Artistic
Research
Week 2022

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Rosalind Goldberg “The Field”, Performance, Departments of Dance.

THE FIELD

The Field is a performance with one dancer and a surrounding soundscape.

The work speculates on the body’s plastic nature and what it would look like if we could see this capacity of receiving and creating form happening on a neurological level in the brain. Proceeding from the idea that the body is a radiant, sensorial hub that, on a micro-level, imbibes and pours out information constantly – the performance The Field exposes and exaggerates this plasticity through the choreography. In this setting, the body can turn into a meaty, forceful, sensuous lump. Or, a spinning malleable flower.

The plastic nature our body encompass doesn’t only imply that it is the creator and receiver of form but also an agent of disobedience to certain forms, a refusal to submit to a model. Learning from the resistance existing inside our bodies, The Field asks what we can expect from the body? How to choreograph the body’s capacity to transform us through experiences, to make us and our surroundings change through cultivating specific relations? Whence the poetic images of The Field arise. 

Credit:

Concept and choreography: Rosalind Goldberg

Developed with and danced by: Jens Jeffry Trinidad

Music: Daniel Glatzel

Costume and set-design: Alexander Krantz

Light design: Anton Andersson

Artistic advice: Bojana Cvejić

Dramaturgy: Maja Zimmermann

Sound technician: Christian Obermayer

Assistance Costume and set-design: Kjersti Alm Eriksen

 

Photo: Ola Rindal

Co-produced by: BIT Teatergarasjen, Black Box Teater Oslo, Henie Onstad Kunstsenter, Weld, RAS – Scene for Samtidsdans.

Supported by the Norwegian Arts Council and Oslo National Academy of the Arts

Work Group

Objective Enactive
This online lecture-demonstration unfolds the term ´Poetic Materiality´ within the context of designing and choreographing with Somatic Costumes. Through critiquing and applying the somatic practice of Skinner Releasing Technique, the poetics of philosopher Gaston Bachelard and the materiality of anthropologist Tim Ingold, this talk begins to map poetic and material agencies between bodies-costumes within the design-performance encounter.

Artist Talk

Objective Enactive

This talk will focus on the first outcome of Glitsch(ening) Ci(rculari)ty, a tripartite site-specific, where I am pursuing a speculative exploration of the ecology of the city, between the urban and the biological, unfolding its layers and materiality of time. The talk will end in a conversation between fellow researchers and artists in the collaborative project Urban Ecologies, where Glitsch(ening) Ci(rculari)ty, is generated from.

Presentation

Polyvocal Tongue The presentation will focus on relational ethics and polyvocality in performative text. It will also explore the use of plural languages in a play, looking at how a polylingual praxis can open up new aesthetic potential in playwrighting and in artistic research in general.

Conversation

TRANSPOSITIONS— JAR, Mette Edvardsen and modular diaries At the start, the idea for an artistic research conversation with Mette Edvardsen did not spring out of the topics shortlisted for the conference—hospitality, vulnerability and care—but a book that she had co-edited, and dropped in my shelf.

Panel Discussion

The Ethics of Vulnerability and Artistic Research

Any ethical framework must take account of the vulnerability of the human condition. This is significant in all creative endeavours – especially in artistic practice and the teaching of it – since the very act of creating something and putting it out into the world is an expression of vulnerability.