Welcome to The Anatomy of the Moment, a symposium on new approaches to the Performing Arts. The symposium will present international researchers and artists and be devoted to a selection of themes within contemporary dramaturgy, as well as to aspects taken in from Cognitive science.
No admission fee, but please registrate to the symposium by sending a mail to info[at]teatrweimar.se.
Thursday, Oct 8
The theme of the first day will be the concepts of situatedness and embodiment, whose application to dramaturgy is a significant part of the research project The Anatomy of the Moment (see below). We will also take in aspects on these concepts from Cognitive science, in cooperation with Center for Cognitive Semiotics at Lund University.
Friday, Oct 9
The theme of the second day is the combination of dramaturgy and music, which is an important one in contemporary theatre generally. The integration of musical and theatrical means of expression continues to open new possibilities for dramaturgical organization. A specific approach to such integration has also been a vital part of the scenic productions Fält, Arrival Cities: Hanoi and Champs d’étoiles, which are integral parts of the project The Anatomy of the Moment.
Saturday, Oct 10
The third day will address a selection of themes within contemporary dramaturgy that in different ways connect with the project The Anatomy of the Moment.
Artists and researches include: Bruce McChonacie (US), David Roesner (DE), Nguyen Thanh Thuy (VN), Kate Ryder (UK), Miriam Frandsen (DK), Anna Pettersson, Linda Ritzén, Carina Ehrenholm, Zofia Åsenlöf, Jacob Riis, Tom Ziemke, Erik Ringmar, Jordan Zlatev, Stefan Östersjö, Henrik Frisk, Fredrik Haller, Erik Rynell, Kent Olofsson and Jörgen Dahlqvist.
The symposium The Anatomy of the Moment is organized as a part of a research project at the Malmö Theatre Academy by the same name, which is financed by the Swedish Research Council and where Jörgen Dahlqvist, Kent Olofsson and Erik Rynell are active participants. The symposium has also been granted support from Sten K Johnsons Stiftelse and Teatr Weimar.