Sharon Reshef Armony, born 1966, is a practitioner, director & researcher of ScreenStage performance; a practitioner in the fields of physical theatre, performance and film for 30 years.

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Residing in London, Sharon is an independent artist, an academic teacher and lecturer of composition, improvisation, intermediality, physical theatre, movement notation and dance-research within various academic programs in Israel and in Europe; currently at the Academy of Music, the Dance Division, Katowice Poland.

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Sharon is a dance researcher and a former dancer in the field of interdisciplinary performance and movement notations. She was awarded a PhD from the Faculty of Arts and Creative Industries at Middlesex University, London UK (2022), researching and creating her own practice of ScreenStage Performance by PaR methodology. 

 

Sharon is the former Head and artistic director of the School of Dance of the Arts Faculty at the Kibbutzim College, Tel Aviv (2007-2014).

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About my PhD

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My artistic Practice as Research, ”ScreenStage Performance: Hybridity, Perception and Enstrangement” was supervised by Prof Vida Midgelow and Prof Paul Cobley. Held in the Faculty of Arts and Creative Industries at Middlesex University, this research also developed through international inspiring collaborations with artists, performers, scholars and institutions, in the UK, Israel, Poland and Germany.

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My ‘ScreenStage Performance’ practice was explored and developed through teaching processes and performance making since 2009. This practice evolves around experiences of humans’ interrelations with the mediated spheres.

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The thesis combines semiotic and phenomenological perspectives, used to articulate the features of ScreenStage practice as well as my intentions to activate the perception by the practice's narration strategies.

Acknowledging human and artificial media as continuous sensorium, in this thesis I look into and develop transmedial narration, applying different sorts of enstrangement strategies to yield specific politics of the artistic texts.

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The thesis provides an insight into meaning creation processes of intermedial performing arts. It emphasises the potential and tendency of ScreenStage Performances to invoke awareness by audiences to perceptual processes that characterise the correlations between human and non-human media in our life, and thus to affect and change them.

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Abstract