Hvordan gjøre scenekunst med teatervitenskap

Sammendrag

This article is based on a lecture presented on the 25^th of May 2018 at the conference Teatervitenskap – historiografi, teori og praksis in Bergen. This conference’s objective was to defend the section of Theatre Studies at the University of Bergen against cuts, and the lecture’s corresponding objective was to exemplify how theatre studies, besides consisting in research on performing arts, also is productively effective in creative processes of performing arts respectively in this field’s artistic research. In relation to the conference’s three focal points – historiography, theory, and practice – referred the lecture to three examples: Mette Ingvartsen’s performance 69 positions from 2014, Iggy Malmborg’s performance b o n e r, also from 2014, and the author’s own work as theatre scholar with background in Applied Theatre Studies, particularly his collaboration as dramaturge with Heine Avdal and Yukiko Shinozaki / fieldworks in their productions distant voices (2014), carry on (2015) and unannounced (2017). The article presents these examples in a slightly changed order and adds, as their description’s background, a discussion on, firstly, the arguments that were used to defend theatre studies in the conference’s context, and, secondly, the relation between research and artistic research in Norway and the debate about it.