Artist & Audience -course

Teachers: Prof. Jan Kaila (Academy of Fine Arts), Prof. Kirsi Monni (Theatre Academy), Assistant professor Anu Vehviläinen (Sibelius Academy)

Lenght: 4-6 ECT

Places: (depending on the teacher):

Academy of Fine Arts (Kaikukatu 4, Doctoral Program Space, U113)

Theatre Academy (526, Haapaniemenkatu 6, 5th floor, c-elevator)

Sibelius Academy (T327, Töölönkatu 28, 3rd floor)

When: 6 sessions, à 3 h, the last one 4 h

Mon 14.10.2013 14-17 pm, (Töölönkatu 28, T327) teacher: Anu Vehviläinen

Mon 4.11.2013 14-17 pm, (Töölönkatu 28, T327) teacher: Anu Vehviläinen

Mon 25.11. 2013 14-17 pm, (Kaikukatu 4, U113) teacher: Jan Kaila
Mon 16.12. 2103 14-17 pm, (Kaikukatu 4, U113) teacher: Jan Kaila
Mon 20.1.2014 16-19 pm, (Haapaniemenkatu 6, 526) teacher: Kirsi Monni
Mon 3.2.2014 16-20 pm,  (Haapaniemenkatu 6, 526) teacher: Kirsi Monni

Working methods: Lectures, presentations, essays and workshops
Target group: Doctoral students in the University of the Arts, max. 15 students (if room left, also Master degree students are welcome)
Assesment: Pass/Fail

How does an artist experience the audience when performing or presenting an artwork? How does the audience affect artist’s work? How do we understand artist’s responsibility towards the audience? Are artists independent or are they rather regarded as servants to their audiences in today’s culture? How do we deal with the audience in our education? What are the differences between different art forms in regarding the relationship with the audience? The course focuses on the artist’s relationship with the audience from the perspective of three different art forms. In six 3-hour sessions one discusses the essence of that relationship as well as its meaning in artist’s education.

Students’ instructions for Anu Vehviläinen’s sessions:

I SESSION 14.10.2013: Lecture and discussion

II SESSION 4.11.2013: Students’ presentations and discussion

The first session will focus on the artist-audience relationship in Western Art Music. We will discuss the existence (or non-existence) of that relationship in the musician’s education where the main focus is on the music, the instrumentalism and the concept of the work. Many practises still present in today’s art music culture were born in 19th century, such as the etiquette of the recital and the faithfulness towards the work (Werktreue). To understand those practises we will explore the writings of Lydia Goehr and Henry Kingsbury. We will also discuss the way our own relationship with the audience has developed during our education.

For the second session each student prepares a short presentation that deals with some aspect of the artist-audience relationship in artist’s education.

Students’ instructions for Jan Kaila’s sessions:

I SESSION  25.11: Lecture and discussion

II SESSION 16.12: Students’ presentations and discussion

The lecture of the first session focuses on different practises that deal with the relationship between the artist and the audience in the field of contemporary art. For the second session each student prepares a short presentation about new forms of artist-audience relationship.

Students’ instructions for Kirsi Monni’s sessions:

I SESSION 20.1. 2014: TeaK room 526, at 16.00-19.00

II SESSION 3.2.2014: TeaK room 526, at 16.00-19.00

At 19.00-20.00 course feedback discussion

These two sessions will focus on some historical-ontological aspects of live performance especially in relation to the act of performing and in relation to the notion of work of art. The theme will be explored in both discursive and practical levels. Few theoretical aspects on the aesthetics of performance as well as some performance strategies will be shared and discussed. Both sessions will consist of introductory lecture and practical workshop with discussions. The reader and the tasks for the students will be given in the first session of the course in October.

I SESSION 13.1.2014 will focus to the diverse relationships of the self (subjectivity-performativity), the work of art  (object-potentiality) and the audience (interpretation-participation) within the field of contemporary performing art. We will scrutinize how the philosophies of existence and perception and the performative turn of the 1900s as well as the systemic understanding of reality in the 2000s have affected to the ontology of performance art (especially dance, choreography, contemporary theatre, performance) and its artist-audience relationship. In the end of the session we will try out in practice some core ideas of those changes, which deal with bodily consciousness and perception practice. Previous experience in dance is not required.

II SESSION 3.2.2014 will explore the artist-audience relationship by concentrating on the artist’s experience of ‘being seen’ or ‘being shown’. We will focus on bodily consciousness, perception practice and the experience of seeing and being seen. We will explore the experience of being seen firstly in relation to performance and performing and secondly in relation to one’s private subjectivity. We will practice simple exercises to explore these matters. Previous experience in dance is not required.

The reader will consist of some texts on the aesthetics of performance (e.g. Erika Fischer-Lichte, André Lepecki), on the notion of performance as perception practice (Deborah Hay) and on the subjective experience of seeing and being seen. (Janet Adler).

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