character

Affective Atmosphere: A Non-Representational Method of Devising Film Performance and Fiction

jar — Thu, 26 May 2022 21:32:30 +0000

Affective Atmosphere: A Non-Representational Method of Devising Film Performance and Fiction

Affective atmosphere is a new method of directing film performance and producing experimental fiction in the tradition of art cinema, which emerged from a wider practice research project entitled Affective Cinema, funded by the UK Arts and Humanities Research Council. As an approach to filmmaking, affective atmosphere prioritises the becoming of an event over a narrative/production plan, and uses experimental production strategies to maximise the potential of spontaneous directorial decisions and the unpredictable flow of reality for generating alternative narrative/dramatic film structures. The method is rooted in practitioner know-how stimulated by reflection, but also informed by a synthesis of the key concepts of Deleuze and Guattari, and theoretical writings on atmosphere (Böhme, Griffero) and film performance (Benjamin, Del Río). In this way, the project meaningfully applies philosophical concerns to filmmaking, expanding, in the process, on theoretical understanding, while embedding this knowledge tacitly in artistic practice. Furthermore, the research leads to the development of a set of applicable film production methods, unified by a clear rationale and a creative purpose linked to demonstrable outcomes.

jar Thu, 05/26/2022 - 23:32

atmosphere

affect

film performance

Deleuze

Issue

OPEN EXPOSITION

Pavel Prokopic

Zum Spielen und zum Tantzen. A kinaesthetic exploration of the Bach cello suites through studies in Baroque choreography.

erlend — Thu, 20 Apr 2017 15:17:35 +0000

Zum Spielen und zum Tantzen. A kinaesthetic exploration of the Bach cello suites through studies in Baroque choreography.

This exposition presents the artistic research project 'Zum Spielen und zum Tantzen: A Kinaesthetic Exploration of the Bach Cello Suites through Studies in Baroque Choreography’, undertaken at the Norwegian Academy of Music between 2009 and 2012. I offer a historical background, discuss the method used, and present the artistic results in the form of video and audio files. The dance titles of J. S. Bach's cello suites, derived from French court dance, clearly meant more to the composer than just abstract references. In Bach's time, dance practice permeated social life, and an intimate knowledge of fashionable dance forms was indispensable for a musician. The movements and gestures of these dances inevitably had a profound influence on performance style. I have investigated how the practice of Baroque dance could influence my interpretation of the Bach suites. Learning the essentials of this style and its original choreographies and frequently accompanying dancing, I also explored the dance aspect of the cello suites by way of experiments with historical tempos as well as melodic and rhythmic reductions of the musical material. Through this project, I hope to make a worthy contribution to the development of performance practice studies, offering a recontextualisation of Bach’s work that emphasises the close links between the expressive gestures of music and dance. The results have both artistic and pedagogic potential as tools to discover essential aspects of dance character in Baroque music.

erlend Thu, 04/20/2017 - 17:17

Issue

OPEN EXPOSITION

Tormod Dalen

Actor Self vs. Character Self: An Empirical Exploration

erlend — Thu, 20 Apr 2017 07:06:41 +0000

Actor Self vs. Character Self: An Empirical Exploration

This work combines the results of an online survey about the experience of acting with interviews of many of the respondents to explore how actors describe the relationship between the character they portray in performance and their non-character selves. It also explores the role of emotion in this relationship.

erlend Thu, 04/20/2017 - 09:06

Issue

OPEN EXPOSITION

Eric T. Hetzler