Physicality in the performing arts
PHYSICALITY IN THE PERFORMING ARTS: KNOWLEDGE, CREATION, EXPERIENCE AND TRANSMISSION IN TIMES OF LOCKDOWN
One year research project
This project intends to address questions brought up by the current Covid-19 pandemic situation that we are experiencing and it direct e(a)ffects in the performing arts education. The aim is to work in four separated blocks that overlap and dialogue between one another. Each phase has a research question to guide the conversation, such as: How can forms of distance learning be used optimally with a view to the artistic development of the performing artist? What are the personal consequences of distance learning in the performing arts in terms of contact, motivation and self- regulation? Can there be an embodied artistic-educational practice in a virtual environment and can it be shared?
Throughout an embodied investigation where the body of the researcher is a platform for experimentation, in addition to online interviews, collective discussions (seminars, lectures) and available resources that were/are generated during Covid-19, a publication-object Scape plan to stay (safe) will be created. In order to disseminate the body of work created in this one-year research, it proposes generate dialogues between institutions, professionals of the sector and performing arts students intertwining data through an artistic point of view. Investigating in which ways distance learning affect the bodies in performing arts, this research intends to broaden the possibilities of the experience and thinking within virtual education for both artist and art educator.
Renata Lamenza is a Brazilian visual artist, performer and costume researcher. After graduating in Dance and Costume Design, she completed her MA in Visual Arts– Costume Design (Royal Academy of Fine Arts Antwerp) in 2017. Her collaborative performance project Talk to me was nominated in 2016 for the Hugo Roelandt Prize and was selected in 2018 as a research project at the Royal Academy of Fine Arts Antwerp. Her thesis project, The moving costume: body as a playground, and her methodology were part of the dance program at Performact (Portugal) in 2018.
Concerned with expanding the dialogues between costume and the body, her works use costume as a sensorial trigger, proposing it as an agent of movement, and as a tool for activating the political body. In her installations/performances, she plays with the relation between object-audience and audience-performer. Here she invites the public for an immediate corporeal-sensorial dialogue with the object and the performer, relocating the protagonism from the work itself to the relation that is created between it and the viewer.
Function RCA: Artistic coordination Master Dance programme, researcher