VIII Conference of Doctoral Students
16.03.2021 at 14:00
VIII Conference of Doctoral Students (Creative Branch)
Tuesday, March 16, 2021
14.00 Opening – Kristel Pappel
14.01 Moderator – Riho Esko Maimets
Analysing traditional playing style of Teppo-type accordion
The presentation gives an overview of analysing the traditional playing style of Teppo-type accordion in example of four different performances by four different players of one generally known tune. It demonstrates the research method and process, as well as the first results of the author’s doctoral thesis “The development of traditional playing style of Teppo-type accordion in the 20th century and creating a traditionally informed interpretation”. The presentation includes examples of archive recordings and their transcriptions made by the author.
14.30 Moderator – Ana Falcon
Principles of Design and Application of the Simulator of Bricolage
This paper is part of my doctoral research “Application of bricolage as a process-method in postdramatic theatre“. The aim of this presentation is to introduce my method of creating artificial environment for occurrence of bricolage. For that I will introduce the most known defintions of bricolage, which will lead us to more specific formulation of territory, where this phenomenon can occur. The „Limited universe“ of bricoleur can be designed as simulator for artistic operations. This designing can broaden artistic process called bricolage to much wider perspective than stereotypical seclusion of hermit into darkness of studio. The principles of constructing a bricolage – simulator can create an expressive context to both process and final artpiece. According my own experience and as well observation of similar phenomenons in art I can point out few categories with examples of different ways of contextualization the whole process.
My leading research question of this presentation is „how can principles of physical design of environment effect artistic process in it?“.
In this presentation I will introduce the theories of Claude Lévi-Strauss, Jyrki Siukkonen, Jean Baudrillard, Bjørnar Olsen, Erika Fischer-Lichte and Andrus Laansalu to reflect my own method in larger cultural context.
Break 15 minutes
15.15 Moderator – Jüri Nael
Embodying subtext: a movement director’s process
My research is rooted in the practice of movement directing and predominantly concerned with articulating the ways in which a movement director might approach shaping abstract ideas into concrete, embodied material – dance and performance. When working in interdisciplinary and collaborative contexts, the brief for movement might entail requests that are (seemingly) intangible, based on imagery, atmosphere or emotion. In this presentation I will discuss ways in which I have approached conceptual starting points in practice, with examples from my second creative PhD project, entitled “MPT 2020”. Commissioned by Estonian Fashion Festival, “MPT 2020” is a short film that showcases the work of emerging designers through putting fashion into a dialogue with dance. I will discuss my working methods with reference to phenomenology and assess the role that language played in this interdisciplinary project.
15.45 Moderator – Ilana Lode
On the interpretation of Rudolf Tobias’s oratorio „Jona“
This research is part of a artistic-exploratory doctoral project. Rudolf Tobias performed the oratorio “Jonah” in Germany after its completion in 1909, after which the piece sank into oblivion. The oratorio was brought back to performance again before Estonia regained its independence, where the oratorio played an important role in confirming national identity. In this context, the question about the original form of the oratorio remained in the background, and the main goal was to restore the piece in a monumental and representative form. Today, however, in addition to the national aspects of the oratorio, other aspects have become important too, as “Jonah” is not only a national monument, but also an outstanding masterpiece that can be interpreted in many different ways. With this in mind, the aim of this research is to create a performance of the piece that would be based on a critical examination and comparison of available sources and that would take into account the composer’s original intentions, as much as it is possible to reconstruct them.
Special thanks to Margit Võsa and Madli Pesti!
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