of next years conference, do not hesitate to contact us.

 

See you all in the spring 2018 !!!!

 

Best.

Nela Kornetova / 48192522 / nela.kornetova@gmail.com

Marina Popovic / 93253683/ popmavic@gmail.com

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Resirkulert Scenografi

Seminar og åpen diskusjon om sosial og bærekraftig praksis i scenekunsten

Norske Scenografer og Norsk teater- og orkesterforening NTO inviterer til innspillseminar om bærekraftig praksis i scenekunsten.

Når: Torsdag 15.juni, kl.12.00-15.00
Hvor: Bikuben, Det Norske Teatret, Kristian IVs gt. 8, 0164 Oslo

Fri entré.
Ordstyrer: Carle Lange. Førsteamanuensis i Scenografi ved Kunsthøgskolen i Oslo.

Program:
12.00 Velkomst med enkel servering.
12.15 Ingvild Holm. Scenekunstner og stipendiat ved Akademi for Scenekunst, Høgskolen i Østfold.
12.30 Ilka Licht. Leder for verkstedene ved Nationaltheatret og Riksteatret i Oslo.
12.40 Silje Sandodden Kise. Scenograf og kostymedesigner. Presenterer arbeidet med forestillingen Sustain som spilles under Festspillene i Bergen.http://www.sagnofmusic.no/sustain
13.00 Åpen mikrofon, plenumsdebatt.

Bakgrunn
Store og små scenekunstprodusenter i Norge kaster mengder med scenografimaterialer hvert år. Hvordan kan vi sammen lage en løsning slik at fullt brukbare materialer ikke havner på søppelhaugen?

1.årsstudentene ved Akademi for Scenekunst og stipendiat Ingvild Holm har følgende forslag:

Etablering av ett nettsted/app som formidler bilder og annen enkel informasjon om tilgjengelige materialer som har vært brukt i for eksempel teater, tv og filmproduksjoner.
Mål:
1). Redde fullt brukbare materialer fra å bli kastet.
2). Legge til rette for en sosial og bærekraftig ressursbruk der materialer som doneres fra større produksjoner og institusjoner kan brukes i nye verk og i nye sammenhenger.

Nettstedet skal formidle hentested, sikre forpliktende avtaler og at opphavsrett for enkeltkunstnere blir ivaretatt. Det er i hovedsak materialer og ikke ferdig scenografi eller annet som skal formidles. Bidragsytere takkes.

Hva mener du om idéen? Har du egne gode idéer du vil dele med kolleger og andre scenekunstinteresserte? Da sees vi!

Velkommen!

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Welcoming 2 new fellows at NTA: Edit Kaldor and Etienne Guilloteau

This year the Norwegian Artistic Research Programme received 29 applications for admission to the Fellowship Programme, selected from the 259 applications sent to one of the institutions affiliated to the Programme. The following candidates has been offered admission to the Fellowship Programme in 2017 in NTA – EDIT KALDOR (you can read her project beneath) and Etienne Guilloteau (we will write soon about him as well)

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

EDIT KALDOR, ØSTFOLD UNIVERSITY COLLEGE, NORWEGIAN THEATRE ACADEMY

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 up to-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.