What is the artistic and human potential of a lifelong basic research with voice training? This basic research is based on the technique of voice teacher Nadine George and has been developed since 1989 in countless workshops, teaching, performance processes and, not least, at the Experimental Station in experiments and as part of the weekly…
A choreographic method development project TOOLBOX was originally motivated by a personal intent to critically (re-)engage with the last five years of my choreographic work, physical research, ideas, texts, and classes, in order to understand my own process better, examine my relationship with dance, and create new understandings and insights into how to work with…
Study of audience movements, seen as choreographic patterns. The Shape of the Audience is the third attempt in the series of the basic research project “Audience in an Artistic Context”. The study focuses on the movement patterns of the audience, both as a collective organism and as individuals, based on observations of the social and…
Investigating the aural identity of audiences in theatre… The Sound of the Audience and Silence-Pause-Echo are the first two experiments in the The Lab stationbasic research project “Audience in an Artistic Context”. The experiments worked with sound compositions written for choirs based on audience sounds researched from field studies in and around theatre halls and…
When the audience experiences the dance physically… How is trust and contact established? How do the artists invite the children to enter the work and experience it with all their senses and their whole body in motion? How does choreographic structure and dramaturgy emerge through the interaction between performers, dance, music and a group of…
How to give life to dead material and conversely give “death” to the actor’s living body? A study of the stage expression of the actor and the puppet theatre and the fusion of both into a new stage expression. The experiment is inspired by theatre theorist Edward Gordon Craig’s ideas about the “ideal” actor, the…
What are the qualities of breath as a musical and theatrical means of expression in harmony with an audience? BREATH started as an investigation of breath as an interdisciplinary expression: we wanted to explore the musical and physical qualities of breath. During the study, it became clear how we subconsciously recognise and copy the bodily…
How can we teach and learn performance in non-hierarchical ways? The initiators of this project share the belief that each performer has to invent their own practices to adequately express what moves them. Because they consider everyone’s experiences to be of equal value, each participant in the workshop should teach all others. For the Teaching…
Do the five phases of the Story Play model: listener-carrier-opening-situation-echo make sense as a starting point for creating your own artistic narratives? Over a 6-year period, the quality of working with one’s own personally related stories in groups of four representing “mixed time” was studied in groups of children, youth, adults and elders. Through meditation…
What does the imprint of the autonomous body in motion look like? In relation to dance and movement, the viewer will typically relate to the movement by watching the one who moves. As a graphic artist, I wanted to relate to movement second-hand: look for the body in motion. Explore the dynamic in a static…
What is a doll and how and when does it appear? The experiment was based on the idea of the doll as a second skin, and that if we provide ourselves as a canvas for it, the doll could appear anywhere on our body. Using body fragments based on casts of our own and each…
A study in failing… A group of 10 actors on wind instruments and percussion, with little or no experience in playing music, have collaborated over a period of 5 years with professional conductors to interpret well-known classical works such as. Carmen and Bolero. Here, of course, a discrepancy arises between what the ear expects to…
Is it possible to develop a hands-on game that can be used as a structuring and inspirational tool in a performing arts creation process? Livingstone’s Cabinet has worked with randomness principles in the past. This has sparked an interest in going further in working with ‘randomisation’ in performing arts development. With RPG, we tried to…
What happens when you submit your creative ideas for public review? In 2012, we each created a small daily performance that we videotaped all 366 days of the year and posted for public review on YouTube and Vimeo. In the creation process we had a constant focus on serendipity. We examined the immediate with an…
