Välkommen till Alex Nowitz disputation på Stockholms konstnärliga högskola!

Alex Nowitz, doktorand på Stockholms konstnärliga högskola, disputerar i ämnet Performativa och mediala praktiker med inriktning koreografi, film och media, opera och scenkonst den 27 februari.

Alex Nowitz, doktorand i opera på Stockholms konstnärliga högskola, disputerar onsdagen den 27 februari kl 10.00 i ämnesområdet Performativa och mediala praktiker med det dokumenterade konstnärliga forskningsprojektet “Monsters I Love: On Multivocal Arts”.

“Contemporary vocal performance practices are loaded by questions pertaining to detecting and solving technical issues that span the vocal domains. Through a range of artistic practices—vocal, oral, bodily and technology-related—the research project unfolds what is conceived as a bountiful ‘vocal imaginary’.” – Alex Nowitz

Välkommen till Hugoteatern på Operahögskolan, Teknikringen 35, kl 10.00 för att följa disputationen och träffa Alex Nowitz. Ta gärna del av det dokumenterade konstnärliga forskningsprojektet i databasen Research Catalogue.

Opponent är Tone Åse, Docent på Institutionen för musik, NTNU (Norges teknisk-naturvetenskapliga universitet).

Mer om Alex Nowitz konstnärliga forskningsprojekt (på engelska):

Proposing a ‘multivocal practice’ in the vocal arts, the doctoral candidate project ‘Monster I Love: On Multivocal Arts’ embodies an inclusive approach to the four core categories for the contemporary performance voice: the singing, speaking, extended and disembodied voice. The culmination of a four-year doctoral candidate project in Artistic Practices, it documents artistic research sub-projects through the presentation of multimedia material, interweaving performance recordings with reflective and contextualising texts. Multivocality addresses various models of virtuosity, all of which are informed by a multi-faceted artistic knowledge, whether experimental or experiential, technical or technological, improvisational or compositional. When voice and body meet technology-related practices that aim at the expansion of the vocal realm by using custom and gesture-controlled live electronics, a performance æsthetics of the in-between emerges. This is explored via the ‘strophonion’, formerly built at STEIM in Amsterdam. The doctoral candidate project ‘Monsters I Love’ is also concerned with the poetics of the voice, investigating the thresholds of highly individualised vocal practices by asking: what are the boundaries of the contemporary performance voice today? Contemporary vocal performance practices are loaded by questions pertaining to detecting and solving technical issues that span the vocal domains. Through a range of artistic practices—vocal, oral, bodily and technology-related—the research project unfolds what is conceived as a bountiful ‘vocal imaginary’.