Everybods Performance Scores︎︎︎
From Everybodys Performance Scores. pp20
Mette Edvardsen
Inspiration for his score 50/50: A series of questions that the work evolved around
- What are affects and how can they be an object of investigation, can they be produced/constructed or are they a kind of bi-product?
- What is the difference between affect and affections/emotions?
- Is it possible to decompose expressivity in such a way that it recomposes itself outside of the usual categories of expression?- So, using the old to make the new?
- What kind of movement propositions produces material that expresses without producing a clear ‘expressed’, represented, or signified?
- How can the body be understood as something else that a linguistic system, or what happens to representation when the construction is not about concrete readability (language/body+)?
- How can sensation, kinaesthetic experience transfer without an actual point of contact?
- How is it possible to work on qualitative states, speed, intensity and force?
- How do you discipline the body to be body?
- How do you produce a body that is capable of shifting between different kinds of expression?
- Why are the hands and face more expressive that the lower arm?
- What notions of virtuosity does opera propose and how can they be refined?
- What kind of relationships can be made in between opera, codification, expression and movement?
Mette Edvardsen
Inspiration for his score 50/50: A series of questions that the work evolved around
- What are affects and how can they be an object of investigation, can they be produced/constructed or are they a kind of bi-product?
- What is the difference between affect and affections/emotions?
- Is it possible to decompose expressivity in such a way that it recomposes itself outside of the usual categories of expression?- So, using the old to make the new?
- What kind of movement propositions produces material that expresses without producing a clear ‘expressed’, represented, or signified?
- How can the body be understood as something else that a linguistic system, or what happens to representation when the construction is not about concrete readability (language/body+)?
- How can sensation, kinaesthetic experience transfer without an actual point of contact?
- How is it possible to work on qualitative states, speed, intensity and force?
- How do you discipline the body to be body?
- How do you produce a body that is capable of shifting between different kinds of expression?
- Why are the hands and face more expressive that the lower arm?
- What notions of virtuosity does opera propose and how can they be refined?
- What kind of relationships can be made in between opera, codification, expression and movement?
︎︎︎from Mette Edvardsen
Welcome to mapping collaboration, a toolbox for workshopping and creating across disciplines...
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
In spite of a long history of interdisciplinary creation, from our earliest recorded arts to our present moment, artistic pedagogy has created divisions between disciplines. This has left artists in a "post-Babel" condition where we don't share the same language and definitions. It’s also encouraged artists to develop practices for devising, creating and composing work that are distinct to their disciplines.
The inspiration for this project came from faculty and students at Simon Fraser University’s School for the Contemporary Arts where BFA, MFA and PhD programs in Dance, Theatre Production and Design, Visual Art, Film, and Music and Sound all work together in studio settings and playfully experiment with processes of art-making.
We wanted to create a database of projects, assignments and theory that we collect inside the studio and from research happening in other places. We are curious about how we collaborate and how structures reoccur, translate and deviate from one discipline to another.
Composition is central to these processes and offers a base for our approaches and experiments. We are excited about what our students are doing and inspired by the new languages in contemporary art and performance we continue to see develop.
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
︎︎︎select a category above to build assignments, learn more about how artists process ideas across disciplines and to create a collaborative process of your own
︎︎︎these tools are collected and used in workshops and classes; some are resources from artists; some are quotes about art-making and how bodies think and listen; others are ideas to expand and disrupt your own training and processes.
︎︎︎Each idea is intentially short- and not meant to be executed as written, but to be adapted to your own practice and specific project/context. Some may be taken in parts or combined with others to spark new ways of training and making together.
︎︎︎submit your own ideas and tools so we can keep building this site!
