How can we develop a research mindset?
The importance of artistic research and reflective practice has long been recognized by institutions of higher arts education. However, while a vast majority of performing arts schools in Scandinavian countries explicitly embrace artistic research as intrinsic to their strategic vision of education and art-making, many struggle to find a clear and common institutional, ideological, and cultural framework for research.
When the role of artistic research in the curriculum is not properly identified, conflicts about its status in relation to in-depth teaching in each field/discipline are inevitable. Additionally, traditional scheduling methods and production models widely used as a basis for learning theater practice greatly limit the time and capability for practice-driven research, reflection, and experimentation. Finally, funding for artistic research is scarce, and its purpose in the academies and in the world of the professional stage has often been faced with critique and controversy.
In summary, there is a need for a better understanding of the role of artistic research within the academies and a critical reflection on its potential influence on the development of the contemporary field of theater practice. The goal of my research is to present a comprehensive review of the theories and methods of artistic research and to outline a dramaturgical framework for understanding research-based theater aesthetics.
The documentation and presentation of artistic research involves various modes of production, audience interaction, artistic interpretation, and live presentation, which may include the whole of the artistic artifact or event. The way in which different methods are developed on acknowledged platforms such as Research Catalogue and Journal of Artistic Research is rich and complex and deserves a closer scrutiny than space allows for here. For now, it suffices to say that this work often leads to new relationships with staging techniques, materials, technology, collaborations, and audiences. In turn, the reflective methods and approaches to artistic research challenge the institutional, ideological, and cultural frameworks within which they are articulated and performed and stimulate new perspectives in terms of the aesthetic, social, and political.
I have managed and supervised a wide range of artistic research projects from the early stages of application to the final presentation of the work, process, and results. What all of these projects shared was the ambition to explore different approaches to theater and performance making (e.g., site-specific theater, sonic dramaturgy, movement material, dance, and participation, immersive technologies) and the possibility to create new ideas and knowledge within different educations and disciplines.
My experience with the many collective processes and interdisciplinary collaborations at The Danish National School of Performing Arts has given me unique insights into the art of theater and performance making. From 2015 to 2021, I taught and mentored both BA and MA students in Dramaturgy and Artistic Research. The close dialogue with the students has enabled me to think more critically about how we can develop new models for teaching production dramaturgy and theater practice. To build solid research strategies for future academies, we must first attempt to define how we understand the progression of the BA, MA, and doctoral degree.
Integrating research in the curriculum
As a Professor in dramaturgy at Oslo National Academy of the Arts, I’m excited to be leading the revision of the Master’s programme in Theatre. Our aim is to offer students a comprehensive education in the fields of acting, directing, writing, and dramaturgy, and to equip them with the knowledge and tools they need to succeed and make a meaningful contribution to the world of theatre.
Our programme focuses on the interplay of collaboration and individual specialization, empowering students to take responsibility for their own artistic development. We foster a diverse and dynamic community of theatre artists who are capable of creating impactful work that reflects the current cultural and societal contexts.
During the two-year programme, students take common courses in dramaturgy and artistic research, ensemble work and collective strategies, aesthetics and performing arts, and theatre and project management. They also study their specialization in both the first and second semesters. The second year focuses on the evolvement of their craft through exchange and/or internships and culminates with the development and realization of the master project.
Our curriculum combines experiential learning with reflection, feedback, and theory to help students apply their skills and knowledge to a range of theatrical contexts. We emphasize critical reflection and professional commitment, encouraging a cooperative attitude that is sensitive to the collaborative nature of the creative process.
Our revised Master’s programme in Theatre aims to provide students with the opportunity to acquire new knowledge, skills, and expertise in their chosen area of specialization, and to prepare them for a successful career in the professional field of theatre. By combining artistic practice with critical reflection, we develop highly skilled and knowledgeable theatre artists who can make a meaningful contribution to the field.