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ScreenStage: an Intermedial Composition course / workshop: exploring creative interactions of the virtual and the live performance, and developing approaches and strategies of meaning creation. By improvisations, games and sensuous experiences exploring the hybrid action and the boundaries between man and technology; projected and live joint moving image.

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Introduction to intermediality - theory: this theoretic course, imbued with videoed performances and PPT, is based on dialogue and questioning rather than 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 philosophical view.  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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workshops (developed in different formats):

1. Motion and Sight, and Meaning

2. Immediate and Mediated Communication

3. Experiencing and Developing Concepts for Live/Virtual Hybridity

4. Physical Action Extended by Virtuality

5. Cinematic and Stage Conventions – Entangled

 

Lectures (presentations, imbued with video excerpts and promote discussion):

1. Hybridity and Perception – the perceptual activity as the subject matter of the ScreenStage performance (Noë 2004, Sobchack 2016, Auslander 2008).

2. Intermedial Enstrangement – about the term coined by Viktor Shklovsky (1919), its development in the performing arts, in comparison to Brecht and Bausch; Arendell, 2020), and distinct development of this strategy in ScreenStage Performance (my practice) and in intermedial works by European artists in the last 20 years.

3. SEASONS – a ScreenStage Poem: about the embodiment of transmediation in the practice process of this show.

4. ScreenStage Performance: transmedial narration strategies – the development of conventional system and sign-making in ScreenStage performance(Todorov 1977, Pethő 2018).

5. The Hybrid Action of ScreenStage Performance: Physical theatre and movement Notations – combined (Mirodan 2020, Eshkol, 2007); with some theoretical grounds (McLuhan 1964, Pethő 2018).

 

Other courses / lecture demonstrations

Physical theatre: exploring through improvisation and composition laboratories the nonverbal and verbal expression and action; experiencing and inventing strategies of meaning creation in illogic, open and associative realm of imagination and motivations.

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Composition by Eshkol Wachman Movement Notation principles: learning the space-time mechanism and logic of EWMN, and use it as inspiration and/or guidelines for creative processes embedded in its principles of movement analysis.