The research project Embodied Politics/Poetics of the Stage seeks ways to inhabit the question of how performing bodies are assembled, come to matter, and make sense on different kinds of stages and through different kinds of performative processes. My approach is particularly attentive to topologies of power participating in aggregations and performative couplings of human, non-human, more-than-human, and virtual bodies composing scenic phenomenon. The research explores how performing bodies and selves are co-constituted within material/corporeal/affective/discursive/gendered networks of power, and how these process of becoming are poetic, taking part in the affective/aesthetic registers of sense made available by/on/as scene.
My research is grounded in my professional and artistic experience as an actor, performer and performance maker in variable contexts and aesthetic regimes. The work is directed towards deconstructing/reimagining artistic and pedagogic practices, theatrical apparatuses, staged materialities, and regimes of performance as actors moulding the affordances of speech, experience, subjectivity and corporeality. Embedded in situated, actorly practice, the research participates in concurrent discourses on the gendered and colonial power relations and imbalances which persist in the arts as in all areas of society. At the same time the work expands this interrogation of power, representation and performativity into the techno-socio-metabolic ecologies that define our techno-conditioned planetary existence. The research merits a non-innocent approach to the profound inequalities and biases embedded in the technological, economical, ecological, algorithmic, material, virtual, and corporeal networks that sustain us. It is nourished by postcolonial critique, queer/eco/cyberfeminist theory and practice, poststructuralist perspectives on power, and contemporary affect studies, as well as critical media studies and performance theory.
The research takes place in the medium of artistic practice and materialises as expositional artworks and publications. It incorporates three pre-examined artistic parts, as well as other artistic endeavours that serve both as sites and outcomes of research. In order to give form to the registers of sense operating within the research, the commentary will be materialised as multimodal, expositional writing on the Research Catalogue platform.
Prof. Leena Rouhiainen, Performing Arts Research Centre, University of Arts Helsinki
Prof. Mika Elo, Academy of Fine Arts, University of Arts Helsinki
Prof. Ray Langenbach, (1.1. 2017- 31.7. 2018) Live Art and Performance Studies, University of Arts Helsinki
Prof. Adrian Heathfield, Performance and Visual Culture, Department of Drama, Theatre, and Performance, University of Roehampton, London
Prof. Tiina Rosenberg, Department of Culture and Aesthetics, Stockholm University