By Annette Arlander
Artistic Research at the Theatre Academy(Helsinki)
The history of the emergence of Artistic Research as a field of study at the Theatre Academy began with a dissent to the “hybrid muddling” as artistic work was its focus. But referring to Grotowski “Knowledge is Matter of Doing”, approaches and models to study this field began.
Discussions regarding the credibility/usage of artistic works as data for research were had. It was in question because of the transient nature of performance and through the assumption that the process is one-way (research for artistic works).
These studies opened up to the fact that artistic practice can provide as data for research as it provides knowledge through original investigation and thus a mutual relationship is established between research and art practice.
2. Methodology
Working method and Research method: differences and the relationship is explored.
The essential element of artistic research is that the researcher is the central tool or material of research and thus open subjectivity.
What is important for artistic research: context, credibility, persuasiveness, usability and importance and novelty of the results.
Performance as research presented certain questions: what are the fields of activity in consideration, knowledge generated, modality and the implications of practice and theory.
Performing Landscape as a method for research- where the method of repetition of a still act through video captures the changing environment thus bringing attention to the environment and the inward process of the artist.
But only critical reflection post the performance will provide a deeper artistic research as opposed to only the process of creation providing as material.
3. Artists encounter with philosophical texts
Philosophical texts can provide as an impulse/inspiration for creation of works, can provide as material which can be used in the work or can also be used as support to reflect upon the work after its creation.
Annette Arlander’s inspirations: Luce Irigaray, Martin Heidegger, Maurice Merleau-Ponty, Ramon Llull.
She also discusses the artists tendency to read/be inspired from a part of text rather than the whole text.
4. Performing Landscape & ‘The Age Of Breath’ (Luce Irigaray)
Performing landscape: environmental awareness and personal devotional practice.
‘The Age Of Breath’ by Luce Irigaray explores female spirituality and a Third Age of the Spirit (roman catholic tradition but referring to women as initiators of this).
Luce Irigaray:
I. Enhancing of women’s spirituality is possible through cultivating breathing, returning to the self and practice/prayer/ritual. And this is valuable in understanding the development of one’s creative practice.
II. Autonomy and interiority are what comprise in subjectivity and this is achieved through breathing.
III. Breathing as the first and most autonomous action/process.
IV. Through this cultivation: coming back to oneself and opening up to the other/universe.
V. ‘Fulfilling our Humanity’ Irigaray talks about shifting from survival to spiritual as the fulfilment of being human.
VI. Cultivation of Breathing as an important process for active receptivity and in- gathering.
VII. Active receptivity = cultivating perception through being active (through performing/action) + receptive (through being aware and listening)
5. Arlander’s works:
Using Breathing as a working method
Year of the Monkey-Tomtebo: every week for a year she filmed herself standing on a cliff at the shore of Harakka Island. Still-act: looking at the ocean. The constantly changing environment brought an interesting aspect to her action (the growth of plants almost engulfing her). This action was chosen with the purpose to develop this as a ritual/personal practice but through creation of work. This provided her with a sense of active gathering.
Day and Night of the Rooster: Duration of 2:30am to 12:30pm the next day. Intensive and endurance test.
Through these works it created for her a spiritual/restoring/healing practice. So she was able to link the philosophy of Irigaray’s fulfilment of humanity and age of breath through her performing landscape (her artistic work).
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