Lisa Lie, Research fellow, Theatre department, KhiO.
My field of research is the area between post-dramatic theatre and performance from the art field, with ties to choreography and musical composition.
In the field of dance- and theatre performance it is common to draw on the history and personality of the performers in the creation of material- but I came to a point where only referring to lived experience as a creator and performer became limiting. At the same time, the feeling of authenticity (understood as lived experience) is important for the style of acting and also influences the affective quality of the work. With Blue Motell (2013) and I Cloni (2016) I have started experimenting with how to create new histories, personally and collectively, in the meeting with experiences that changes the performer. Experiences from trance- and hypnotic states is stored in consciousness as real memories, and can be used as new, but equally authentic, points of departure that the performers can convey and create material from.
My research develops methods that create new artistic expressions and new forms of affect in the meeting with other forms of logic and reality.
The old European carnival occupied such a large portion of the year in its various forms that it rubbed shoulders with the everyday as “ an other life” (Bakhtin).
I want to create spaces outside of consensus reality with my stage art practice, through changing and expanding the consciousness of the performer- a carnival dimension with its own rules and predilections, the can, for a time, replace the everyday.
I research western ritual practices; ritual magick, shamanism (with ties to ancient Europe echoing through European history) and spiritualism.
I am looking to create real spaces with theatre practise, to compose structures that creates the possibility to live the piece, not just perform it.
If the final shows can be seen as the tip of the iceberg, I have in my latest project tried to find ways to invite the audience as participants directly into the Iceberg. Because the iceberg has huge potential and transformative qualities of its own that are only echoed or perceived through the final performances (the audience can guess and feel, in the meeting with the performance, but have not experienced directly why these affective qualities are there – or where they stem from)
What I have been researching lately is how to engage directly with the audience- as participants. To stretch the frame of carnival dimension I strive to create within a process. I invoke the carnival dimension through the artistic crew, centred in the group of performers, through setting the frames and guiding long improvisations from within (as a performer myself) – so that there is no outside to the process (watching from without)- only inside (reacting and directing from within the bubble) in the process with creating the material. (The next stage is the composing of the material, which is ongoing for me, but has its own physical development in space – as part three of the rehearsal process. Part one being the presentation of and melting and transmuting of background material into the participants, and part two the moulding and exploration of new qualities and states through exercises and experience, and the pouring out into form through trial, rehearsal and the sculpting of improvisational landscapes.
Photo by Vanessa Sinclair: From for the conference Re-writing the Future: 100 Years of Esoteric Modernism & Psychoanalysis (2019) hosted by Vanessa Sinclair and Carl Abrahamsson in Tyrol