Effect, affects and side-effects of performative acts can be observed
within all the institutions at Faculty of Fine, Applied and Performing
Arts. Depending on artistic genre, specific performance
vocabularies/theories are formulated from on diverse forms of knowledge,
which are assembled via differing processes as whilst developing
performative acts. Understandings and experiences reflect the complex
relations between the performer/performers and the audience with
physical/psychological interaction, spatial dynamics, intentionality,
and creative ambitions assembling in ways that catalyse differing forms
of knowledge. Knowledge that can be as valuable to educational purpose
as it is to research based on performance and performativity from
artistic, practice‐led perspectives.

Our purpose is to establish a dynamic and convivial
performance/performativity Collegium with the faculty that is
cross-disciplinary. We seek to operate in a co-participatory way by
engaging participants to create, analyze and discuss artistic and
educational forms and methods related to different aspects of
performance and performative arts – theatre, opera, acting, music,
visual arts, literary arts, live art, performance art and Performance
and Theatre studies. We are conscious of the ways in which performance
also relates to teaching and to everyday life and this will also be our

Our methods will encourage the group to use all senses,
improvisation, nonsense and imagination to animate what we learn. Our
intention is to also merge the various perspectives of performance into
an intra-active performance laboratory, closely linking performing
practice and theory in connection to three specific themes:

The performative/performing voice
Within this strand the group will explore vocality, voice and
performance in its broadest sense, inviting members to a dialogue on
topics such as the role of the artistic voice; production of sounding
expression; eclecticism; dissident voices; voice, process and paradox;
the voice as a tool for communication and a link between the performer
and the audience; voice and the search for identity; the artificial
voice; the provocative silent voice; voices, cultures and memories;
documentation of voices; listening, utterance, and language; voice,
movement, body and embodiment; vocal aesthetics. Our aim is also to
allow for various voices to intra-actively contribute towards
establishing a vocal performance glossary/archive, with specific
reference to studies on artistic education, artistic research and a more
general consideration of meaning-‐making in the field of vocal
performance and performativity studies.

To teach is to perform!
Teaching is to act, but what kind of performance is it? Is the
classroom, as a broad understanding, a stage or playground were we can
act out different approaches to relational situations of learning and
teaching? We will approach teaching as a performative activity, and as
performance. Our aim is to approach teaching and pedagogy artistically
from different theoretical and practical perspectives. What happens with
teaching and pedagogy when viewed from, for example from a Performance
Studies perspective, or from different ideas of identity plays or as
plain entertainment? What kind of plays, games or rituals can teaching
transform into? These are important questions especially for
institutionalized art teachings in educational situations at
institutions, such as the University. Dissolution of disciplines is in
many ways a logical consequence of how contemporary and
institutionalized art and art education have developed. We are all
trained in different contemporary contexts where participation and
cooperation are common components. But can a performative understanding
of education, within the different artistic fields, create a new
meta‐art‐form, a form of a teaching performance art, to be used as a
tool (or craft) for understanding the specific conditions and needs in
teaching art? Our aim is to turn teaching and pedagogy inside out and
try out what happens when life become learning, and learning become

– From every day performance, to rituals and performing objects
The everyday has been a central tenet of contemporary art of the late
twentieth and twenty-first century including via the introduction of the
vernacular and quotidian within performance. Through this thematic the
group will explore diversified modes of performativity as rituals within
the auspices and behaviours of ‘artistic practice’. Contemporary
thought, emanating from the cross‐disciplinary ‘happenings’ from the
late 60s and 70s, has began to suggest that objects and objecthood are
no longer ‘still’ or ‘autonomous’ or even ‘props’ but, rather, are
themselves ‘actors’ – their ‘thingness’ contributing to a broader
ecology of thinking through, by, about and for performance. What does
the interface between ‘bodies’ with ‘things’, ‘bodies with bodies’ and
‘things with things’ suggest in terms of revisiting existing, and
initiating new, paradigms of performativity? What constitutes an
‘ensemble’, ‘ephemerality’ and ‘encounter’ within the rituals and
excesses of contemporary practice when material and body interact, in
private ritual or public arena? Our aim will be to interrogate issues
relating to re-enactments, exhibition making/curatorship of
performativity and the continuously expanding field of performance
including in the public arena.

The overall aim of the cross‐disciplinary performance group is to give
members of the Faculty a context in which to encounter and experience
performativity and its meanings, whilst obtaining tools to analyze and
produce discussion and of performative modes of expression and
strategies as a way to explore the world, including human communication
and social interaction.

The group will develop a critical mass guided by transparency in an
inclusive environment, welcoming both intimate discussions and
outreaching events as part of every day action and extreme excess.


A performance archive/glossary based on the contents of the
performance sessions/laboratories will be published on‐line but also
practice‐based/led perspectives, and eventually it can be developed
into a tool for teachers, students and researchers in the field of
performing arts.

CoordinatorsElisabeth Belgrano
Jason Bowman
Fredric Gunve