Teaching ScreenStage composition
Students improvising physical stories and filmmaking, Katowice 2023, Byrom 2017.
Recent Conferences / Lectures / Workshops:
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External supervisor – MA Transdisciplinary Studies in the Arts, ZHdK Zürich, 2024-2025.
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MO-CAP practice laboratory, Immersive Arts Spaces (IAS) ZHdK Zürich, September 2-5, 2024.
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Transmedial Composition & Narration Strategies – lecture and workshop ZHdK Zürich, August 30-31, 2024.
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Crossing Over: Cally Festival Project – 2024 Dance Studies Association (DAS) Conference: Cartographies of Movement. Buenos Aires Argentina, July 26, 2024, online.
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Dyadic camera / motion practice / research process – studio laboratory with filmmaker Dominique Rivoal. 2023/24.
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A Short Dive into Transmediation. 2-day workshop, Middlesex university’s dance department, November 2023.
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Transmediation – Physical Action Extended by Virtuality at the Dance Theatre – Devised Theatre International Conference, The Karol Szymanowski Academy of Music in Katowice, Poland. November 9-12, 2023
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Intermedial Scores – Performing Scores / Scoring Performance, Manchester Metropolitan University, July 2023
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Enstrangement in ScreenStage performance a lecture for Dance-SMKB Tel Aviv and for Graduates MA students of the Faculty of Arts and Creative industries, Middlesex university London. January 2023.
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Suggested lectures / workshops / academic courses
Practice/research laboratories exploring transmedial composition and narration strategies
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Workshops
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The Embodied POV: Motion – Sight – Meaning
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Continuity and its absence – (re)editing the screen, editing the stage
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Cinematic and Stage Conventions – Entangled and Crossed
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Intimacy and mediation: Immediate and Mediated Embodied Communications
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Intermedial composition: Concepts unfold to Live/Virtual Hybridity strategies
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Transmedial Action: Physical Action Extended by Virtuality
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Lectures
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Thoughts about Enstrangement and Intermediality
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Between voyeurism and intimacy
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The Politics of the Text in my ScreenStage practice and performance
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Intermedial Scores - scores representing transmediation, used for creating, embodying, communicating, and analysing, and their roots in composition principles of Eshkol Wachman movement notation
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Hybridity and Perception – the perceptual activity as the subject-matter of the ScreenStage performance.
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The viewer’s POV in my site-specific works.
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Intermedial Strategies – Immersiveness and Enstrangement entangled.
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SEASONS – a ScreenStage Poem: about the embodiment of transmediation in the practice process of this show.
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ScreenStage Performance: transmedial narration strategies, conventions and sign-making.
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The Transmedial Action: Physical action extended by virtuality.
Practice/research laboratories exploring transmedial composition and narration strategies
ScreenStage is the title for my intermedial practice and performance-making, from which derives my Intermedial Composition courses & workshop. With practitioners and students, we explore creative intermedial hybridity concepts, interacting virtual and live representations to develop composition and / as meaning creation strategies.
Through improvisations, games and sensuous awareness we experience the hybrid live-virtual and multi-layered action, as well as the ever-changing transmedial processes which question the boundaries between man and technology, using projected and live joint moving images, in various performative modules (site-specific and immersive theatre).
Introduction to Intermediality (UG) / Enstranged Transmediation (Graduates)
This theoretic course, imbued with videoed performances and presentations, is based on dialogue and questioning rather than front-on academic lecture. It is an open discourse of the performance scene in the context of the relations between art and human communication systems from a semiotic and phenomenological viewpoints. Whether taught as a short series of discussions or within a longer process, it is best taught parallel to a practical composition process, as the two complete each other.
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Other courses / lecture demonstrations
Physical theatre: through improvisation and composition studio-laboratories we explore nonverbal and verbal expression and action; experiencing and inventing narration strategies, aspiring to illogic, open and associative realm of imagination and motivations.
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Composition by Eshkol Wachman Movement Notation principles: learning the space-time mechanisms and logic of EWMN and use it as inspiration and/or guidelines for creative processes that embody the notation's principles of movement composition and analysis.
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In my work with lecturers, artists and students I look into today's most pressing challenge: our relationships with artificial technologies and with the virtual realms.
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My ScreenStage practice is being developed as an artistic form through my research of intermediality and transmediation. SInce 2009 it is also being explored and developed through teaching and co-teaching in various academic programs.
I have developed an interdisciplinary course of composition that explores intermedial concepts, which I have named ScreenStage Performance (SSP). My composition classes focus on performance making. The studio is referred to as a research laboratory, where practice/research methods are devised and developed mainly through improvisations methods, reflective writing, performance analysis, presentations and discussions informed by relevant theories.
As a composition method my ScreenStage concept embodies and explores physical theatre principles and conventions, such as nonverbal action, performative conventions and narrative strategies, as well as movement notation principles and conceptual thinking. However these are expanded in a new context of intertextual and intermedial live-virtual hybrids. The creative process yields terminology and transmedial strategies designed to integrate the features and the conventional systems of virtual and live representations, hybridising these into transmedial feasible narrative / concept.
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The course was initially developed through co-teaching UG students with video artist Lee Yanor, and is developed as practice-based research for Graduates in academic frameworks, mainly at Dance SMKB Tel Aviv, AST bytom, and in the Dance Division of the Music Academy in Katowice, Poland. My intermedial approach to composition and its theoretical grounding is shared and reflected upon with lecturers, artists and scholars of the performing arts.