Blind Spot Exhibition at Teknisk Museum in OSLO
Do we see with our eyes or through them?
This new exhibition – a collaboration between NTA – University College of Østfold and Teknisk Museum funded by DIKU (Artistic Research Programme) – explores the relationship between what you see and what you perceive. Through artistic installations, optical illusions, and ophthalmic artefacts from various times, BLIND SPOT will take you both to the blind spot of the eye and to our cultural blind spots.
Exhibition period: 25 May 2019 to 1 March 2020
The visit is an experience for body and mind
Visiting the exhibition is an experience for both body and mind. You go through the exhibition, move your body and eyes and look for new perspectives and blind spots as part of the exhibition experience and in society.
A unique collection of medical history items
In the exhibition, you will see a number of objects from the museum’s medical history collections. These ophthalmic aids helped scientists understand how and what we see. The National Medical Museum is central for cultural heritage in the field of health and medicine history in Norway.
Opening on Friday 24. may at 18.00 at Teknisk museum
Funded Høgskolen i Østfold, Teknisk Museum and by DIKU
Do we see with our eyes or through them? Explore the relationship between what we see and perceive through artistic installations and eye-related medical artifacts from diverse periods. The title, Blind spot, refers to both the eye’s blind spot and our cultural blind spots.
The exhibition is a collaboration between the Norwegian Theatre Academy at Østfold University College and the National Medical Museum at The Norwegian Museum of Science and Technology. Funded by the Norwegian Artistic Research Programme.
Karen Kipphoff has been invited to participate as a speaker with Carole Nadeau to the SQET conference in Montreal on the artistic research BLIND SPOT. Carole NADEAU is one of the international artists that took part in the first part of the project (staged production performed in Fredrikstad and in Bergen in 2017).
The title of the session is THE AUGMENTED OBJECT.
You can find more information on the website of SQET. https://sqet2019.com/en/
Follows here an extract taken from the website about the thematic of the conference.
Until recently, thinking about the theatre revolved around its liveness, the co-presence of (human) actors and spectators in the same place at the same time. Increasingly, however, the discussion has broadened to include the role of technology, the environment and a wide variety of other factors. This shift accounts for the growing interest among practitioners and theoreticians alike in the other co-presences that make a performance and its effects possible. The series of “turns” in theatre studies of the past 20 years – performative, sound, non-human, intermedial, affective, postlinguistic, ecocritical, etc. – reflect this development. But theatre is not an isolated case. Those turns correlate with the emergence of a major new school of thought in the 21st century, new materialism, which cuts across the humanities and ties in with advances in the natural sciences, irrevocably transforming the way humans perceive their environment, their role in it, and the role of its other components.
One thing that is “new” in the new materialisms is their rejection of traditional dualisms – dead/alive, animate/inanimate, energy/mass, immaterial/material, active/passive, human/non-human, intentional/non-intentional, presence/mediation, etc. – and of the anthropocentrism that dominated the humanities throughout the long 20th century. The new materialisms ascribe to “matter” a power of agency of which humans are neither the cause, nor the source, nor the beneficiaries. This is not to say they are anti-human, for humans are not outside matter, nature and the environment. They are part of it. Neo-materialist thinking replaces a vertical, one-way dynamic of agency, in which humans dominate the world (and exploit it), with a recursive, multidirectional dynamic in which humans, as agents among others, act on their environment but are also transformed by it.
The stage, a site where humans face humans, is the quintessential anthropocentred space. It is also a fertile subject for neomaterialist investigation, for it constitutes a complex ecosystem where varieties of agency meet, powers collide, multiple vectors of meaning and affect emerge, and the physical, the discursive and the symbolic intertwine. The stage is therefore representative of complex forms of agency and promises to illuminate their operation.
The “Theatre and New Materialisms” conference will examine live performance, past and present, through the lens of neomaterialist thinking, the schools of thought that animate it, and the aforementioned “turns” that have studded its development. Naturally, the discussion will not be confined to the traditional stage but will embrace live performance in all its forms.
The topics for conferences are:
1. Design and production:
- Impact of human agents (director, set designer, sound designer, etc.) and non-human agents (backdrop, furniture, props, atmosphere, etc.) on theatrical processes;
- Set design, stage devices, high tech / low tech, physical environments in the theatre, the borderless stage;
- Intermediality, multimodality, interdisciplinarity, interarts;
- The materiality of the script: publishing, distribution and conservation media; the immateriality or evanescence of the theatre;
2. Reception modes and practices:
- The spectator’s posture, practices and relationship to the physical environment;
- New dissemination methods and channels;
- The materiality of reviews and comments;
3. Institutional dynamics and evolving values:
- Political, ideological, historical and institutional aspects of theatre production and reception;
- Funding and spending on facilities: material considerations in amateur and professional theatre;
- The contribution of post-humanist sociology to reflections on new materialisms and theatre studies.
Contributions to training: neomaterialist thinking and theatre training.
Twenty minutes will be allocated to presenting papers, followed by ten minutes for audience discussion.
On November 23 and 24, 2018, HiØ/Norwegian Theatre Academy invites visiting artists to present, discuss and exchange their artistic legacies and experiences as elders in the field of Performance. The gathering creates a space for reflecting with the invited guests on possible futures through an embodied relation to the past. Formats include sharing food, discussion, listening, scholarly and artistic presentations and participatory actions. Participants will also include students, teachers and other artists in the field who acknowledge the role legacy and intergenerational relations play in their work. Staff and Students of NTA are central to this event, as the notion of intergenerational and intercultural meeting, discussion and practice is given priority.
A central aspect of the meeting is a presentation of the results of a 10 day first time collaboration between Makka Kleist (Inuk, Tuukkaq Theatre) and Muriel Miguel (Kuna/Rappahannock, Spiderwoman Theater).
Convened by Karmenlara Ely, made possible through the artistic research project Blind Spot: Staring down the void, funded by Norwegian Program for Artistic Research, with project leader Karen Kipphoff and producer Patricia Canellis.
Radical Elders gathering program
Morning training might include some special guests
(1200-1400 Lunch for special guests and staff who are in town)
1600 Welcome, buffet of wraps and soup for all (Space lab)
1645-1800 Official Opening of Radical Elders (Black Box)
1800-1930 First assembly discussion What is a (Radical) Elder (Black Box)
2000 – 2130 Muriel and Makka performance followed by discussion in Impro Space
Saturday 24.11 (the order of this day is in final stages of change)
1000 Aging and Dying (projector needed)
Tony Hall “Ageing system” (relax and observe) 30 minutes
Liz Barry, Phillip Z; Tony Hall, with audience discussion 75 minutes
Edit Kaldor 15 minutes
1200 Lunch (Space lab)
1300 Intergenerational Sharing: Practices* (Black Box)
Muriel 25 minutes, Annalisa 15 minutes, Øyvind 25 minutes, Phillip 15 minutes, Rebecca Hilton 15. 20 minutes for questions.
1500 Coffee and snack break (Space lab)
1515-1645 “Voices” (Black Box) – speakers use the space however they like
(Makka will use the projector at the end)
1700 Intergenerational Sharing: Collective futures (Black Box)
c.1830 Collective intergenerational cooking (Space lab)
2000-2200 Dinner Party/Dancing (Space Lab/Black Box)
 At Restaurant Slippen.
 (Dress comfortably for movement. If you cannot/will not move you can observe from a chair.)
BIO of the ELDERS:
Muriel Miguel of the Kuna and Rappahannock nations, is a founding member and Artistic Director of Spiderwoman Theater, the longest running Native American women’s theater company in North America. She has directed and co-written all of Spiderwoman’s shows since their first show, Women in Violence in 1976. They have produced over twenty original works for the theatre. She grew up performing in Medicine Shows with her family and as a teenager was the co- founder of the Little Eagles, a group that is still active in New York City and is now known as the Thunderbird American Indian Dancers.
Muriel studied modern dance with Alwin Nickolai, Erick Hawkins and Jean Erdman. She was an original member of Joseph Chaikin’s Open Theater where she performed in the groundbreaking works: Terminal, The Serpent, Mere Ubu and Viet Rock.
She is a choreographer, director and actor. She has choreographed Throw Away Kids and She Knew She Was She for the Aboriginal Dance Program at the Banff Centre. She directed The Scrubbing Project with Turtle Gals Performance Ensemble and Evening in Paris with Raven Spirit Dance Company. She has been a dramaturge with Native Earth Performing Arts’ annual Weesageechak Begins to Dance Festival. As an actor, she was the Mary Deity in the off- Broadway hit, Taylor Mac’s Lily’s Revenge. She created the role of Philomena Moosetail in The Rez Sisters, by Tomson Highway, a play that is a seminal work in the development of a First Nations play repertory in Canada. She played Aunt Shadie in The Unnatural and Accidental Women by Marie Clements and Spirit Woman in BONES: An Aboriginal Dance Opera. She has created one woman shows Hot’ N’ Soft, Trail of the Otter and most recently Red Mother. Her latest project is Material Witness, which explores violence and healing in the lives of Indigenous women in rural and urban communities in the United States and Canada.
Muriel has been awarded an honorary Doctorate in Fine Arts from Miami University in Oxford, OH, home of the Native American Women Playwrights Archives. She was awarded a Rauschenberg Residency in 2015 and is a member of the National Theater Conference. Muriel is also a 2016 Guggenheim Fellow. She was selected for the Native and Hawaiian Women of Hope poster by Bread and Roses International Union’s Bread and Roses Center and in 2003 was the recipient of the first Lipinsky Residency (feminist-in-residence) at San Diego State University Women’s Studies Department. She has received many awards as a member of Spiderwoman Theater. The Smithsonian Institution’s Museum of the American Indian presented a retrospective exhibit, New Tribe, New York honoring Spiderwoman Theater’s years of work; a Lifetime Achievement Award from the Women’s Caucus for Art and the Otto René Castillo Award for Political Theatre. Spiderwoman Theater received the first Honoring the Spirit Award for Arts and Entertainment from the American Indian Community House where Muriel sits on the Board of Directors.
She is a pioneer in the development of an Indigenous performance methodology and is active in the training of Indigenous actors and dancers in this culturally based method. Her work has been profiled in numerous articles and essays. The most notable of these are Women in Love: Portraits of Lesbian Mothers and their Families by Barbara Seyda and Diana Herrera and American Women Stage Directors of the 20th Century by Anne Fliotsos and Wendy Vierow. Plays Published: TRAIL OF THE OTTER in Staging Coyote’s Dream: An Anthology of First Nations Drama in English Vol. II & HOT ‘N’ SOFT in Two-Spirit Acts: Queer Indigenous Performances– Playwright’s Canada Press. There have been numerous publications of Spiderwoman Theater plays, including PERSISTENCE OF MEMORY in Performing Worlds into Being: Native American Women’s Miami University Press; WINNETOU’S SNAKE OIL SHOW FROM WIGWAM CITY in Keepers of the Morning Star: An Anthology of Native Women’s Theater -UCLA American Indian Studies Centre and REVERB-BER-BER-RATIONS in Staging Coyote’s Dream: An Anthology of First Nations Drama in English -Playwright’s Canada Press.
Muriel’s latest work, is directing Off-Broadway in Spiderwoman Theater and Aanmitaagzi’s MATERIAL WITNESS at La MaMa Experimental Theatre Club. MATERIAL WITNESS is about Indigenous women who have experienced domestic abuse and other violence but have moved to the other side; they are stories full of hope and humor. Spiderwoman Theater celebrated its 40th Anniversary with this production, which is a spiritual successor to their first show WOMEN IN VIOLENCE.
Makka Kleist was born 1951 in Greenland.
1981 actor from Tuukkaq Theatre’s acting college.
Worked as an actor at the Tuukkaq Theatre for 2 years.
1983-87 freelancing as an actor in Toronto, Canada.
After some years in Greenland she moved to Tromsø, Norway in 1990 and worked as an actor, director and playwrite there until 2003 where she moved back to her native Greenland. Worked mainly with Silamiut theatre as an actor, director and playwright.
She has participated in 5 films, a mini-series, a Christmas-series and radio-dramas in Canada.The last film being “the Secret Life of Walter Mitty” by Ben Stiller
Story-telling has become a central part of her repertoire, and has participated in festivals in USA, Canada and Iceland.
She has also been teaching theatre in Greenland, Scandinavia and Canada.
She is fluent in Greenlandic, Danish and English. Understands and speaks Norwegian and some German.
Co-founder of the theatre school of the National Theatre of Greenland and from 2012 to 2016 Artistic Director/Principal for the same school. From 2016 working as a freelancer again. Translated Shakespeare’s “Midsummernight’s Dream” into Greenlandic. Writing a monologue about getting old.
Tony Hall, Trinidad playwright / screenwriter with Lordstreet Theatre Company, attended
University of Alberta and Northern Alberta Institute of Technology. He formulated the Jouvay
Popular Theatre Process to interrogate the role and function of the traditional masquerade (mas) characters trapped in emancipation traditions. Recently known for ‘mas interventions’ into the Trinidad Carnival, Miss Miles (Minshall Mas 2014), performing Marcus & Amy (2016), his other acclaimed works include, for the stage: Jean & Dinah… (1994), Twilight Cafe (2002), Miss Miles the Woman of the World (2011), for the street: A Band on Drugs (1990), MUD! (Norwegian Theatre Academy 2016), made for TV film: And the Dish Ran Away with the Spoon (Banyan/BBC 1994).
Tony has lectured at California State University, Northridge; Prague Quadrennial; Indiana State
University; University of Winchester, UK; Trinity College, Hartford CT and currently in the Trinity-in-Trinidad program.
Yes, that fraud is lying in bed, sleeping again. In any case, this ‘petty clown’ has muttered to me, in silence, many times, in his sleep even, that he has absolutely no respect for, nor any trust in, any of his borrowed ideas, egoic opinions and voluminous fabrications. So anything this ‘joker’ may say, or may not say about himself here, will be, as usual, a bunch of misconceptions, distortions and downright lies; to say the least, quite meaningless. This ‘fool’ has even dreamt up many other names (especially for his poetry, but mainly in the plays) for folks who conduct dubious intellectual lives independent of his own and who sometimes hold unpopular and/or more extreme and insipid views than the ones he often espouses. There is nothing left . . . this is not him, it is all a terrible mistake really . . . “About Ben Adhem (may his tribe decrease by cautious birth control and die in peace.)”**
Øyvind Jørgensen (b.1960) Dancer, choreographer and teacher. He studied at the Norwegian National Academy of Dance (1980-83) and at the Martha Graham School of Contemporary Dance in New York (1983-85). While in New York he also studied the techniques of Lester Horton and Jennifer Muller. He was introduced to Butoh through Sankai Juku in New York 1984. Later, he had the opportunity of working as a dancer in Anzu Furukawa’s production Under The Window in 1991. Øyvind has performed as a dancer in New York and in several independent dance groups in Norway, and was pronounced “most outstanding dancer of the year” in 2000 by critic Marit Strømmen in the international magazine Ballet International’s critics’ survey. His choreographical production is multifaceted and comprises approximately 60 personal works/projects and commissioned works; his performances have been staged both nationally and internationally, including by the Norwegian Touring Theatre, Black Box Theatre, The Norwegian Opera and Ballet, in Berlin, The Baltic States, Portugal, Belgrade and Bosnia. Today he has a 50 % position as Associate Professor i Contemporary Dance at Norwegian National Academy of Dance.
Dee Norris (Baby Dee)
Baby Dee is a gender dysphoric medievalist carny from Cleveland Ohio.
Annalisa Dal Prà
Born in Italy 26.08.56, resident in Norway since 1983. Studied Graphic Design at Accademia Arti Applicate in Milano. Educated at Vladimir Rodziankos School for voice and movement, Berlin. Further deepened theatre studies with, amongst others, pedagogues from Odin Theatre, Roy Hart Theatre and mask dance teacher I Made Pasek Tempo, Bali. From 1984 up to 1997 was a performer and artistic director of own company Boreas Teater. Since 1997 has worked as a freelance actor, pedagogue, director and producer in different venues. From fall 2006 to spring 2016 engaged at the Norwegian Theatre Academy as Head teacher in the acting department.
Phillip is the founding Artistic Director of The Llanarth Group. He is internationally known as a director and performer, and for training actors through a pre-performative/psychophysical process using Asian martial and mediation arts. Phillip is also widely known as an award winning author. He maintains a private studio in West Wales (Tyn-y-parc CVN Kalari/Studio) where he holds annual intensive psychophysical training (usually in July), and rehearses productions with The Llanarth Group.
Phillip’s recent directorial work includes world premiere performances of Kaite O’Reilly’s And Suddenly I Disappear (an Unlimited international commission with partners in Singapore/UK in 2018); richard III redux OR Sara Beer IS/NOT Richard III (co-author with Kaite O’Reilly, 2018 production in Wales) …semblance…sequel…specter: Beckett’s Footfalls and Play, in association with The National Theatre Company (Costa Rica) and Collective Escenico Dragon (2017); world premiere of Kaite O’Reilly’s Cosy (Wales Millennium Centre, 2016); Kaite O’Reilly’s the 9 fridas with Mobius Strip (Taipei) on invitation at the Hong Kong Rep International Black Box Festival (2016; original production as Guest Director at Taipei Arts Festival in 2014); The Llanarth Group’s Told by the Wind on limited UK tour (2016; premiered 2010); Ota Shogo’s The Water Station for Nordland Teatre (Norway, 2015); and playing ‘the maids’—co-created by The Llanarth Group, Gaitkrash, and Theatre P’yut (2015).
In addition to teaching at the Tyn y parc studio, Phillip regularly conducts residencies and workshops throughout the world including at ITI (Intercultural Theatre Institute, Singapore) and the Norwegian Theatre Academy (Fredrikstad, Norway). He has also conducted residencies/workshops throughout the world including: with Vertebrae Theatre at the Shanghai Theatre Academy; Gardzienice Theatre Association (Poland); Helsinki Academy of the Arts (Finland); KNUA (Seoul, Korea); National Theatre of Greece; Athens/Epidavros Festival (Greece); Taipei Arts Festival; as part of BEYOND project with Emio Greco and Co (Netherlands), etc., as well as at many university professional actor-training programmes.
Phillip is also noted for his work with Indian dancers/choreographers. He collaborated with bharatanatyam dancer/choreographer Gitanjali Kolanad to create two major solo performances which have toured internationally–Walking Naked / The Flowering Tree –both premiered in Chennai and toured internationally to Mumbai, London, Seoul, Toronto, and other locations. With Artistic Director/Choreographer Stella Subbiah of Sankalpam, in the UK Phillip directed The Dance of the Drunkun Monk and …sweet…dry…bitter…plaintive, part of Corpo-realities 2. Both toured nationally in the UK and included performances at the London South Bank Centre or Laban Theatre in London.
Kaite O’Reilly is a playwright, radio dramatist, writer, and dramaturg who works in disability arts and culture and mainstream culture. She has won many awards for her work, including the Peggy Ramsay Award for YARD (The Bush, London), M.E.N. best play of the year for Perfect (Contact Theatre), Theatre-Wales Award for peeling (Graeae Theatre company) and the Ted Hughes Award for new works in Poetry for her reworking of Aeschylus’s Persians for National Theatre Wales in their inaugural year. She was a finalist in the Susan Smith Blackburn Prize in 2009 for her play about memory and brain injury The Almond and the Seahorse. Widely published and produced, she works internationally, with plays translated/produced in eleven countries worldwide. 2016 productions included Cosy at Wales Millennium Centre (The Llanarth Group), The Almond and the Seahorse in Estonia and Germany, and the Taiwanese production of the 9 Fridas in Mandarin transferring to Hong Kong Repertory Theatre. These plays are collected in her critically acclaimed Atypical Plays for Atypical Actors, published by Oberon in 2016.
A leading figure in disability arts and culture in the UK, she received two Cultural Olympiad Commissions for In Water I’m Weightless, produced by National Theatre Wales/Southbank Centre as part of the official festival celebrating the 2012 London Olympics/Paralympics. She has received bursaries from Literature Wales and recently was awarded a Creative Wales Award from Arts Council Wales for exploratory work into ‘The Performative power of Words with Music’ in 2017. She has recently been announced as the recipient of an Unlimited International Commission, supported by the British Council, to develop The Singapore ‘d’ Monologues in 2017/18.
In 2003-06 she was AHRC Creative Fellow at Exeter University, developing ‘Alternative dramaturgies Informed by a Deaf and disability Perspective.’ This work has continued as fellow of international research centre ‘Interweaving Performance Cultures’ at Freie Universitat in Berlin (2010-17), where she is reflecting on her practice between hearing culture and Deaf culture, disability culture and ‘mainstream’ culture, with four essays forthcoming in books by Routledge.
She edited FACE ON: Disability Arts in Ireland and Beyond for Arts Disability Ireland and Shelf Life, an anthology of writing by those with reduced life expectancy for National Disability Arts Forum.
She is the patron of Disability Arts Cymru, DaDa (Disability arts Deaf arts) and Agent 160. Dramaturg for The Llanarth Group, she co-creates work internationally with renowned theatre director Phillip Zarrilli.
Per Ananiassen (born in Berlevåg), resident in Bergen from 1968, is a Norwegian dramaturg and artistic director. He was a dramatist at Trøndelag Theater 2001-2008, and is artistic and general manager at the Theater House Avant Garden from 2008. Ananiassen is also an artistic director of the Bastard – Trondheim International Performing Arts Festival and for “Den unge garde”.
Teaterhuset Avant Garden, or simply Avant Garden, is an arena for presenting and co-producing independent performing arts. Being Central Norway’s only programming theatre and venue for guest productions, the theatre is one of the country’s most important arenas for presenting and conveying touring project-based performing arts.
Avant Garden was founded in 1984. It was established in its current location in 1993, with help from the municipalities of Trondheim and the regional authorities in Sør-Trøndelag County. Today it is funded by the above mentioned authorities and by the Norwegian Ministry of Culture.
Avant Garden’s main goals are to promote professional, cross-genre, interdisciplinary performing arts: By presenting and co-producing international, national and local productions, and by encouraging original production at a local level, as well as assisting, supporting and presenting performing arts productions targeted towards a variety of target groups from toddlers to elderly people.
Dr Elizabeth Barry is Associate Professor in Department of English and Comparative Literary Studies, University of Warwick, U.K. Research interests include medical humanities, especially in relation to psychology, psychopathology and ageing; Samuel Beckett; English and French modernism; modern British and Irish theatre; Irish Studies and Anglo-Irish writing; the cultural history of celebrity; and the writing of death (epitaph, obituary, graveyard poetry). She has published a monograph on Samuel Beckett, and articles and book chapters on Beckett in relation to a range of subjects, as well as on the politics of translation, Black British theatre, Sarah Kane, and Jean Genet. She is a partner on a Norwegian Funding Council project, Historicizing the Ageing Self, at the University of Bergen, Norway.
Born: 16. 03. 1948, Halden, Norway
Educated cook 1967.
The State Theater School, Oslo, Norway 1970 – 1974.
Actor Riksteatret Norway 1974 – 1976
Actor General Assembly, Board Representative Theater Our, Møre og Romsdal Region Theater, Molde, Norway 1976 – 1985
Actor, Director, Dramatist Acting Theater Director (1989-1990) Hålogaland Theater, Tromsø, Norway 1985- 2003.
Theater Director Silamiut Theater, Nuuk Greenland 2004-20011.
Theater Manager, Greenland National Theater, Nunatta Ice Cream Festival, 2011-2015.
Instructed Shakespeare, Beckett, Moliere with more.
Written several recorded plays.
Co-founder of Greenland National Theater and Greenland National Theater’s acting school.
Last work: Greenlandization of Holberg’s “Jeppe on Beer”. Listed by Greenland National Theater 2016.
Thomas is the artistic director of the Tabanka Dance Ensemble, a professional dance company, which performs traditional, contemporary, artistic and commercial African and Caribbean dance. At the same time, he works as a youth worker actively engaging children and young people with multicultural backgrounds in arts and culture, as participants and with culture as tools for developing sustainable identities. Thomas is employed as a consultant in the Culture Council in the Inclusive Cultural Life in the Nordic Region from September 2017 to January 2018.
In spite of his young age, Thomas has codified a system of body movement which is rooted in the traditional African and Caribbean movement aesthetic, yet relevant in the contemporary.
Thomas has been adopted into Yoruba and Ewe people by elders and has received names respectively. Some examples of these are the Yoruba name Ajamu (he who fights for what he believes in) and the Ewe name Adamdoba (whos power is of better quality). By his elders in the Caribbean his style was described as Talawa (strong, resilient, rooted). Talawa has stuck with Thomas as a nickname and is also what he chose to call his dance technique. Respecting the roots and that the technique is systemized by him, but created by a people!
Since 1998 Thomas has spent his time, actively carving a place for the black dancing body in Scandinavia. He has performed Caribbean and African dance for more than ¼ of Norways population. Reached semifinals with Norway got Talent, being the first time a full black group has ever advanced on Norwegian TV Shows, and performed traditional dance live. His technique is tought on 5 continents and is continuing to strive to show the relevance of ancient power with a modern use.
Jeungsook Yoo is an actor, director, actor-trainer, and scholar. She is co-founder of Theatre P’yut (Seoul, Korea). As an actor, she performed in The Water Station (Nordland Teater, Norway), and playing ‘the maids’ (Ireland and UK), directed by Phillip Zarrilli both in 2015. She has trained and collaborated with Phillip Zarrilli since 2001. She is also a practitioner of Korean Dahnhak, a form of meditation as well as traditional Korean dance. Her monograph, A Korean Approach to Actor Training was recently published by Routledge Press. She is currently co-editing a book about the production of playing ‘the maids’ – Intercultural Processes, Practices, and Perspectives: Co-creating playing ‘the maids’ for Bloomsbury Methuen Drama. She was Head of the World Performance course at East 15 Acting School (UK). She currently teaches at Korea National University of Arts and Soongsil University (Korea).
Seeing everything as landscape has been Tormod Carlsen’s longstanding fascination.
He has sought out places and contexts marked by paradox ever since he moved to Russia to train as a circus artist after completing his upper secondary education. In settings of contrast and opposition Carlsen finds the potential to twist a situation. In addition to Russia, he has studied theatre at the University of Teheran and directing at Oslo National Academy of the Arts. Over time, landscape has become an artistic approach. Several of his projects can be characterized as long-term investigations of situations and questions that generate new works. This is especially true of his project In The End We Are All Alone, a series of one-person theatres and interventions in public space, which he has been developing with scenographer Heidi Dalene. From 2017 he has been associated artist at Black Box theatre in Oslo. As a director he has worked in a variety of settings and constellations both in Norway and abroad. Among others he has worked with Nunatta Isiginnaartitsisarfia (National Theatre of Greenland), DOgA, Det Norske Teater, Teateret Vårt, Hålogaland Teater, Den Nationale Scene, Staatsteater Lübeck, Århus Theatre. In audition to this he has developed his own practice and produced his own works that regularly performs in festivals. www.tormodcarlsen.com
Sxip Shirey (composer) is a composer/producer and performer based in New York City.
This year he’s performed twice at the Sydney Opera House. The first time with circus arts piece, ‘LIMBO UNHINGED” and the second with, The Gauntlet, the immersive choir piece he’s been developing with choreographer Coco Karol for the last two years with performances on the Highline, Central Park and the Cleveland Museum of Art. Shirey has tours internationally with “LIMBO”,which was developed between Strut N Fret productions in Australia and Underbelly in London with South Bank Center as a co-producers. Shirey teaches “Object Oriented Composition” at the Norwegian Theater Academy in Fredrikstad Norway, which he considers “The Black Mountain College of NOW”. Shirey has been a featured performer at TED. He wrote the music for the short film “Statuesque” written and directed by Neil Gaiman and staring Bill Nighy, and lead his “JANK” band at Madonna’s Birthday Party in the Hamptons. Shirey is a 2011 United States Artist Fellow. He is currently working on the music for his new album entitled “Goodnight Little Machines” which will be released on National Sawdust Tracks in 2019.
Coco Karol, is a NY-based dancer/choreographer/ artist who makes cross-disciplinary performances that invite conversations between personal and shared experience. A performer, choreographer, hospice volunteer, and dedicated teacher, Coco is interested in how we create meaning and connect to others. She holds a BFA from Tisch Dance NYU and an MFA from Hollins University. She has danced for Chris Elam/ Misnomer Dance Theater, Cherylyn Lavagnino/ CLD, and Christopher Williams, among others. Her choreography has toured internationally and premiered in reputable New York venues such as Carnegie Hall, Symphony Space, and been curated by AUNTS. She has worked with musicians including Bjork, Amanda Palmer, Minna Choi/ MagikMagik; visual artists including Steven Sebring, Eve Laroche-Joubert, UNSTABLE Space, Benjamin Heller, and C. Finley. She teaches embodied inquiry techniques she developed including Movement Before Dialogue, and Gestures of Care, a movement and storytelling series for end-of-life care professionals. Current research works include, ‘Movement Interviews’ (dance as inquiry), The Lullaby Project (oral histories/ physical archives). Karol makes and performs community-inclusive choral performances, and cross-disciplinary theater works with her artistic partner and husband, Sxip Shirey.
“I’m an Australian born dance person living in Stockholm. My practices include dancing, performing, choreographing, conversing and writing. In my three and a half decades involved in dance I’ve contributed to the work of a range of artists including Russell Dumas, Stephen Petronio, Mathew Barney, Michael Clark, Tere O’Connor, Jennifer Monson, John Jasperse, Lucy Guerin, Tino Sehgal, Xavier Le Roy, Scarlet Yu, Chrysa Parkinson, among others. At the Stockholm University of the Arts, as Professor in Choreography for the research area Site Event Encounter, I am working on GROUPNESS – researching relationships between embodied practices, oral traditions and choreographic systems – in environments including universities, community run organisations, friendship circles and family groups. Currently I am a choreographer in residence at Malarbacken, (Sweden’s largest elder care centre) as part of DoBra, a research project orchestrated by the Karolinska Institute. DoBra is a decade-long, nation-wide research program exploring relationships to death and dying in Sweden.”
Edit Kaldor is a writer, theatre-maker and dramaturge. She had worked for years as artistic collaborator with Peter Halasz (Squat Theater/Love Theater, New York), before she started to make her own work. Kaldor makes theatre performances with nonprofessional performers, mixing documentary and fictional elements, and often integrating the use of digital media. Her pieces, which stretch considerably the boundaries of theatrical conventions, have been presented in over 30 countries. She has taught and lectured at art academies across Europe, and has led workshops in theatres, festivals and other contexts. Currently she is artistic research fellow at the Norwegian Theatre Academy, where she is developing the research project The Many and the Form: Working Methods for Participatory Co-Creative Practices in Contemporary Theatre.
Deborah Ratelle is the Managing Director of Two Spirit Productions and Management Consultant with Spiderwoman Theater. Stage Management credits include: The Gala Performance for the opening of the Nunavut Territory in 1999; The Unnatural and Accidental Women ( Firehall Arts Centre); BONES: An Aboriginal Dance Opera (The Banff Centre for Arts and Creativity) ; When Will You Rage? at Planet IndigenUs (Penny Couchie). Project/Production Management credits: Native Earth Performing Arts and The Centre for Indigenous Theatre in Toronto; Aboriginal Dance Program at The Banff Centre for Arts and Creativity; Indigenous Performance Initiatives at Trent University and most recently Aanmitaagzi in Nipissing First Nation. She is the Project and Tour Manager for Aanmitaagzi/Spiderwoman Theater’s production of Material Witness.
Louise Höjer is a director, producer, and dancer. In the main she works with Tino Sehgal and has produced his work for over a decade. She has an interest in the crossover of visual and performative arts. In 2016 she co-curated the visual arts x dance programme at ImpulsTanz in Vienna. The same summer she was also a co-mentor of DanceWeb at ImpulsTanz. She has given workshops at the NTA in Fredrikstad, UdK in Berlin, and the University of Dance and Circus in Stockholm. She has lectured internationally.
Michael D. W. Smith aka D. W.
Born Michael Darwin Washington Smith on January 23rd, 1956 in Point Fortin, Trinidad. A retired policeman who likes being a poet. He found this out almost by mistake when he was close to retirement. He actually started writing while on the beat. He says he would have loved to be a school teacher but never made the cut. Michael has extreme views on detachment and solitude. http://solitude100poems.blogspot.com He finds himself being anti-social now, almost anarchistic. D. W. (as he is fondly known to friends) likes to quote the African-American boxer, Hurricane, who says, “It is very important to transcend the places they hold us.”
Born in Paris, raised in Athens, Patricia arrived in Norway in 2011. Since then, she is working on developing the artistic research platform of NTA. She has organised several exchanges and projects and more specifically produced the research projects Infinite record: Archive, Memory, Performance, Blind Spot: Staring Down The Void, and the newly funded Material Strategies.
Aside from the academy, Patricia has recently decided to get back to studying. She is taking a degree in Transgenerational Therapy (how traumatic and non-elaborated events are passed on to the next generations). And this is the reason why she is not here in the room today.
The dreamer performer in the frame of [frasq] # 10 – gets off to a flying start!
Comedian-performer, choreographer and researcher Biño Sauitzvy took us into a space-time where the night became white, and the day became black. In the vast space of the Generator, in the frame of NUIT BLANCHE (same concept as Kulturnatt here in Norway) in Paris, the BA students of NTA offered a fabulous performance where dance, theatre, acrobatics, dreams, and poetry made us fly high.
This performance was organised with the support of the artistic research project BLIND SPOT.
In partnership with the Academy Fratellini, University Paris 8, Le Generateur.
With students: Nina Tind Jensen, Livia Hiselius, Jakob Schnak Krog, Ragni Halle, Jay Fiskerstand, Naja Schonemann, Eline Waldeland, Gregers Andreas Kroksleiven-Hansen, Tova Ekenberg, Simon
Zeller, Eun Yong.
Performance shown at Norwegian Theatre Academy 2017, Meteor Festival Bergen 2017
with: Marcio Carvalho, Farid Fairuz, Ingvild Holm, Karen Kipphoff, Trond Lossius, Carole Nadeau
Artistic Research project supported by Norwegian Artistic Research Program, Norwegian Theatre Academy, BEK Bergen Electronic Ars Center, Bit Teatergarasjen, HZT Hochulzentrum Tanz Berlin, Tranzit Foundation Bucharest, Conseils des arts et des lettres Québec, Canada Council for the Arts