Related Papers
Qualitative Research in Sport and Exercise
Embodying understanding: Drawing as research in sport and exercise
2010 •
Hannah Gravestock
As researchers in the arts embrace drawing as a means to facilitate new encounters with the external world in order to reveal and create new embodied knowledge, drawing as a research approach in sport and exercise science has yet to be examined. Using an ethnographic case study conducted in art and design and the sport of figure skating I introduce drawing as an interdisciplinary research method that could enhance research in this field. Focusing on drawings of the performing body I discuss the external visualisation of an internal thought process through mark making. I outline the strengths and weaknesses of using this approach and contextualise this dialogue using Lecoq's understanding of the relationship between the physicality of mark-making and performance training practices. I conclude by suggesting how, through the provision of training in drawing as research both the sports researcher and participant can further understand the complexities of human lives. Figure 1. Rehearsal drawings of my figure skating performance. Hannah Gravestock This paper examines how drawing can be used as a research method to provide new understanding in sport and exercise science. However, in order to do this we must first address the question of drawing as noun or drawing as verb. Without addressing this question drawing remains external to the body of the sports researcher and/or participant and the possibility for an embodied knowledge within sports and exercise science is limited. It should also be acknowledged that throughout this paper I often draw on literature from within arts practice and research for conceptual and examplar purposes. This is necessary as there are no conceptual discussions and few examples of drawing as a visual research method within sport and exercise sciences. If we
COLLECTIVE IMAGINATION AND STRUCTURES OF COLLABORATION (chapter in unpublishedPhD Thesis)
Filipa Malva
This chapter discusses the scenographer’s procedures of creation, starting from the relationship with imagination, through the response to conditions of production, to the use of methods of communication, and its consequences on the professional partnerships developed. Finally, it will dispute conventional concepts of authorship, authority and style in scenography.
Performance Research: A Journal of the Performing Arts. Special Issue: On Ice.
Gravestock On Ice 17March14 6
2013 •
Hannah Gravestock
Drawing and Performance: Creating Scenography
Drawing and Performance: Creating Scenography
2023 •
Filipa Malva
Drawings can be the sketches of a set designer or the notes of a choreographer; a theatre plan or the writing of a musical composer. Both in ethnographic records and in plans to design a city, drawing is a project and it is a document. It is on a page and it can also be performance. Scenographers as well as other performance practitioners use drawing as an expressive and communication tool in rehearsal and in performance. They use it as a record of a thought process and an instrument for reflection. Drawing allows discussion, trial and error, and serves as a record of the creative process for all involved. In fact, drawing — and above all the act of drawing — carries this elementary and transversal power for collaboration. This ebook registers and reflects upon the proceedings of the international conference Drawing and Performance: Creating Scenography which gathered in 2020 online during the COVID-19 pandemic. The conference included contributions from various fields of research that engage drawing and its methodologies as a research practice.
Contemporary Theatre Review
Tracing Creation: The Director’s Notebook as Genetic Document of the Postdramatic Creative Process
2016 •
Edith Cassiers
EXHIBITION PUBLICATION // Staging Thinking. Articles and essays on Contemporary Finnish Scenography, 2011
Maiju Loukola
Goudouna. Sozita. Personhood and the Allure of the Object, 1st Global Conference – Performance: Visual Aspects of Performance Practice, Prague, Czech Republic, 11th - 13th November , 2010,
Sozita Goudouna
Kilpeläinen & Loukola (ed.) 2011. Staging Thinking. Finnish PQ 2011 – world exhibition of scenography.
The archaeology of costumes for the stage in Finland
2011 •
Joanna Weckman
Critical Costume 2015: New Costume Practices and Performances
2015 •
Sofia Pantouvaki
Critical Costume 2015: New Costume Practices and Performances Critical Costume 2015 presents contemporary costume practices and performances by thirty two artists-researchers from three continents and various artistic backgrounds. The works examine the performative qualities of material and form - whether physical, digital or virtual - and stimulate the audience’s thinking to reconsider the role of costume in contemporary performance by proposing new modes of representation as well as new artistic processes. Moreover, the selected works explore how the scenographic body is constructed on a spatial, temporal and conceptual level through body manipulation, material exploration, embodied design and its interpretation.
Sozita Goudouna "Personhood and the Allure of the Object" in Critical Issues: The Visual in Performance Practice. Edited by Adele Anderson, Filipa Malva and Chris Berchild. Interdisciplinary Press, 2010. ISBN: 978-1-84888-066-5
Sozita Goudouna
