What Makes the Difference in Costume Design for Contemporary Dance? from the Point of View of Pieces Colour, Colour and PLAY and a Costume Designer

What makes the difference in costume design for contemporary dance? From the point of view of pieces Colour, colour and PLAY and a costume designer

Janne Renvall Major in Costume Design Master’s Degree Programme in Design for Theatre, Film and Television Department of Film, Television and Scenography The School of Arts, Design and Architecture Aalto University Supervising professor: Sofia Pantouvaki Thesis advisors: Leena Rouhiainen and Reija Hirvikoski

13.4.2016 Ari, this thesis is for you. Thank you for loving and taking care. Aalto University, P.O. BOX 11000, 00076 AALTO www.aalto.fi Master of Arts thesis abstract

Author Janne Renvall Title of thesis What makes the difference in costume design for contemporary dance? From the point of view of pieces Colour, colour and PLAY and a costume designer Department Department of Film, Television and Scenography Degree programme Master’s Degree Programme in Design for Theatre, Film and Television, Major in Costume Design Year 2016 Number of pages 171 Language English

Abstract The study engages in a costume design activity within two contemporary dance performances: while the experiences in Colour, colour served as an initiative for the investigation process, PLAY became one of the main methods in this practice-based research. As the other significant method was conducting interviews among the audience and team members of PLAY, the thesis brings into dialogue and interprets the material produced through the interviews, the shared knowledge from the collaborative artistic practice, and the knowledge provided by the chosen source books. Thus, the approach of the study could be defined as interpretative hermeneutic phenomenological. The aim of the investigation is at further understanding of dance costumes and finding answers to the conflict in the worldmaking between the artist-researcher as a costume designer used to what the thesis has termed the aesthetic paradigm, and Colour, colour as an example of what within it termed the ontological paradigm of dance. While mundane elements used as costumes motivated this study, it proposes the existence of everyday aesthetics as characteristics for the dance costumes, however, at the same time, costumes might take as many forms as there are performances. As instead of representing life in dance, contemporary dance creators could be considered regarding dance as life, the investigation suggests that transmitting pre-determined meanings together with the linear costume design process should be omitted. As a result, the research proposes embracing the attitude of a performance designer together with the devised method as an option for the role of a costume designer and applying the normative costume design model. Furthermore, when redefining the concept of costume as performative together with its materiality that appears within an interaction between partakers of a performance brought forth by costuming as an enactment of both a costume and a performer, the thesis renders costume as ephemeral costumeness that constantly renews itself depending on the context and the person who perceives. Thus, as a result, the research considers enabling the costume to become meaningful through its emerging performativity as most affective tool while costuming a dance. As a conclusion, this investigation suggests that the approach of the performance designer values costumes ontologically, thus the thesis could be regarded as a study on the ontology of dance costumes. Keywords costume, dance, dance costume, contemporary, contemporary dance, performance, event, method, interview, practice, devising, meanings, performative, materiality, costumeness, everyday aesthetics, performance designer, costume designer, costume design, stage costume, costume ontology

!"#$%!!"#$%#&'$()*+),,---()---./)00+12! !!!"##$%&"'(! ! !"#$%%&'("#)$%*#&'+,#&&-.$$%%&!!""#"$!%&'(! ! ! !"#$%&''Janne Renvall !"#$%$&'&%%Mitä erityistä nykytanssipukusuunnittelussa on pukusuunnittelijan, Colour, colour ja PLAY -esitysten näkökulmasta !"#$%&''Elokuvataiteen ja lavastustaiteen laitos! !"#$#%#&"'()$*+,,Lavastustaiteen maisteriohjelma, Pukusuunnittelun pääaine !"#$% 2016 !"#$%&&'& 171 !"#$" Englanti

!""#"$%&'()! Tämä maisterin opinnäyte keskittyi tutkimaan nykytanssiesityksen pukusuunnittelun erityispiir- teitä. Tutkimuksen lähtökohtana olivat Colour, colour -esityksestä saadut kokemukset, joita käy- tettiin tutkimuskysymysten ja -metodien kehittelyssä. Yritys ymmärtää tanssipuvun luonnetta motivoi läpi prosessin ja ohjasi metodien valintaa kohti taiteelliselle tutkimukselle ominaista taite- lijan oman työskentelyn hyödyntämistä kokemuksen ja tiedon hankinnan paikkana. Pukusuunnit- telu PLAY-nykytanssiesityksessä sekä esityksen katsojien kanssa käydyt keskustelut olivat työn tärkeimmät metodit. Tutkielman lähtökohta oli tutkijan omassa kokemuksessa ja praktiikassa, johon haettiin lisävalaistusta asettumalla dialogiin ja tulkitsemalla haastatteluaineistoa ja lähde- kirjallisuutta. Tämän voi ymmärtää fenomenologis-hermeuttiseksi lähestymistavaksi. Näkökulman valintaan vaikuttanut halu löytää vaihtoehtoisia lähestymistapoja pukusuunnittelijana toimimiselle perustui tutkijan omakohtaisesti kokemaan hämmennykseen, jonka tutkimus määrittelee hänen oppimansa tanssiesteettisen paradigman ja Colour, colour -esityksessä esiin tulleen tanssiontologisen paradigman konfliktiksi. Opinnäytteen kiinnostuksen kohteena oli myös tarkastella jokapäiväisten käyttövaatteiden valjastamista tanssipuvuiksi sekä pukujen osuutta merkitysten muodostumisessa esityskontekstissa. Työn tulkinnan mukaan arjen estetiikka tanssipuvuissa on yksi nykytanssin konventioista. Toi- saalta pukujen katsotaan voivan muotoutua yhtä moneksi kuin nykytanssiesityksetkin. Lisäksi tutkielman tulkinnan mukaan nykytanssikentän toimijat eivät koe tanssia representaationa elä- mästä, vaan osana elämää. Koska tanssi on jatkuvasti uudeksi tuleva tapahtuma, jossa merkityksellistyminen tapahtuu ainutkertaisena yleisön edessä, tutkielma esittelee puvun katsojan koke- mana ja tulkitsemana esiintyjän ja hänen kantamansa puvun välisenä aktiivisena tapahtumana tuoden katsojan esityksen kanssatekijäksi. Tutkimuksen johtopäätöksen mukaan puvun performatiivisuus sen ilmentämänä materiaalisuutena ja pukuisuutena ovat tanssipukuja suunnittelevan tärkeimpiä työvälineitä. Tutkielmassa ehdotetaan nykytanssiesitykseen sopivina toimintamuotoi- na siirtymistä lineaarisesta pukusuunnittelumallista prosessimuotoiseen jaettuun tekijyyteen sekä ainoastaan pukuihin keskittyvästä pukusuunnittelijaroolista esityksen kokonaisvaltaiseksi suun- nittelijaksi. Tämä opinnäyte on pukuontologinen, tanssipuvun olemisen tapaa analysoiva tutkimus. Esittä- mällä luopumista näkemyksestä pitää tanssipukua ilmaisevana ja esteettisenä artefaktina, ja eh- dottamalla sen olemisen edellytykseksi puvun ja tanssijan katsojakontaktissa mahdollistuvaa il- menemistä, se osallistuu keskusteluun puvun perimmäisestä olemismuodosta ja tarkoituksesta. !"#$%&#%#'!puku, tanssi, tanssipuku, nykyisyys, nykytanssi, esitys, tapahtuma, metodi, haastatte- lu, käytäntö, devising, merkitykset, performatiivisuus, materiaalisuus, pukuisuus, arjen estetiikka, pukusuunnittelija, pukusuunnittelutyö, näyttämöpuku, näyttämö-ja elokuvapukututkimus, pukuontologinen !

! 1. Introduction 4 - 8

1.1 From artist to artist-researcher 9 - 13 1.2 Prior knowledge and presumptions 14 - 15 1.3 Propositions and research questions 16 - 20 1.4 Research goals and challenges 21 - 22

2. The sources of information and methods 23 - 24

2.1 Literature review 25 2.1.1 Previous research 25 - 26 2.1.2 Related literature 27 - 28 2.2 Methods 29 2.2.1 Artistic practice 30 - 31 2.2.2 Interviews 32 Qualitative research interview 32 - 33 Planning the interview 33 - 34 Translating research questions into interview questions 34 - 35 My sample 36 After the interviews 36 - 37 2.2.3 Pictorial analysis 38

3. The frameworks of dance costume 39

3.1 Costume design 39 - 40 3.1.1 The role, purpose and function of costume 40 - 41 3.1.2 Costume as a semiotic sign 41 - 45 3.1.3 Costumed actor as a metaphor for the self 46 - 48 3.1.4 Costume design process 48 - 49 3.1.5 Dynamics in the working group 49 - 50 3.1.6 Costume designer transmits meanings 51 3.1.7 Costumes for dance 52 - 53 3.1.8 Everyday clothing as costumes 54 - 58 3.2 Contemporary dance 59 - 60 3.2.1 Basic terminology of dance 60 - 61 3.2.2 Representation in dance 62 - 63 3.2.3 Evolution of the new dance 63 3.2.4 Connection of the new dance with philosophy and visual arts 63 - 65 3.2.5 Phenomenology 66 3.2.6 Ontological paradigm of dance 67 - 68 3.2.7 The contemporary in dance 69 - 73 3.3 Scenography 74 - 75 3.3.1 Metaphorical versus metonymical 75 - 76 3.3.2 Perception versus reception 77 3.4 Performance 78 - 79 3.5 The conflict in world making 80 - 81

4. The approach of performance designer 82

4.1 The changed role of audience 82 4.1.1 Shared authorship 83 - 87 4.1.2 Semioticity 87 - 90 4.2 Collective working methods 90 - 91 4.2.1 Devised performance 92 - 94 4.2.2 Costume and performer 94 - 97 4.3 The changed role of costume 97 4.3.1 Performativity 97 - 101 4.3.2 Materiality 101 - 103 4.3.3 Costumeness 103 - 104 4.3.4 Costuming process 104 - 106

5. Discussion 107 - 113

6. Conclusion 114 - 115

References Appendix A Appendix B Appendix C Illustrations Bibliography 1. Introduction

Getting acquainted with dance as part of performing arts and particularly contemporary dance was among the aims when I started my MA costume design studies in 2012. As a costume designer, the field was not yet part of my experience. I started to study fashion design in 1983. Ever since, I looked at clothing from the perspective of a fashion designer, more interested in the artefact itself thinking of the wearer of my creation as a consumer or as someone using my design to express her inner self. In the end of the 1980s, when I began to work for theatre designing for both drama and musical productions, I had to choose a different approach towards costumes. I started to look at costumes from the narrative’s point of view especially bearing the features of a character in my mind.

I had experienced several dance performances in the course of time, but I never was a big fan of this form of the performing arts. I have some strong memories from as far as the beginning of 1980s when I experienced the Japanese butoh dance company Sankai Juku and some African dance troupe, from Uganda, at the Tampere Theatre Festival. These affected me deeply. I remember that later I went to see several works choreographed by Jorma Uotinen, Tero Saarinen and Kenneth Kvarnström. For years, I had the preference and understanding of contemporary dance as impressive executions sometimes close to spectacles. What made me loose my interest in the extraordinary visualizations of a contemporary dance performance? Why did I start to feel intrigued by everything ordinary?

4 1.1 The four dancers of Colour, colour performing in Zodiak in 2013.

I made my debut in costume design for contemporary dance quite recently. This happened in spring 2013 when I designed costumes for the contemporary dance performance Colour, colour in Zodiak, Center for New Dance in Helsinki choreographed by Jana Unmüßig. In the course of this process, I had to begin building up my own thinking of designing from scratch. One of the reasons to choosing this particular subject for my thesis was the inspiring and intense sharing of ideas with Unmüßig, the four performers Hanna Ahti, Gabriela Aldana-Kekoni, Eeva Muilu and Sofia Simola as well as the lighting designer Heikki Paasonen involved in the production of Colour, colour. I was obliged to turn a totally different page both in my thinking and working, especially towards the dancer’s mind and body and the role of costumes and costume designer. I faced something I had never before experienced. The costumes that where seen in the performance served some other purposes than the ones I had learned to deal with earlier when working with drama. I also had to rethink the question of authorship from my personal and the working group’s point of view. Another one was the question the critic Jussi Tossavainen (2013) posed in his review in Helsingin Sanomat regarding the costumes for Colour, colour. I was caught by surprise him asking how I came to the result seen on the stage. He asked, if I had a preconception, that the type of aesthetics in the dull tones of beige, brown and gray, I created for the performance was the norm in contemporary dance and suggested that I executed my work followed by this norm. His questions made me think if standards like this really exist. Was all this due to the specifics of a (contemporary) dance performance in general or was there something particularly different in Colour, colour? What were these specifics? How did they affect my process of design?

5 Thus, getting acquainted with contemporary dance and what was different when designing costumes for it were chosen to be my interest in this practice-led research. Besides Colour, colour, I refer to PLAY, another (contemporary dance) production that I designed costumes for. These performances are the key artworks that I shall present more closely in the second chapter, when reflecting upon the knowledge produced through my thesis.

The origin of my study lies in my experiences built during my artistic practice and while working in the field of costume design. During the research process, I aim at finding further understanding concerning dance costumes both by bringing into a dialogue and interpreting the knowledge provided by the chosen source books, the material produced through the interviews and the shared knowledge from the collaborative artistic practice. Thus, I consider my work of investigation as an interpretative hermeneutic phenomenological approach. The sources, with which I enter into dialogue, I present and discuss together with the reasons to utilise the specified sources in the section 2.1 Literature review. In addition to this, regarding the hermeneutic approach, I clarify the interpretative use of the material provided by the results of the interviews in the section 2.2.2 Interviews. Rouhiainen (2003.)

In the process of my study, I balance between aesthetics and ontology. Kirsi Monni (2004) pushed me towards a more ontological way of asking questions about and observing art, thus clarifying my understanding of it. Ossi Naukkarinen (2014) dared me to reveal what kind of entity aesthetics is for me. Besides the content of my aesthetics, he encouraged me to contemplate the temporal and spatial questions of aesthetics. I share Michael Kelly’s definition of aesthetics that Naukkarinen presents as the critical reflection on art, culture and nature, in order to capture the multiple dimensions of aesthetics. For me, aesthetics is a conscious and critical way of looking at the phenomenon of costume. It also includes the idea of having my own preferences on aesthetic ideas. My interest towards everything that I would describe as mundane or everyday is a feature reflecting the perspective I adopted towards aesthetics in my thesis.

Naukkarinen (2014) refers to Monique Roelof when he suggests that the word aesthetics should be used in plural and I agree. He states that different aesthetics emerge depending on the place and time. I am interested in finding different features, interpretations and opinions characteristic to my subject. I am neither trying to define the average of the aesthetics nor to categorize the different approaches to the subject. As a matter of fact, I believe it is not possible to find only one truthful answer to determine my subject. As a result of my study, I hope to be able to build a permissible proposal among the multiple readings and understandings of the aesthetics of costumes for contemporary dance.

6 Each of the six chapters - Introduction, The sources of information and methods, The frameworks of dance costume, The approach of performance designer, Discussion, and Conclusion - opens with a different account of costume.

In the first chapter, Introduction, I shall start by introducing my background as a designer, an artist and a researcher to discuss my validity as researcher. I shall approach clothes and costumes as works of art, present my preconceptions and presuppositions concerning the subject, and continue by defining my personal interest to the study, together with my propositions and evolving research questions. I shall conclude the first chapter considering the aims and challenges of my study.

In the second chapter, The sources of information and methods, I shall first present the previous research and related literature as my sources of information. Next I shall continue reviewing the methods that I used in my inquiry.

In the third chapter, The frameworks of dance costume, I shall investigate the frameworks of dance costume. In order to establish the notion of dance costume, I examine the key factors related to the subject by presenting the theoretical frame for it. In the first section of the third chapter, I shall consider costume in the theatrical context. I shall look at the purpose of costume and costume design, the meaning making of costumes through the semiotic approach, the history of theatrical costume in connection to the performer, the costume design process, the dynamics among the working group when planning a performance, and the role of the costume designer in the working group. I shall study the pre-production model as a model for costume design, costume regarded as an object transmitting pre-destined meanings, and the notion of the linear costume design model. Next, I start to study costume in the context of dance. I consider the notion of dance costume and investigate the use of everyday clothing as costumes. In the second section of the third chapter, I shall discuss contemporary dance. I shall present its basis and principles, together with some terminology of dance. I argue the different modes of representation and continue looking at the development of the new dance. I state the connection between visual arts, philosophy and the new dance. Next I present the aesthetic and ontological paradigm of dance and discuss the concept of contemporary in the context of dance. In the third section, I shall present costume as part of scenography. I discuss scenography appearing as an event and the idea of shared authorship. In the fourth section, I shall discuss the concepts of performance and the performative turn, present performance as an event, emphasizing the audience as the decisive factor of the performance. In the fifth section that concludes the third chapter, my aim will be to assemble and reflect on the information that I provided in the previous sections. Thus, I shall constitute the conflict in the worldmaking, between me as the costume designer and contemporary dance, as the starting point for the fourth chapter.

In the fourth chapter, The approach of performance designer, I shall exchange the viewpoint of the costume designer for the one of the performance designer. While I shall conclude the third chapter considering the linear costume design model as an invalid method for working in contemporary dance following the ontological paradigm (Monni, 2004), I start investigating alternative approaches to contributing to the creation of a dance performance. I present and discuss the results of my research in the context of the theoretical insights of my literature, the experiential knowledge generated through Colour, colour and PLAY and the understanding built 7 during the interviews. First, I further discuss the notion of performance together with the discussion of the audience’s changed role as co-creator and emerging meanings in the performance and present the concept of semioticity. Second, as an option for the normative role of costume designer, I present the approach of performance designer together with the use of the devised or process-based methods as the valid working models. I redefine the notion of costume through the intrinsic connection between costume and performer together with the concept of costuming. Third, by discussing the materiality and perfomativity, I continue investigating the role of costume in connection with the audience and performer. I approach the use of costume through the emphasis on experiencing costumes in the course of performance as an event and I introduce performativity to costumes as costumeness.

In the fifth chapter, Discussion, I shall discuss the process of my study, from the structure of the thesis to the chosen methods. Moreover, I ponder the knowledge produced in the process and reflect on the results, such as my changed role from costume designer to performance designer. I reconsider the study more closely in the field of artistic research.

The sixth chapter, Conclusion, concludes my study. I shall address the results of my thesis in connection with the field of costume design, performance design and dance. I look at the wider concept of costume considering the results as well as the emerging possibilities for further research within dance costumes suggested by my study.

Besides this, the thesis has three appendices: Appendix A presents the list of my interviewees in the alphabetical order. Appendix B presents the transcript of the interviews. Appendix C presents the course material provided by Elena Trencheva during the Costume lectures.

8 1.2 The four unique gowns that Janne Renvall designed in 1988.

1.1 From artist to artist-researcher

As the position of an artist as a researcher has been widely discussed (Arlander, 2011; Borgdorff, 2011), I consider that it is necessary to position myself as an artist in the field of costume design, who with this thesis becomes an artist-researcher. Thus, I begin this study from my personal experiences as a costume designer and then extend to a more general level. The lived life with all its experiences, everything that I have learned and created, my different roles as a designer during my career, is somehow always part of my present professional and artistic expression. That is why it is also a relevant part of this study. In order to open my perspective more, I shall now continue to illustrate my processes of designing both for the fashion world and stage together with the questions of authorship and clothing or costumes as work of art. How I define these concepts, depends on my professional role.

Before my current Costume design studies, I studied Clothing design at the University of Applied Arts (precedent for Aalto University). As a fashion designer, I have worked for the clothing industry but mostly for private customers from my studio. In both cases, I aim to create something to be used in real life. The products to design, like dresses, jackets, blouses, trousers and skirts, could vary a lot depending on the function and purpose of use. As a fashion designer, I can choose to emphasize either wearability or visuality, which I suppose is also the case when designing for the stage. When dealing with a unique piece dress, the artefact in itself is the work of art. When designing a line of garments, the collection could be defined as the work of art, especially in designer led collections. In the case of a larger company, the brand, usually a result of collective effort, could be described a work of art. The task in hand changes together with the change of focus from a single artefact to a collection. At the same time, changes the consideration of bodies that I design for. The change is from a very intimate encounter with a single unique person and body to someone not so much considered as an individual, not so much of flesh and blood, a fitting model representing some notional target group, later mannequins wearing the showpieces on catwalk or rows of the same model produced in series for different sized bodies. It is a change from individual fit to universal table of measurements. It is also a question of changing from a personal touch of me as a designer manipulating the surface of a fabric to the globalized logistics of rolls of fabrics. 9 1.3 The four outfits that Janne Renvall designed in 1997.

I am not only a designer or artist but also craftsman, I have always been. The skill, I acquired in practice. Later, I proved my know-how or could even say the art of producing garments by passing the tests of specialised skills in dressmaking. My designer’s work of art, e.g. a unique evening gown, is at the same time a demonstration of my craftsmanship as artisan if I also manufacture the gown. In order to gain the copyright to my creations the products I design or produce, either as designer of craftsman, have to be recognized as an oeuvre, a work of art. My intellectual property rights as a designer are based on this principle. When I sell a unique piece dress to a client, I do not transfer the copyright to her even though she becomes the owner of the product. The situation changes when I agree to design a collection of clothes for a company. Then, I usually transfer the copyright for those designs for a period of time to the company. Even if I choose to transfer it forever, I shall always keep the right to be named as the designer of that collection.

If I think how my rights as costume designer are defined, I first have to define the form of my work of art. In theatre, the question is not only about single pieces of clothing but about a carefully created concept, a whole work of design created and defined by the costume designer, usually consisting of separate costumes, make up, combinations of costumes into outfits, instructions how and in which scenes to wear them. The actual costumes and accessories become the property of the theatre in question and will be stored in its wardrobe after the season is over. But again as the designer, I have the copyright to the concept that I designed that I transfer for the performance period to the theatre. After the performance season, the theatre can get rid of the results of design without my permission, as I do not own the costumes. In case, the theatre wishes to use these costumes in another production my permission is needed especially if they are recognizable even apart from the whole concept.

10 1.4 A scene from the play They shoot horses, don’t they? for which Janne Renvall designed the costumes in 2014.

In Colour, colour, half of the costumes for the four performers were sewn followed by my instruction and the others were purchased from second-hand shops. The costumes resembled everyday clothing when seen from the auditorium. The materials and the cut that I chose to use in the ones sewn differed from the other ones. The tones, feel of the materials, tested combinations, proportions, the individual fit on each performer, and the acknowledgement of each personality formed the unique concept for me. In PLAY, I chose to dress the performers in ordinary male underwear, white t-shirts and briefs combined with black sports socks and sneakers. As I chose to use normal, quite anonymous mundane clothes, the natural choice was that everything was bought and nothing was sewn. In PLAY, my work of art was the concept of combining white underwear with black sneakers. Outside this context, the costumes became normal pieces of male clothing. I guess in this case, the theatre wardrobe could reuse my designs quite freely without asking me, as it was recognizable only in the context of our performance.

When I think of the question of authorship as a ‘fashion artist’, designer working for private customers, I could identify myself as the one and only author of the piece, especially if have also manufactured it. As a clothing/ fashion designer for the industry, I usually work with a team. In that case, a sole author cannot be named. Instead of that the whole team as a collective author, could be detected. Though either only the brand or my name as the designer of the collection, or both, might be highlighted in marketing communications. The word auteur was initially attached to film directors since the 1950s to emphasize the importance of their creative vision as the primary author of a film (Renvall, Tawast, and Ahonen, 2007, p. 15). Renvall, Tawast, and

11 1.5 The two dancers, Johannes Purovaara and Iiro Näkki, in their dance costumes in the performance PLAY in 2014.

Ahonen (2007) present that the choreographer’s role is seen to be crucial for the creation of a dance production and accordingly the name of a dance production is often combined with that of a choreographer. I use the term author more widely. A performance is nearly always a collective work of art. It very seldom happens that only the director or choreographer is involved. This means that there are several authors. I attach the term to anyone contributing to a work of art to a great extent. I suppose this is very close to my definition of being an artist. I might broaden the use of the word author to cover all the members in the group or community, anyone sharing ideas and bringing topics to the process of producing a performance. In Colour, colour, I felt that I was not the only one in our working group who affected the costumes as they were seen on stage. Accordingly, I wanted the choreographer to be credited besides me. I would have agreed on crediting the whole working group.

What if in PLAY instead of the white male underwear, I had suggested or as the result of discussions within our working group we would have decided that the dancers should perform undressed? What would my role and position as the costume designer had been? Of course, the concept of nakedness in the context of PLAY would have been my contribution to the performance. But on the other hand, who needs a costume designer if there are no costumes?

12 These are the questions, I was obliged to start asking myself when I started working for contemporary dance, dressing the mind and body of a dancer. Due to the changed attitude not only towards costumes but also towards my role in the team, I had to leave behind my life as costume designer and become reborn as a performance designer.

The fashion designer decides either alone or together with a team how clothes will look or work and what kind of needs they will fulfil. Usually, both artistic and technical drawings, patterns, plans and fittings of sample pieces or prototypes of the clothes as the final products are used to help the design process. In everyday life, people use clothes or pieces of clothing for different reasons. They use everyday gear like jeans to fit in the crowd, choose designer clothes to send a message, dress warm clothing on their children in the winter, wear protective clothing for their work, put on formal clothes for a funeral, change into a party dress for a special occasion, have their national costume on to honour traditions, or even get dressed in a costume that they have rented from a costumier for a masquerade.

The costume designer decides either alone or together with a working team what kind of costumes the performers will wear, how the costumes will work, and will be used, what kind of needs they will fulfil, and in which parts of the performance this will happen. Usually, both artistic and technical drawings, patterns, plans and fittings of sample pieces or prototypes of the costumes as the final products, are used to help the design process. Rehearsal costumes are used to test the designed ideas in practice. Costumes could either be ready-to-wear clothes purchased new or second-hand, manufactured from scratches or combinations of these two. Purchased clothes and existing costumes from a theatre wardrobe could be used as they are or altered and manipulated in various ways to reach the desired result as a costume. Costumes can be used as part of the communication within the performance. Depending on the genre of a dance performance, dance costumes could be costumes specifically retailed for dance with functional and physiological qualities, clothes adapted from everyday life, transformed and altered into dance costume or found costumes from a wardrobe, and pieces of clothing from the everyday life used as costumes as they are.

What happens to clothes when a costume designer places them onstage? Even ordinary everyday garments become costumes, not only the pieces produced in the wardrobe after historical examples or inspired by the fantasy world. Onstage, meaning making becomes relevant. Whatever the costume designer chooses to be seen on stage starts to generate meanings and this process begins immediately by itself. Offstage, messages can also be sent by dressing up and clothes always bear meanings but I do not stop to think about them so often in the real life as I do in the context of performance. When I exchanged from fashion to theatre, I replaced my roles as “fashion artist” and clothing/fashion designer with the role of costume designer. Along with the change appeared new approaches towards both artefacts and bodies to wear them.

13 1.2 Prior knowledge and presumptions

In this section, I return to the moment when I started to outline my thesis. I discuss my prior knowledge, together with the presumptions of contemporary dance and designing costumes for contemporary dance. As a strong impact on the researcher’s motivation, choice of questions and methods, Annette Arlander (2011, p. 316) presents the traditions and conventions within each field of art. Gaining awareness of various preconceptions and presuppositions, she presents among the first tasks for the artist researcher. The three presumptions that I had were: designing costumes for contemporary dance differs from designing costumes for text-based drama, the use of everyday aesthetics in costumes for contemporary dance is common, and the spectators’ role in the meaning making of a contemporary dance performance is decisive.

During my costume study course (as part of my clothing design studies in the end of 1980s, I joined the costume design course supervised by Maija Pekkanen) at the University of Applied Arts and when working as a costume designer (since the end of 1980s) and also during my current MA costume design studies in Aalto (2012 – 2016), I grew up to consider the expressiveness of costumes and their narrative point of view as the main tools for costume design. As I earlier worked only with drama, I mostly had the script to guide me in finding the features of a character. Depending on the play or musical that I designed for, I changed the style of design. However, building a role with visual elements for the performer, representation after likeness or metaphor and creating illusions still remained a natural part of my work.

In her MA thesis, Tua Helve (2008, pp. 56-57) emphasizes the dance costume’s ability to express the chosen theme of a contemporary dance performance. Helve (2008, p. 27) mentions creating and transmitting a sentiment of wished time, place and dimension, emotions and ambiance to the spectator among the basic functions of dance costume. When I designed the costumes for Colour, colour, I realized these functions that also I had adapted during the years of practicing my profession as the costume designer did not at that time meet with the process of planning and making the performance. I was somewhat lost. The choreographer Unmüßig and the rest of the team were not able to help me understand. What I experienced in Colour, colour revealed something that I was not at all aware of then, but later could formulate as the conflict in the worldmaking between the performances of this kind of contemporary dance and text-based drama that I was used to.

The word costume bears the connotation of disguise, changing one’s appearance so that one cannot be recognized. Thus, it also means changing attire in order to hide something. These meanings of the word costume make it sometimes a problematic word to use when designing a performance. If I chose to use normal everyday clothes as costumes as well as defined and expressed them to be costumes for some performer, it could cause resistance from the performer or someone else in the group. My use of words could make the most mundane choice of clothing appear too costume-like. When seeing dance performances and especially among the working groups of contemporary dance, I had noticed an urge to use normal clothing over costumes. This was among the first propositions that I made in order to start finding answers to my dilemma with Colour, colour. 14 Later, I also found support for this proposition from Milla Martikainen in her MA thesis. Martikainen (2013, p. 74) discusses her role as the scenographer and the process of creating the contemporary dance performance called Why Can’t We Be Friends. She states that a separate costume designer did not belong to their working group, as there was no need for still another person that concentrated on the visual design. Besides her as the scenographer, the group consisted of the lighting designer, sound designer, choreographer and the dancers. Martikainen describes the process and principle of letting events unfold themselves and as an example of this she presents costume design that evolved in the performance process, taking its form, not designed for the sake of design. She continues and explains that when choosing the outfits for the dancers (she writes in Finnish and uses the word “asu” i.e. outfit instead of “puku” i.e. costume) the aesthetics of normal people in ordinary clothes was the guideline. Martikainen states the idea was to avoid representation and the use of the traditional uniform “costume for dance” and creation of characters.

To further support the relevance of my presupposition about everyday aesthetics, Renvall, Tawast and Ahonen (2007, p. 16-17, 25) illustrate this proposition in the web pages of Dance Info Finland in a guide for the spectator of dance. According to the guide, the clothing in contemporary dance might be very mundane and avoid unnecessary attention.

I already explained my appreciation of shared authorship in the previous section. Another presupposition that I was ready to reflect on was that the working group also includes the audience as they make the performance possible. This resulted from my experiences as a spectator together with the use of participatory elements in practice for the performances and the vivid talk concerning the spectator’s role during my current costume design studies.

15 1.3 Propositions and research questions

This thesis operates both as the research documentation and the guide through the progress of my expedition while getting to know and finding answers regarding dance costumes and costume design for dance. It does not only include my research findings but also the description of my process. Thus, it might time to time appear different to read compared with the traditional research documentation. I feel it was important, maybe honest too, to leave the building of my knowledge, as it evolved, visible.

This section presents the process of developing my research questions. At the same time, it compiles how my interest in my subject evolved and also gives information on how my knowledge cumulated. After my first experience of working with contemporary dance in Colour, Colour, when I started to think of my thesis, the following question was in my mind.

Do some standards in costumes for contemporary dance exist?

This was my starting point. In my earliest thesis plan, I listed more questions, which showed my interest towards the typical features of costumes, the meaning making through costumes, and the sharing of meanings among the production team. At this point, I did not mention the connection to the audience. Instead, I was more interested in the costume designer’s input to the process:

What is common in the costumes of contemporary dance? Could I find pieces of costumes frequently chosen and used, examples that could be described archetypal? Do these types of costume belong to our collective experience? Could I find encoded meanings defining these archetypes? Do they stand for the same meaning every time they appear? Do choreographers, costume designers and dancers share the same perception?

Colour, colour was performed in Zodiak. Having worked there, I became interested in its history. I studied the list of all performances and artists in Zodiak since 1986, when Zodiak was founded. After 1996, there seems to have been a change in the direction that the choreographers tended to work more together with a costume designer. Maybe this was due to the Zodiak Center of New Dance was founded in 1997, and it began evolving in a venue for contemporary dance more generally than concentrating on the work of the original artist collective that was responsible for the early days of Zodiak. I thought that I could concentrate on all performances from that moment to the present day. At first, I planned to study the photos of all these performances and analyse the costumes seen in them. I thought that I could list and count the different types of costumes. I could make notes of the associations arising from the costumes. As a result, I would have had the list of the costumes most frequently used. Would this have been the list of archetypes, is another question. At this point, I would have gained awareness what these costumes mean to me. In order to know more, I should have asked the others involved. From the list of the artists in the performances of Zodiak, I planned to choose choreographers, costume designers and dancers, three of each, to be interviewed. During the interview, I planned that I would have presented them my pictorial list of most frequent types of costumes. I could have 16 asked what the pictures meant to them then, why the pieces of costumes were chosen and used, where the ideas came from, what their associations are now, have they seen the same costumes also been used elsewhere. Maybe after this I could have called my list the list of archetypes.

I actually started to go though the pictorial archives in Zodiak at the same time taking notes of what I saw. This pictorial analysis I shall further discuss in the section 2.2.3 Pictorial analysis. At this point, I also planned to design costumes for some contemporary dance performance after the archival investigations, led or inspired by the results. I pondered that in a dance production where everything is built around the human body and its movement, costumes could have been a natural starting point. I found it very interesting that I could have created a collection of dance costumes based on my list of archetypes. I could have produced a number of costumes with most common forms, materials and colours, loaded or even encoded with meanings and preconceptions. Next, I listed new research questions. For the first time I mentioned the spectators.

It is said that today the idea for a performance could be anything, could it really be costumes? What kind of performance could my collection of dance costumes provoke? Would the choreographer, the dancers and even the audience give the same answer as my first interviewees if posed them the same questions?

In the updated version of my thesis plan, the questions had changed. As I started to become aware of the own unique understanding of the world within contemporary dance, I had started to think about contemporary dance as co-culture and I also mentioned aesthetics.

What are the aesthetics, the roles, the meanings and the natures of costume and the costume design for contemporary dance? What are the different features, interpretations and opinions characteristic to the subject like?

I was neither trying to define the average of the aesthetics nor to categorize the different approaches to the subject by writing the history of costume for dance. As a matter of fact, I started to believe it was not possible to find only one truthful answer to determine my subject. As a result of my study, I hoped to be able to build a permissive proposal among the multiple readings and understandings of the language of contemporary dance. I hoped to establish contemporary dance as co-culture with its own varied criteria for aesthetics. I still planned to use the analysis of the photos as my source of information. Designing costumes for a dance production was still planned to happen after the analysis was finished. I listed the possible questions for my interview I was getting ready for:

Why do some features repeatedly appear on stage? What makes us choose the same elements again and again? Are our choices subconscious? How widely do we share the same perception on the same things? From the costume point of view do some pieces of costume, combinations, materials, colours, patterns, contexts or ways to wear costumes bear a deeper meaning? Are there signs or symbols, understood always in the same way, to be found? Could I find pieces of costumes frequently chosen and used, examples that could be described archetypal?

17 Do these types of costume belong to our collective experience? Could I find encoded meanings defining these archetypes? Do they stand for the same meaning every time they appear? Do choreographers, costume designers and dancers share the same perception?

For the next version of my research plan, I had changed the questions again and the structure for the thesis started to take its form. Phenomenology, philosophical aesthetics, semiotics and artistic research as possible perspectives for the study were mentioned for the first time. At this point, I had gained knowledge by reading books dealing with aesthetics and philosophy. Otherwise, the plan was still the same. I planned to conduct semi-structured interviews among the others involved in contemporary dance. At this point, I was also able to articulate the purpose of the artistic practice. I planned to conduct my research according to qualitative approach with the purpose of describing multiple realities, developing deeper understanding and capturing everyday life and human perspectives. It was to be a process of discovery of the phenomena being studied, guided by broad research questions based upon the following theoretical framework, sharing many perspectives with each other, together with more questions and some points. Here is the exact copy of my research plan.

The phenomenological approach: - Opening all the senses: sight, smell, hearing, touch and taste - Body and costume - Subject/object - Ever changing multiple individual cognitions

The philosophical aesthetics: - The aesthetics of everyday life - Stereotypes, genre, canons - Beauty is not a criterion/pluralism - The power of defining aesthetics - Aesthetics building consensus or creating anarchy - The aesthetics of the marginal and the invisible

The semiotic approach: - Making the difference between the realistic and semiotic meaning of costume - Who or what is setting the meaning? Costume designer, choreographer, dancer, audience, role models, location, community, the theme of the season, media, convention, norm, context etc. - Analysing photographs as text and language

The artistic research: - By creating something new as an artist and designer I could broaden horizons of the research acting simultaneously as the subject and the object within the research. When engaged in the artistic work it would be possible to move, feel, touch, live and experiment as a part of the world that I am studying.

At the next phase, I had begun to develop the questions towards more conceptual thinking. I asked myself the following questions:

How does the meaning making happen in the performance, through the designer and in the audience? In what ways is the aesthetics of contemporary dance and its costumes special? Who creates the aesthetics, the designer, the dancer, the choreographer, the audience, the community, the performance space? How and why everyday aesthetics is present in contemporary dance?

Postmodernism, pluralism, intertextuality, corporeality? 18 I had already started broadening my horizon by reading books on dance, performance and meaning making. In the autumn 2014, I also decided to take part in the courses of philosophy of art and contemporary aesthetics. I participated as part of my studies in Aalto University in a course called TAKO, Dance as a Comprehensive Piece of Art. It was a co-operation with the costume and set design students of Aalto and choreography, dance, sound and lighting design students of Theatre Academy of the University of Arts Helsinki (TeaK). I made up my mind to use the working period in TAKO to test in practice the ideas and theories of the books that I found interesting. I also decided to include this period as artistic research through practice in my thesis. At the same time, I gave up the use of the pictorial analysis in the archives of Zodiak as my source of information. The study of the pictorial archives had given me the good insight into the aesthetics of dance costumes since 1997. My decision led to the move towards practice-led research. The process of planning and making the performance (later named as PLAY), together with gaining knowledge as practicing artist, started to affect the focus of my thesis and the formulating of research questions. The shift was evident in the new questions:

Am I asking aesthetic or ontological questions? Why am I not as the designer on the same level with the choreographer or the dancers? If contemporary dance is not interested in aesthetic movement, what is the goal? Should I consider the process of becoming meaningful rather than the actual meaning? Who is the real author of the performance? In what ways does contemporary dance performance deal with representation? How could I dress the dancer in contemporary dance? Performativity, materiality, kinaesthetics?

When I formulated my questions for the coming interviews, I also formulated the title of my research: The use of costume and the emergence of meanings in a contemporary dance performance. My research questions are listed here together with the follow-up question that I came into my mind later.

What does the notion of contemporary dance mean? How do meanings emerge? Are there multiple authors? Are contemporary dance performances participatory? Are contemporary dance performances political? How were the costumes used? Is everyday aesthetics a common feature of contemporary dance? If it is, why and how does it appear in the costumes? What does the concept of perfomativity mean? What do the concepts of materiality and kinaesthetic empathy mean?

Do some standards in costumes for contemporary dance exist? If yes, why do they exist? How does this affect my work as costume designer? What is the role of the costume designer in the process of creating a contemporary dance performance? How can I as designer make use of the knowledge produced through my study? What makes the difference between the costume for a character and everyday clothes? What made Colour, colour different? Does this difference apply to other contemporary dance performances?

19 The formulating of research questions and choosing the viewpoint could be done with the help of additional questions that intertwine with each other. As examples, Turpeinen (2006, pp. 118-123) suggests the following:

“What is the motive to combine one’s own artistic work with research? Is it necessary to include art or design work as part of research? What is the aim? Can artistic practices inform the researched field? How? How can one combine art and design practices with research?”

In order to be able to answer to these questions, the relevance of the research subject should be considered. The researcher should also know one’s field of research and remember that after having formulated the research questions they may be developed and reworked from different perspectives during the research process until they form unity. The researcher’s viewpoint affects the formulation of questions.

When engaged with the design process in PLAY, I took time to reconsider my questions consciously. Now in retrospect, when writing, I wanted to evaluate my process again and how I coped with the formulation. Having worked as costume designer since the end of the 1980s and gained my knowledge in various ways during the process, I definitely considered myself valid for the practice-led research. I also allowed the questions to change as the process proceeded and reshaped them accordingly as suggested in Turpeinen (2006). The relevance of the knowledge for the field, I reflected more in the concluding chapters but it at least helped me to understand contemporary dance and my possibilities to work within it.

I present here the answers to the additional questions suggested in Turpeinen (2006) that I presented in the previous section. The motive for combining PLAY in my research was to gain embodied experiences of working as the designer in the contemporary dance performance. PLAY was the necessary part of my research, as I could test and compare different costumes during the rehearsal period. The aim of including PLAY in the research was to study in practice modes of representation. The performance made visible the different understandings of movement in contemporary dance. Without the performance, I could not have interviewed the spectators of my artistic practice and could not have gained the knowledge from them for the research.

My final research question and at the same time the title for my thesis, I developed at the point when I returned to my research materials after a pause of several months.

What makes the difference in costume design for contemporary dance?

The question is answered from my point of view as a costume designer and strongly observed through the cases of dance pieces Colour, colour and PLAY. Yet the interests that I expressed inform the manner, in which the question is approached as well, namely: the costumes, contemporary dance, performance, working processes, means of creating performances and costumes, worldmaking, philosophical thinking and people behind the thoughts, purpose of costumes, meaning making, shared authorship, designer’s role, the idea of two or more things not being like each other, the idea of comparing the mentioned to something, or the way in which something has changed. 20 1.4 Research goals and challenges

The aim of my MA thesis is to introduce the reader to the purpose, identity and scope of costume design and the philosophical and theoretical concepts, which provide a critical framework within which it may be discussed. My work concentrates on costume as a visual and material part of the scenographic image and considers the temporal and performative aspects of costume in the realm of contemporary dance performance and in connection to the audience as co-creator. In this study, I discuss costume and costume design in the wider context of the artistic research, performance studies, dance studies, research of costume, research of costume design, and research of scenography. Costume design principles are discussed with examples built on knowledge through various books, together with my experiences in planning, executing and analyzing the contemporary dance performance called PLAY as well as the interviews that I conducted during my study.

My aim is to study and reveal the conflict in the ontological understanding of dance between me as a designer and choreographers or/and dancers. In the course of my thesis, I reflect the content and understanding of my professional job description as a costume designer, present the change in my working attitude, and propose the shift from costume designer to performance designer. As a result of my study, I suggest the devised method as a collective working method constituting a relevant option to design costumes in the context of contemporary dance. Among my aims is also the wish to test in practice some of the theories proposed by the books that I introduce in the section of 2.1 Literature review.

How to move from subjectively gathered experiences and viewpoints to shared understanding was one of the challenges for my thesis. As a natural approach, I chose the role of the artist-researcher and accordingly put my artistic practice and myself in person in the middle of the study. This might cause epistemic problems. How could the knowledge through this inquiry be valid if it even partially includes my personal experiences? My aim was both as a researcher as a costume designer to investigate and search possibilities for working in the field of contemporary dance. I approached the subject through the working processes and experiences as the costume designer for two different contemporary dance performances.

Having gained the awareness of the multidisciplinary nature of my study, I tried to make use of my thesis as means to look for methodological possibilities for the research of costume. By bringing in the practitioner’s view my goal was to find tools for working within contemporary dance, tools for analyzing and discussing costumes, their use and the process of experiencing them in the rehearsals and during performances. The artistic or practice-led research should benefit of the experience, the knowledge and the reflection obtained through the creation of artistic work. Accordingly, as part of my work I addressed the performance PLAY and my contribution to it. In order to make my references to it understandable I tried to illuminate the substance of PLAY in the text. My work as costume/performance designer in that performance, that is the artistic practice, was one of my methods. The performance PLAY as the actual artistic outcome of this practice has already been discussed, evaluated and credited during my studies. Thus, my written thesis, in the form of rather normal academic study, constitutes a separate entity. My thesis is not a historical analysis of costumes in dance. I approach my subject as it reveals itself in the context of today’s contemporary dance. I consider the history related to my subject when it is relevant for the understanding of changed insights. 21 While considered as knowledge-producing activity (Kvale and Brinkman 2009, pp. 47-53, 242-243), interviewing as one of my methods could be described to present epistemically my whole thesis. The qualitative interview is introduced as a social production of knowledge locating the process of knowing in the interpersonal and social conversations involving both interviewer and interviewee as co-constructors of knowledge. I was able to associate my thinking with the metaphor of the interviewer as a traveller. This metaphor is based on the original Latin meaning of conversation as “wandering together with” understanding interview as a process of knowledge construction. I chose to conduct the interviews in order to build a dialogue on the aspects and concepts of costumes and contemporary dance, as I believed the knowledge could be found in a conversation and a negotiation of meanings in the relationships between persons and the world. Besides describing knowledge as produced, relational and conversational or at least tested in the interpersonal and social conversations, also the contextual feature and the temporal dimension of knowledge are introduced.

Also the validity of my thesis could be considered according to Kvale and Brinkman (2009, pp. 168-172, 213, 218, 241-253). They suggest that validation of the interview should, followed by the quality of the craftsman, be the concern on all levels of the interview from the beginning to the end, the content and purpose of the study preceding the chosen methods. The validity of an interview means a perspectival subjectivity instead of an unacknowledged biased subjectivity. Reliable knowledge through an interview inquiry should be free from bias and express the real nature of the phenomenon studied. In order to reach this the researcher should strive for reflexive objectivity by being sensitive about prejudices and subjectivity, for transparency in the research procedures and be ready to check and question all the time. Interviewing is said to attain objectivity as dialogical intersubjectivity, an agreement in interpreting a phenomenon through conversation, reciprocity between the researcher and the subjects by making visible conflicting interpretations and possibilities and giving chance for a relational unfolding of meanings.

Whether the knowledge produced by my inquiry or my interviews, may be generalized and transferred to other subjects and situations than the ones I dealt with, is discussed also in Kvale and Brinkman (2009, pp. 261-262). I made up my mind to leave this decision for the readers to ponder in their own circumstances. For me it is important to approach the knowledge from my personal experiences and find alternative answers to my research questions. Thus I strive for naturalistic generalization by passing from tacit knowing to explicit, verbally conveyed understanding of events and issues and at points, propositional knowledge.

For heuristic purposes, I might investigate costume and other elements of performance separately. Even though, I understand they all intrinsically interlink through the performance event. This study contains descriptions of experiences of costume designing, costumes and performances, excerpts from transcribed interviews and interpretations of them and writing about themes related to research question that dialogues with different materials drawn from the artistic research, performance studies, dance studies, research of costume, research of costume design, and research of scenography. Research methods utilized involve on the part semi-structured interviews, phenomenological and hermeneutical approaches and that of performance-making all of which aim at interviewing an artist-reasearcher’s point of view with that of others and shared understanding in performing arts and costume design.

22 2.1. The graphic presents the different voices from the various sources brought into dialogue to produce knowledge within the thesis.

2. The sources of information and methods

In this chapter, before presenting the sources of information and methodology of my thesis, I discuss artistic research. After this, I review both the previous research and the related literature, which affected me in the process and to which I refer. I continue to present the methods used in this survey. As my three methods, I illustrate my artistic practice in the performances Colour, colour and PLAY, followed by the semi-structured life world interview together with the pictorial analysis.

Practice-led research uses creative practice as a vehicle or as a leading force contributing to the knowledge and understanding for the research exploration (Mäkelä and Routarinne, 2006, pp. 12-15). The practice’s role as the pivotal means to gain knowledge does not free the study from the requirement of rigour. Within the practice-led research, the inquiry can arise either from practice or research intent. In my case, the inquiry arose from my former creative practice in Colour, colour that I continued within PLAY.

Outi Turpeinen (2006, pp. 116-120) states that experiential knowledge and how this knowledge relates to the research question are among the key issues in practice-led research. She suggests that this kind of research is seen as a process, where the result is not known before the concrete practice and where the aim is to achieve interpretative knowledge based on subjective viewpoints, thus experiential in its nature, of the researched subject matter. Experiential knowledge can then be achieved via a thorough description and interpretation of the research process. I aimed at finding experiential knowledge through the internal means of the individual, subjective analysis (Anttila, 2009, p. 123). Thus, the epistemology of my research is mostly based on the principles of subjectively experienced and received sets of perceptions, emotions and values (Anttila, 2009, p. 125). Accordingly, I did not aim at one singular and objective truth, but rather a pluralistic analysis (Turpeinen, 2006, p. 120). 23 In my thesis, I looked at both the process of creation and the outcome of my creative process. My interest was: first to study myself and my role when performing the creative act as costume/performance designer, second to study the components of this act: the planning, the costumes used during the process and the collaboration within our team, third to study the performance as an outcome, and fourth to study the connection between the performance and the recipients (Anttila, 2009, p. 117).

Encouraged by the information in Anttila (2009, pp. 120-121), in order to link “the visual-haptic-kinaesthetic conceptualisation” to the verbal one, I included my process of artistic work in PLAY in this research. I adopted the “extended concept of knowledge”, which she introduced in her article. According to this concept when accepting “the subjectivity of knowledge and granting more significance to the expression of sensations and mental images”, I could combine practice-led research with traditional academic research traditions. I found it very suitable for my process within contemporary dance performance, where embodied experience is the key element of building knowledge. On the other hand, I realised during my process that theory and practice were almost inseparable and that they nurtured each other.

The methods should be selected based upon their relevance to research questions. Turpeinen (2006, pp. 116- 121) sketches out an interplay, where practice-led research process collates “making” one’s own artistic productions, “experiencing” based on observation of visual elements and “reading”, besides the actual literary survey, consisting of conversations and courses supporting the research. She describes the process, where theoretical knowledge combined with observations and artistic work gained new research knowledge. I used the same division to describe the methods in my process. My notion of the reading is based on the analysis of the pictorial archive of Zodiak, the theories presented in the books, the many discussions with my peers, supervisors and through the interviews with the audience of PLAY. My notion of making consisted of my artistic work for the performance PLAY, but I also included the writing of my thesis as one of my method of making, as when I was writing the actual text I had to rethink my thoughts and give them the final content, shape and aesthetics. On the other hand, my text could as well be seen as part of the reading, as in it I participate in and dialogue with the discourse of the field. The experiencing addressed in this study are drawn from descriptions of multisensory experience given by participants of the artistic process of PLAY, including myself, the team members and the spectators either in shared discussions or writing.

24 2.1 Literature review

In the next section, I first introduce the previous research related to my study. After this, I present the books that informed me the most during the process. While the amount of writings that address specifically costumes or dance costumes is very limited, I chose to refer to sources related to dance, performance and scenography. However, this was also necessary to illuminate the context of contemporary dance costumes. As my sources in order to ensure the validity of knowledge, I aimed at choosing contemporary writings from renowned writers and scholars from acclaimed publishers. To the reference list, I have collected all the sources that I have referred to. Besides that, the bibliography comprises the literature that I have read during the research process. I admit that also these publications might have affected my thinking, however I chose not to quote them.

2.1.1 Previous research

Joanna Weckman (2015, p. 20) states that the research in the fields of stage, film and television costumes is as a topic very widespread and young. It started to organize and grow during the first decade of the 21st century both in Finland and abroad. Weckman (2009; 2015) has compiled the research related to costume both in Finland and internationally. She widely reviews both in her doctoral thesis, ”Kun jonkun asian tekee, se pitää tehdä täydellisesti” – Liisi Tandefelt pukusuunnittelijana 1958-1992” (Career of Liisi Tandefelt as costume designer, 2015), and the article, Puku ja tutkimus (Costume and research, 2009), the Finnish and international research of the fields. When looking at her review I noticed that some of the studies are close to my area of interest while they address the costume designer’s professional position. However, only a few approach dance costumes. I chose to investigate the following doctoral dissertations, masters’ theses and articles as they offer a wide perspective concerning my subject.

Kirsi Monni’s doctoral dissertation, Olemisen poeettinen liike: Tanssin uuden paradigman taidefilosofisia tulkintoja Martin Heideggerin ajattelun valossa sekä taiteellinen työ vuosilta 1996-1999 (Dance’s new paradigm, 2004), was for me the most important source in searching for an understanding of contemporary dance in the way I was to approach it in my thesis. Monni bases her concept of the new paradigm of contemporary dance on the phenomenology of Martin Heidegger and his insight of art. I share Monni’s view of the important role of phenomenological philosophy and its influence on today’s contemporary dance.

While Dorita Hannah addresses both performance design and performativity in her article, Alarming the Heart: Costume as performative body-object-event (2014), she brings forth valuable information for my study as these are the two central conceptions for my thesis. Moreover, Hannah approaches the notions from the perspective of costume and costume design.

25 Marja Uusitalo illuminates in her article, Tanssin puku – näkyä ja konkretiaa (Dance costume - between vision and concrete, 2005), both the costume design process and the essence of costume. Thus, the article shares valuable information through her thoughts as the experienced costume designer for contemporary dance.

Sofia Pantouvaki addresses in her article, Dance Costumes on Display: Reflections and Practice (2011), costumes in the context of exhibition. While discussing dance costumes, she contributes to the discourse on the understanding of the concept of costume.

Tua Helve’s MA thesis, Toisia mahdollisuuksia. Näkökulmia nykytanssipukuun (Perspectives on dance costume, 2008), was very useful for my study in many ways. Helve has successfully collected the history of contemporary dance both internationally and in Finland from several sources. The thesis defines accurately several notions concerning dance and costumes, reflects the process of costume design, the importance of the costume designer for the performance and the costume as an artefact.

Milla Martikainen’s MA thesis, Why Can’t We Be Friends – esitys muotona olla suhteessa maailmaan (Performance as a means to exist, 2013), gave me one example on how to approach a research in the context of performance studies within contemporary dance. As Martikainen investigates the production and the actual process of making the performance, the thesis was interesting for me. The way she approaches her subject cleared my thinking of performance as a participatory event, the use of devised method, the discussion on form versus substance and the conflict in worldmaking. Her thesis makes visible the essence of the ‘philosophy’ within one contemporary dance performance.

Suvi Matinaro discusses in her MA thesis, Pukusuunnittelija ja näyttelijän kolme minää – Haastattelututkimus pukusuunnittelijan ja näyttelijän välisestä kommunikaatiosta ja yhteistyöstä (Study of the communication and collaboration between the costume designer and the actor, 2014), the costume designer’s intimate connection to the actor, together with the traditional and devised methods for costume design, thus contributing to the knowledge regarding collective working methods.

During the Costume lectures in Aalto University (2013), Elena Trencheva provided as course material The Costume as a Sign System, Incorporated in the General Film Code. It is an unpublished abstract translated by Trencheva of her doctoral dissertation (From Metropolis to Matrix, 2008), originally written in Bulgarian. While the material discusses semiotics in costume design for science-fiction films, it provides information on the use of semiotics when analysing costumes.

The two doctoral dissertations Reija Hirvikoski’s Tahdon tiellä: lavastajan rooli ja asema (Scenographer’s role and position, 2005) and Leena Rouhiainen’s Living Transformative Lives: Finnish Freelance Dance Artistis Brought into Dialogue with Merleau-Ponty’s Phenomenology (2003), besides giving me interesting reading in the field of artistic research, gave me knowledge and indications for the methodological choices and theoretical frameworks as well as inspiration of the possibilities for proceeding in my thesis.

26 2.1.2 Related literature

In my thesis (in the section 2. The sources of information and methods) I first approached the practice of artistic research as proposed by Pirkko Anttila (2009) in The Art of Research II: Process, Results and Contribution and Outi Turpeinen (2006) in The Art of Research: Research Practices in Art and Design. When reflecting my research process (in the section 5. Discussion), I discuss my practice considering the proposals by Annette Arlander in The Routledge Companion to Research in the Arts (2011).

Ramsay Burt’s book, Judson Dance Theater: Performative Traces (2006), continued clarifying the principles of contemporary dance from the angle of the new dance of Judson Dance Theater. The book connects contemporary dance to art theory and justify the relevance of the dance of the 1960s and the 1970s to today’s dance and especially to the ontological paradigm of contemporary dance.

Susan Leigh Foster’s book, Reading Dancing: Bodies and Subjects in Contemporary American Dance (1986), places today’s dance in the historical frame of contemporary dance. Through this book I gained my understanding of the terminology, meaning making and different modes of representation within contemporary dance. It also offered me insights into the choreographer’s and dancer’s point of view.

Aiofe Monks’ book, The Actor in Costume (2010), illuminates the connection of costume to the wider cultural practices of the self through the history. Monks addresses the notion: costuming containing the understanding of someone using costumes, taking contact or emphasizing the relationship between the costume and the performer. Also the connection between costume and performer is approached from various angles. She helped me to understand the notion of costuming as the enactment of costume and performer, and thus contributed to my thinking of the performativity of costume.

Erica Fischer-Lichte’s book, The Transformative Power of Performance: A new Aesthetics (2008), opened and rationalized my thinking of performance theory towards regarding performance as event. Fischer-Lichte broadened my thinking of the connection, the feedback loop, between the audience and the performer. Her book investigates the actual performance not the production of it, but her ideas were useful also when analyzing the pre-performance phase. In my thesis I mostly based my definitions of the notions of performance and performativity on her book.

Erica Fischer-Lichte’s book, The Semiotics of Theatre (1992), gives a systematic insight to the variety of sign- systems that theatre combines as the theatrical code. Thus, it broadened my understanding on the semiotic approach contributing to the meaning generated in a theatre production and a performance.

27 Tina Bicât’s books, The Handbook of Stage Costume (2006) and Costume and Design for Devised and Physical Theatre (2012), are not academic, as they do not use any referencing system. I consider that her writing was based on her knowledge through experience. They are not theoretical either, but could rather be described as handbooks giving practical instructions. As I mentioned I am also a craftsman and thus in my work as a designer the hands-on-attitude is relevant. In costume designer’s work the practice is always present, answers and conclusions to concrete problems have to be proposed besides the theoretical, conceptual and artistic questions. On the other hand these books were appropriate for my study as they focus on costume designer’s work and the production processes of a performance from the angle of costume. These were the reasons why I chose to refer to Bicât’s books.

Steinar Kvale and Svend Brinkman’s book, InterVIews: Learning the Craft of Qualitative Research Interviewing (2009), I used as the manual through all the phases of the interview. During the different stages of my interviews from planning, conducting, transcribing, analyzing to reporting the results, it gave me valuable practical and conceptual knowledge of the craft of qualitative research interview. At the same time, the book encouraged me to proceed with my first attempt, thus it contributed to my acquisition of knowledge. According to the authors the book is ideal for both novice and experienced interview researchers. I found it interesting and informing on this qualitative research method.

Joslin McKinney and Philip Butterworth’s book, The Cambridge Introduction to Scenography (2009), made the historical context of scenography clear to me. It offered me broader insight into the theory of realization, analysis and reception of costume as part of contemporary scenography. I used this book to define the notion of scenography in order to supplement the notion of costume.

Richard Schechner’s book, Performance Studies: An Introduction (2013), could be described as the bible of performance encompassing its wide field in a concise form opening terminology, concepts and theories related to performance. For me this book worked both as lexicon and stimulus for possible directions in the course of my research process.

Through Ossi Naukkarinen’s, book Arjen estetiikka (Everyday aesthetics, 2011), I gained knowledge on everyday aesthetics and artification in order to start drawing lines between the discussion on the fields of aesthetics and contemporary dance. This book in connection to Monni’s dissertation also made me ponder the difference between aesthetics and ontology.

28 2.2 The graphic presents the methodological approach of the study. The process started from the work in practice wihtin the performance Colour, colour and after this met the theory and went on in the artistic practice within the performance PLAY. After this the interviews were conducted. To conclude, all the knowledge produced during the process was brought into the dialogue.

2.2 Methods

In this section, I present and discuss the methods I used in my research. First, I approach the practice as the essence of artistic research through my artistic practice in the contemporary dance performances Colour, colour and PLAY. I continue by describing the method of interviewing and the semi-structured life world interview that I conducted among the participants of TAKO and the audience of PLAY. After this, I conclude by presenting the use of pictorial analysis as a means to produce knowledge.

29 2.2.1 Artistic practice

The artistic research is suggested to require experiences and tacit knowledge built through previous artistic practice, the actual creation of artworks and reflexive thinking through the creation (Monni, 2004, p. 19).

As I already mentioned, I decided to carry out the practice-led part of my thesis as part of my studies in 2014 during the course TAKO, Dance as a Comprehensive Piece of Art. Thus, my artistic work was a co-operation with the costume and set design students of Aalto and choreography, dance, sound and lighting design students of TeaK. In TAKO, there were five working groups composing five performances by merging the different fields of study around dance.

Based on my experiences in Colour, colour, I made up my mind that I should reconsider and examine my attitude and methods in order to adopt a different attitude towards working for the coming performance. I wanted to execute the role of a performance designer, not only responsible for the costumes but for the whole concept of the performance together with the others in our group. The role of a performance designer I shall further address in the fourth chapter. This role was not strange to me from the previous works along my career. As in many of the working groups I have worked as the costume designer, wide sharing of ideas during the creation of the performance was made use of. However, in these productions the potential of each designer and member in a working group was not adequately seized. By leaving them responsible for only a limited area of performance like costumes both their own capacity and the capacity of the medium is downplayed. I already came to this decision before I came to know that there was not to be a set designer in our group. The members of our working group were the choreographer Heli Keskikallio, the dancers Iiro Näkki and Johannes Purovaara, the sound designer Niki Brunou and the lighting designer Petri Tuhkanen. While everybody agreed to try working on more shared basis, I did not have to fight for my decision of my new role.

The process of making our performance that we named PLAY did not use the devised method to the full. I shall further discuss the devised method in the fourth chapter. We did not cross the professional borders, but performed the tasks related to each participant’s job description. However, the decision-making was democratic and we all happily acknowledged the shared responsibility for the concept of the performance. During the workshops arranged around the different elements of the performance we came to know each other’s endeavours and understandings of the content, form, purpose, use, function and affect of the handled elements. With these workshops I refer to the rehearsals that we arranged following the ideas produced by each member of the group. As a result, I had to several times re-evaluate my thinking and attitude towards what I had earlier decided or believed to be the best solution.

30 2.3 A scene from the performance PLAY with the two dancers and one of the four percussionists above on the balcony.

The practice in PLAY brought forth the practical knowledge of how to make a performance and made evident something that cannot be found in books. The information that I sourced from performance study books concerns the event of performance, not the preproduction phase. I think that in the context of research related to contemporary dance it was necessary to mobilize me as the researcher, and at the same time the research process, in order for me to gain embodied experiences. In the course of the rehearsals I found myself repeatedly surrounded by the elements of our performance. I measured and shared everything from the perspective of my own body. For me it was important to bring different choices for costumes to rehearsals, to observe and experience them on the performers, in connection to their bodies, the movement material, the performance space, the sounds and lights. It was crucial to join the discussions dealing with all the possible concerning the performance. I could test and compare the effect of the proposed costumes, sense their immediate effects and reactions in the context of the whole, and get response and feedback from the group. The gained knowledge through the process I shall present and further discuss in the third and fourth, as well as in the concluding chapters.

31 2.2.2 Interviews

Encouraged by the advice in Kvale and Brinkman (2009), I wanted to challenge myself and conducted interviews as part of my learning process. I agree with Kvale and Brinkmann (2009, pp. 271-272) when they describe that in an interview study much is left to the intuition of the interviewer, who speaks on behalf of others when creating a view of reality. I admit that it is not an easy way to source for information. While Kvale and Brinkman (2009, pp. 116-117) suggest that interviews are particularly well suited for studying people’s understanding of the meanings in their lived world, I decided to use the method. Due to dance happening real time and the live-nature of the performance, the interviews could also be considered as a valid means for the documentation of the part of the performance that participants experienced in them.

Kvale and Brinkman (2009, pp. 17, 81-91, 97) introduce the broader definition of the term method, based on the original Greek meaning “the way to a goal”. Rather than a set of mechanical rules to be followed, they present the method of qualitative research interviewing as a craft demanding personal skills. The very production of data in the process together with the interviewer’s subject matter knowledge and sensitivity, the art of situated personal judgement of posing second questions when following up the interviewee’s answers, are highly valued. It is only possible to learn the skills of the interview craft to a certain level through books, rest of the knowledge requires training. By introducing qualitative research interview more as a craft than a rigid method with explicit rules or guidelines, I was encouraged to start my learning of the habits and intuitive expertise needed in the process. However, this emphasis on the role of the interviewer does not imply the neglect of techniques and knowledge.

Qualitative research interview

Kvale and Brinkman (2009, pp. 1-7, 33-34) describe that qualitative research interview aims at interpreting the meanings of various phenomena. Prior to producing thoroughly tested knowledge and scientific explanations the method attempts to obtain descriptions of the life world of the interviewees. In order to build an understanding of their lived world a researcher arranges a conversation, an inter view, an inter-change of views, where knowledge is constructed in the inter-action between two persons. This conversation is not like the spontaneous everyday conversation, but a professional one with a purpose and structure of careful questioning and listening, where the interviewer initiates and defines the interview situation. The researcher, cast in a power position, determines the topic of the interchange, actively follows up the subject’s answers to the questions asked and also terminates the session. Thus it does not happen between equal partners like in the reciprocity of a normal conversation. The researcher, having scientific competence, maintains the privilege to analyze, interpret and report the interview.

During my process, I conducted semi-structured life world interviews, which Kvale and Brinkman (2009, pp. 14-18, 26-32, 123-124) present as one particular form of research interview. This method is neither an open everyday conversation nor a closed questionnaire, but it is based on an interview guide focusing on chosen themes and suggested questions involving a specific approach and technique accordingly. Openness 32 to changes in order to follow the stories told by the subjects is taken into account. This type of interview is described to be in part inspired by phenomenology that is typically interested in human subjects’ experiences of a theme through the life world, their world encountered in everyday life and given in direct experience. Interviewing thus seeks to obtain descriptions with respect to interpreting the meaning of the described phenomena. The specificity and ambiguity of these descriptions is highlighted instead of creating general opinions or unequivocal meanings. This approach emphasizes the researcher’s personal interest as a starting point in finding new interpretations and more abstract theories of sometimes very well known phenomena through reflections on experiences of concrete episodes and comprehension of specific concepts.

As the method of interviewing gives the researcher an access to people’s basic experiences in their private lives, Kvale and Brinkman (2009, pp. 62-76, 272-273) stress that the ethical concerns should be taken into consideration. The researcher is to prepare an ethical protocol to cover the whole process from the start of an investigation to the final report. Informed consent is described to entail briefing and debriefing the participants about the purpose, features and procedures of the interview, including information, such as the researcher’s right to use the material and confidentiality, implying that the data identifying the participants will not be disclosed. The ethical principle of beneficence is described to mean the risk of least possible harm from the participation. By giving my respondents the privacy of anonymity, I thought that in order to allow them to speak more freely and without fear of embarrassment. I had to admit that when speaking about art and personal philosophical conceptions this decision of mine kept them on one hand from being credited for their valuable contribution and on the other from checking the validity of the results. Thus the decisive factor, my integrity as the researcher and the main instrument for obtaining knowledge, insuring the critical quality of the scientific knowledge and the soundness of the ethical decisions, became even more important. Transparency through all the phases of interview is named an ideal. When e.g. reporting the results of my study, the information in Kvale and Brinkman reminded me of the responsibility of having the power to speak on behalf of the others involved and to think contextually.

Planning the interview

Kvale and Brinkman (2009, pp. 99-114) provided me with concrete advice on the various steps of planning my inquiry, starting from the pre-interview stages of thematizing, clarifying the theme of my study by developing a conceptual and theoretical understanding of the phenomena. At this point of my journey, after having read some theoretical books on my topic and having almost finished the research through practice phase of TAKO, I had obtained pre-knowledge of my subject matter and gained empirical information, sensations of the social situations through our working group. The purpose of the interview I was planning to conduct was pretty clear for me, thus the task to answer the questions, proposed in Kvale and Brinkman, was not difficult. The reason why I wanted to conduct a qualitative research interview I already justified earlier when I associated myself with the metaphor, researcher as a traveller, sharing at the same time Kvale and Brinkman’s concept of knowledge. Thus the purpose of the interviews was to chart experiences and views of the participants and spectators of PLAY, which I could later more critically examine in the written dialogue. Additionally, since the start of my thesis work, I had further developed my research questions, thus the question of the topic of my interview was also evident. I formulated my topic as follows: The use of costume and the emergence of meanings in a contemporary dance performance. 33 The next question posed in Kvale and Brinkman was how to conduct the interview. According to Kvale and Brinkman (2009, pp. 128-139), designing the actual process or setting the interview stage includes both planning the procedures and scripting the interview. In order to establish a good contact with the subjects I was advised through briefing to introduce the interview and define the situation, the ethical issues and e.g. the use of sound recorder. Kvale and Brinkman address the role of the interviewer’s personal skills in creating an atmosphere of mutual trust to ensure the free exposure of experiences. They also designate the attitude of sincere interest and respect as well as attentive listening together with debriefing before ending the interview as the key methods to success. I started my interview sessions by explaining that the interviews were part of my master’s thesis and by showing the printed leaflet of the performance to indicate the actual performance I was referring to. I highlighted the anonymous and confidential aspect of my survey. I introduced the necessity of sound recording the interview and asked the permission to do that and use the recording together with the result in my research. I also asked the possibility to attach each participant’s saying to their names with their later acceptance. With this I did not proceed due to the limited amount of time.

The next step of the preparations was to outline my interview guide. Kvale and Brinkman (2009, pp. 128- 139) propose both scripting the questions and their sequence letting me in the end decide, according to my particulate study, my approach towards how binding the plan would be. I translated my research questions, as they were formulated at that stage, into my interview questions. The aim was to elicit spontaneous descriptions from the subjects. Kvale and Brinkman also recommend not to use too many why questions or at least not to pose them as the very first ones. For my interview guide I tried to cover all the possible questions in advance. I scripted some sort of introductory question to start every theme together with at least one follow-up question. The use of the questions and especially asking the second questions I left to be decided in the interaction judged by the answers already received. The last questions in my list I decided to add only after when the topic was brought up in one of the interviews. Thus these questions were not posed to those interviewed in the early stages of the process. The forms of questions that I used were probing, specifying, direct, indirect, structuring and interpreting.

Translating research questions into interview questions

In the following list, I first present each research question and after this it as translated into the respective interview question.

What is the subject’s connection with contemporary dance?

Would you describe your connection with dance?

What does the notion of contemporary dance mean?

Did you consider PLAY to be contemporary dance? Could you justify your view? Which typical/archetypal/ stereotypical features for contemporary dance did you notice in the performance/costumes?

Involved in TAKO, did you consider yourself a choreographer/dancer/designer of contemporary dance? What features typical for contemporary dance/important especially for you as a choreographer/dancer/ designer did you want to use in the performance? Did you succeed in that? 34 How do meanings emerge?

What kind of thoughts came into your mind when watching PLAY? Why? Where from did these associations arise?

Which themes/thoughts/elements/meanings did you try to add or attach to the performance? What means did you use to do that? Did you succeed?

Are there multiple authors?

Based on what you experienced when watching PLAY, who was the author of the performance? Could you justify your view?

Who did you consider to be the author of the performance during the process of making it? Did you change your opinion of the author when the performance was completed? If yes, why?

Are contemporary dance performances participatory?

What was the role of the audience in PLAY? Could you justify your view?

What does the notion of audience mean to you? How was the role of audience considered when planning the performance? Why? How did it come out in the finished performance?

Are contemporary dance performances political?

Did you consider PLAY to be political? Did you find the costumes/the way to present the dancers’ bodies in PLAY political? Could you justify your view?

What does the notion of political mean to you in the context of performance? Did you aim at making a political performance? Was the notion of political discussed in your working group? If yes, how? How did this appear in the finished performance?

How were the costumes used?

What was the role and function of the costumes in PLAY? What kind of associations/meanings emerged through costumes in PLAY? Did these meanings emerge only through costumes? Could you justify your view?

What kind of roles and functions did you plan/was planned for the costumes in the performance? Did you try to place some meanings/send some messages through costumes? How did you succeed?

Is everyday aesthetics a common feature of contemporary dance and if it is, why and how does it appear in the costumes?

I argue: the use of everyday garments as costumes is a typical feature of a contemporary dance performance. Do you agree? Could you justify your view? Were the everyday garments in PLAY/the performance used according to this understanding? Could you justify your view?

What does the concept of perfomativity mean?

Did you find any performative features in PLAY/the performance? Were the costumes performative? Could you justify your view? Could you give some example of the notion of performativity?

What do the concepts of materiality and kinaesthetic empathy mean?

35 My sample

As suggested in Kvale and Brinkman (2009, pp. 113, 260-262), I did not aim at statistically generalizing the results, produced through qualitative research interviews, to the population at large, the necessity of choosing a random sample was not that compulsory. My choice of sample could be described self-selected. In order to be able to discuss these rather difficult questions maybe not at all understandable to an average spectator my goal was to conduct the interviews among the professionals working in the field of contemporary dance and performance. Most of my thesis was built around PLAY. Consequently I chose to interview the spectators of PLAY. The performances took place in the theatre hall TeaK. On the other hand in my experience nearly all of the people attending the performances there were somehow connected either to theatre, performance or dance. During the process I conducted a total of 33 interviews. After each of our seven performances I asked members of the audience to take part in my research. I chose people working within the field mostly not familiar to me before this: choreographers, dancers, students, pedagogues, researchers, performance designers from all the fields: costume, lighting, sound and set design. I also interviewed the 3 members of our working group in TAKO to gather different ideas but at the same time the possible consensus within our group, besides the knowledge collected during the making of the performance. To gain a wider understanding and mirror both my own thinking and the thoughts of our group members I interviewed also the 4 choreographers and the 4 costume designers of the other groups. The list of all my subjects can be seen in Appendix A.

I would describe my subjects as well motivated and eager to participate in the interviews. (Only two of the ones I approached refused due to lack of time. They are not included in the number of interviewed.) I felt that with the chosen interviewees I was able to use more actively confronting methods, like a bigger amount of why questions. When I started transcribing the interviews, I returned to Kvale and Brinkman (2009, pp. 143-160, 165-168) and noticed the sections of “studying elite, conceptual and confrontational interviews” to back up my thinking. I found out that as my subjects the professionals, like the elites that Kvale and Brinkman mention, were used to being asked about their opinions and thoughts with some expertise concerning the topic. Also my questions dealt with rather conceptual matters and one of my goals could be seen to uncover respondents’ assumptions about what is typical, normal or appropriate, that is, the discourse models of contemporary dance. Followed by the advice in Kvale and Brinkman, I used a more active interview approach, based on the idea of the interviewer in a way provoking and at the same time intellectually challenging the respondents to adapt the role of a researcher critically composing meanings. I saw this as the key factor that turned my research interview into more reciprocal conversation.

After the interviews

The post-interview stages of working with the outcome of the interview start with transcribing. Kvale and Brinkman (2009, pp. 177-186) present this phase as an initial analytic and interpretive process rather than a clerical task. The act of transcriptions is defined as transforming, changing from one form to another, in my case translations from sound recorded oral language to a written language. Also the first step of audio recording leaving out the nonverbal language of bodily gestures is seen as the first abstraction. The amount and form of transcribing depends on the nature of the material and the purpose of the investigation. Accordingly, there are

36 no correct rules or standards concerning the form of reporting, however a readable public story is preferred to the detailed linguistic or conversational analysis. Correspondingly the question of the validity of transcription is answered with the same judgement the purpose of the research being the most important guideline. Kvale and Brinkman repeatedly bring up the idea of interviewing as a craft, good practice being more than carrying out the task, involving a situated judgement of what knowledge and techniques to apply in a given context confronted with different demands, goals and values.

I followed the advice, suggested in Kvale and Brinkman (2009, pp. 190-218, 233-234), to combine the transcribing and the analyzing of my results. As my interviews were quite long (25-45 minutes each) and the sample large I decided to use the method of meaning condensation, starting already on the first step of transcribing. I aimed at entering into dialogue with the material. In order to continue the conversation started in the course of the interviews I asked the material questions concerning the content and purpose of the material. The goal was to abridge the meanings expressed into the natural meaning units, briefer statements without loosing the main sense of what was said. First I listened the whole recordings one by one to get a sense of the whole conversation. I used the form of table where I placed all respondents in the left column and the questions on the upper row. I started to focus on one question at a time, condensed the meaning of the material to the table and marked the time indicated on the recorder in order to be able to track it easier later. Later I returned to the natural units and started thematizing them. While presenting the results of responses of the interviewees within the third and fourth chapters, the central themes concerning the given topic are addressed. Kvale and Brinkman also suggest that instead of using only one method in analyzing, the bricolage as a free mixture of methods and techniques could be introduced.

37 2.2.3 Pictorial analysis

On the first steps of my study I started to investigate the pictorial archives of Zodiak Center for New Dance. I had decided to study the dance costumes in the pictures of performances in Zodiak since 1997. Before I made up my mind not to continue this analysis, I had already started drafting the mapping based on my observations on the aesthetics of dance costumes. Here is the mapping:

1. Wearing the naked body – not so typical. 2. Wearing fantasy costumes – not so typical. 3. Wearing costumes built on the idea of characters – is this from a comedy. 4. Wearing costumes built on the idea of characters – is this from a drama, retro styles. 5. Wearing costumes built on the idea of characters – is this from a contemporary theatre performance, normal everyday clothes, a little bit of camp style. 6. Wearing costumes built on the idea of characters – is this from a musical. 7. Wearing costumes built on the idea of characters – is this from a film. 8. Quite a few pieces with the narrative approach (3.-7.). 9. Wearing some fantasy costumes combined with the form of almost every day clothes – this now looks different, looks like “dance costume”. 10. Wearing costumes especially made for the piece – to go with the movement. 11. Wearing costumes with a surface – differentiating by using some surface effects. 12. Wearing almost normal clothes – still with some extra lapels flaring. 13. Wearing everyday aesthetics – outfits stylized colour-wise. 14. Wearing elevated street wear – outfits unified with the same upper parts. 15. Wearing almost nothing – dressing down, the purity and whiteness of the underwear. 16. Wearing the sports style – towards sportswear. 17. Wearing the minimal – sports underwear. 18. Wearing the rehearsal gear – rehearsal or performance.

At that point, the mapping was wide and not quite accurate. However, it provided interesting information. In the mapping, I divided dance costumes into 18 groups based on my observations, thus it revealed at the first sight the large variety of choices for the costumes. Besides that, the mapping made visible the wide use of character-like narrative elements. Moreover, while the results of the mapping showed the common use of mundane pieces of clothing as costumes, thus it indicated that applying everyday aesthetics could not merely be considered a present-day trend. I see that the pictorial analysis nourished my thinking and increased the appetite to investigate more.

38 3. The frameworks of dance costume

My experiences through the first contact as the costume designer with contemporary dance in Colour, colour had caused bafflement in me. I had to find out what caused the uncertainty in that situation, why the role of costume was not clear for me at that time, and why was it different to work in dance compared to drama.

In this chapter, I present my investigation process on the theoretical frame of reference for my study. Thus, I do not consider the third chapter only reporting information gathered from different sources. I present it as an essential phase to illuminate and argue the findings as the results aroused by the need to research my experiences in Colour, colour. Thus, I consider Colour, colour as the initiative of this survey and the third chapter as the locus of building the information and methods before the fourth chapter as the reflexive part of the artistic practice in PLAY. I shall not only refer to the knowledge and arguments provided by the chosen and previously (in the section 2.1 Literature review) introduced scholars and writers but also the arguments presented by the interviewees.

3.1 Costume design

Costume is a powerful factor in a performance. Costume changes, reveals and constructs the exterior of the performer’s body. Costume communicates, determines how the audience senses the performer. Inseparable of the performer’s body costume draws attention and claims its place on the stage. Costume stubbornly takes up its position in the spectator’s perception between the viewer and the performer (Monks, 2010.)

In this section, I approach costume and costume design and establish them as I had learned to understand them in the context of a theatrical performance. I start by discussing the concept of costume in connection to the costume designer, performer and the audience. I focus on framing my subject in the context of performance studies. I introduce semiotics in the context of theatre, describe costumes as semiotic signs and present the costumed actor as a metaphor for the self. I present costumes as expressive and aesthetic artefacts. I shall suggest considering the production of meanings through semiotics and the metaphorical comparison as the normative way of thinking when designing costumes for main street drama. Next, I approach both the process of costume design and the planning of a performance. I shall propose regarding the linear costume design model following the approach, which presents costumes as objects transmitting predetermined meanings as the normative costume design process. After this, I start to study costume in the context of dance. I conclude the first section by looking at costumes in dance and the use of everyday clothing as costumes.

39 In a performance, stage costume is an essential part of the aesthetic entity, which consists of the visual aesthetics, aesthetics in both the director and actor’s work (Weckman, 2009, p.172). In fact, it is the costume with all its components that makes the abstract character the performer presents more real (Weckman, 2009, p.172). The costume, which has been sourced, manufactured, maintained, stored, put on and taken off, renders the actor as concrete. Joanna Weckman (2009, p.172) illustrates the idea of the costumed performer physically experiencing the surrounding world through the skin contact with the costume.

3.1.1 The role, purpose and function of costume

By investigating the role, purpose and function of costume, I first aim at establishing costume within a theatre performance. I shall discuss the concept of costume and present costume as defined in Bicât (2006; 2012), Weckman (2009) and Monks (2010).

Making the audience understand characters and their situations is the main job of the costume designer (Bicât, 2006, p. 10). Costumes establish place and time onstage, particularly on empty stages (where other elements of stage design do not give clues for spectators) costumes together with the actors’ bodies become almost as the set (Bicât, 2006, p. 9, p. 15-16). Tina Bicât (2012, p. 19) states that all performances need visual design, because it gives the character depth and rigour but also underline or support the emotional content. Besides that, Bicât (2006, pp. 16-17) suggests that the designer’s creative work could also include turning abstract things like wind, grief or a chemical reaction into solid and practical facts. Bicât (2006, pp. 13-14) continues to discuss that costumes should at a glance convey information, not only about the characters’ status or relationship to each other but also about the understanding of the era of the play. As costume designer’s means to send messages she brings up the use of sound, silhouette, texture, weight, contrast, colour, and tone (Bicât, 2006, pp. 11-13).

Among the secondary purposes of costume for the play between the designer and the audience, Bicât (2006, pp. 10-11) presents creating beautiful, exciting, funny, or surprising pictures and giving hints of the past and future. She argues that these pictures are acceptable as long as the use of visual messages through costumes aim at strengthening the characters situation and action or the particular genre onstage. She suggests that other kind of use of visuality applied to the costumes than the result of the research to serve the script is condemned to be a self-indulgent designer’s whim blurring the experience among the spectators. Bicât presents that the creation of a stunning picture or a visual atmosphere with costumes has nothing to do with characters conveying a message, thus it should be considered as an installation rather than a costume design work.

Weckman (2009, p.172) reviews that costume designers share a wide agreement on the purpose of costume instead of diverting the attention away from the performer to supporting the performer and the performance in whole. She continues that at the same time, the agreement implies that the use of showy elements far from the normal clothing is considered as exaggerated and bad costume design. Weckman suggests that if the costume and actor are seen as one the costume could easily become invisible. According to her, the idea of considering costume to be at its best when it is not noticed is known as the discourse on the invisibility of the costume. This 40 discourse also includes the discussion of the costume design values. Weckman (2009, pp. 185-186) argues that Konstantin Stanislavski’s theories on acting have influenced both this discourse and the appreciation of the unnoticeable costume as the perfect standard in Finland.

When discussing the illusion being of the utmost importance for the experience of a performance, Aiofe Monks (2010, p. 10) approaches the same topic and refers to Samuel West who argues: “the costume should be clothing rather than costume”. She explains that costumes seen as costumes threat the illusion and costumes are expected to somehow appear to disappear as if trying to make costume realer than the actor on stage.

Monks (2010, pp. 9-11) introduces the idea that various scholars in fact are implicitly discussing costume when they consider the actor’s body. Thus, costume is looked through, around or over. She lists three prejudices that tend to prevent from engaging directly with the question of costume. First she mentions the text-centered Western tradition, dated as far back as Aristotle, which represses the visual dimension and results in the tradition on looking beyond the surface towards the meanings lying beneath. According to Monks this leads to viewing the costumes as a means to an end, rather than as an end in themselves. Monks goes on listing the reasons to dismiss costumes and states that according implicit assumption, costumes are seen frivolous, and not worthy of serious analysis. She argues that there seems to be fear to discuss the relationship between stage costume and the wider fashion system. According to her the most pronounced reason is “the essential perceptual indistinguishability between the actor and their costume”, the difficulty of telling where the costume leaves off and the actor begins.

Based on the knowledge I provided, costume could be constituted as an object worn by an actor onstage in order to contribute to the portrayal and representation of the character presented by the actor. Moreover, costume is expected to strengthen the overall theme of the whole performance. This is also the way I have learned to understand costume. I also agree that many books on the theory of performance and scenography tend to be unable or unwilling to consider costumes and only mention them when they are distracting or extreme. Thus, the unnoticeable presence of costumes does not seem to be reality only onstage, as discussed in Monks (2010) and Weckman (2009), and also verified by Bicât (2006, p. 13) who states: “the best designs seem so natural and appropriate that they will hardly be noticed at all”.

3.1.2 Costume as a semiotic sign

While in conceptualising and analyzing the performance semiotics has had a widespread influence, I present the semiotics of costume as discussed in McKinney and Butterworth (2009), Trencheva (2013), Fischer-Lichte (1992), Bicât (2012), Monks (2010) and Monni (2004).

Semiotics, the theory and study of signs, is related to Ferdinand de Saussure (1857 – 1913), who proposed that communication in language is made up of units of meaning or signs (McKinney and Butterworth, 2009, pp. 151-152). Each sign consisting of the signifier as the concrete utterance and the signified as the concept 41 for which the utterance stands. These links have to be negotiated or learned and they are not fixed, but a matter of agreement. Elena Trencheva (2013, pp. 1-2) defines the sign as a sensory perception, which refers to something else or presents another object or phenomenon.

Costumes are one part of scenography. The theorists of the Prague School applied semiotics to the study of theatre in the 1930s (McKinney and Butterworth, 2009, p. 152). Instead of a single sign the theatre performance is seen as a network of semiotic units. Scenography, as part of the signifying entity of a theatre production, could create meanings separately from the literary composition of the performance (McKinney and Butterworth, 2009, p. 152).

While exhibiting the same general function of generating meaning as all the others, Erika Fischer-Lichte (1992, pp. 1, 9-11) describes theatre as a cultural system among others, and still a cultural system significantly different from the others due to its special functions. In theatre, the production of meanings is created through signs drawn from the signs created in the surrounding cultural systems. Thus, only the one that knows the sign system of the surrounding culture can understand the signs produced in the cultural system of theatre. The creation, use and meaning of theatrical signs are called the theatrical code, which varies by the theatres of different cultures, epochs, social strata, and genres. Trencheva (2013, pp. 1-2) describes that the signs with identical material side (the signifier) to compose sign systems that are called languages. These languages, as all languages, are means of communication. As these languages do not possess their own “language” in the strict linguistic sense (built on strict grammatical and linguistic rules), Trencheva stresses that these languages could only be spoken of conditionally.

Fischer-Lichte (1992, pp. 11-12) suggests that in order to be able to examine the theatrical code appropriately it must be approached at three different levels. When analyzing the theatrical signs, the focus shifts depending on the level. At the systemic level, the interest is in arriving at a theory by studying what is theoretically conceivable and possible. At the normative level, the focus is to uncover and explain the common specific characteristics of series of historical phenomena. At the level of speech, one actual performance is thus the object of investigation.

In order to be able to study the theatrical code as a sign system, Fischer-Lichte (1992, pp. 13-15) reviews the complete repertoire of possible and conceivable signs with respect to theatre by the statement (often heard as the definition of theatre): “Theater occurs when a person A represents X while S looks on.” She continues and adds to the statement: “A must (1) act in specific way, (2) have a specific appearance, and (3) act in a specific space.” From these three factors she derives the different signs, each of which I further present in the listing below. Fischer-Lichte (1992, p. 11) reminds, as one and only theatrical code per se, that is in the sense of uniform system of rules, cannot be assumed, the given type of theatre must be made clear before compiling the repertoire of theatrical signs.

42 (1) A’s acting can result in producing different visual signs: movements of either the head or body defined as kinesic signs, the facial movements defined as mimic signs, the kinesic signs produced by the body (not by the face) further defined as gestural signs (movements without a change in location), movements through space defined as proxemic signs. A’s acting can furthermore generate acoustic signs: A can speak, sing, make music and noises. When A speaks or sings at least two different sign systems are involved in generating linguistic and paralinguistic signs. Acoustic signs can be perceived independently of A’s physical presence, unlike the visual signs.

(2) When A acts with a specific appearance, the signs generated by A’s external appearance canbe differentiated into two groups: signs referring to X’s natural appearance, such as hair, face, or physique and signs involving X’s artificial or deliberately fabricated appearance, such as clothing. Fischer-Lichte subsumes the appearance of both the figure and face under the concept of mask. As the other signs of external appearance she lists hair and costume.

(3) When A acts in a specific space. Fischer-Lichte distinguishes the signs of theatrical space between the arrangements in the space for the actors and for the audience. Their spatial relation is referred as the conception of space. The appearance of spatial segment for the actors is termed as the stage set. The objects that could be altered by the actors in the course of their acting are termed as props. She further considers artificially produce light as a theatrical sign, termed as lighting.

Fischer-Lichte (1992, p. 15) classifies the signs in terms of general categories based on the following oppositions: acoustic/visual (already mentioned), transient/lasting and actor-related/space-related. The following diagram explains the categories of these theatrical signs.

3.1 The diagramm presents the categories of theatrical signs introduced in Fische-Lichte (1992).

43 After having compiled this simple list of signs, Fischer-Lichte (1992, pp. 15-16, 90-92) continues that a corresponding catalogue of their potential combinations and possible meanings must be created to establish what it can achieve for theatre. Fischer-Lichte states that the costume stands in relation not only to the two other sign systems contributing to the external appearance (hair, mask) but to the gestural and proxemic signs. For both gestural and proxemic signs depend on the costume, thus affecting each other mutually. In addition, links can be established between the costumes and stage and in fact the entire performance. Fischer-Lichte stresses that the external appearance provides the outline of the character’s identity (arousing the audience’s expectations), as the identity takes its shape in the course of the process when colliding with the various sign systems. The development of the identity also depends on the individuality of the actor through one’s activity.

Tina Bicât (2012, p. 19) suggests that all performances need visual design, because the visual effects help placing what audience sees in a context, however Bicât (2012, p. 10) admits that the designer cannot control the way the ideas put on the stage are interpreted, thus acknowledging the role of audience as co-creator of the performance. She presents the ideas the designer places onstage to be experienced merely suggestions, not solid meanings.

Fischer-Lichte (1992, pp. 15-16, 82) presents that theatrical signs denote signs and are deployed as signs of the signs produced by the surrounding cultural system. These signs are not necessarily identical with each other, as the theatre can develop its own specific, theatrical code. Still, the respective primary signs must be established, described, and analyzed. In order to interpret a theatrical sign, the corresponding cultural sign must be studied and understood. Thus, foundations for a semiotics of theatre, in semiotics of cultural systems such as costume, music, dance, etc., must be defined. In addition to the pure level of denotation the one revealed by the portrayed garment seen as an ensemble of different elements of the clothing system, Trencheva (2013, pp. 4-6) introduces the level of connotation. Trencheva discusses film costumes and stresses that while costumes are coded in reality that is in the cultural traditions of a society, such as history, the signs are read and interpreted at several levels: on one hand in the cinematic context and on the other in the context of the general culture. Trencheva states that costume designers should note the possibility of the audience failing to read the meaning of the signs in the costumes, as the spectators might find too many unfamiliar elements in them.

When further describing the understanding of the theatrical signs, Fischer-Lichte (1992, pp. 15-17, 89) states that they are classified as iconic signs at the systemic level that is as a theoretical construct. However, theatrical signs also function as indices or symbols both at the normative level that is within one genre/era of theatre consisting of several factual performances and at the level of speech that is within a particular theatrical performance. Thus, a piece of stage costume such as a fur coat could denote as an iconic sign at the systemic level a fur coat as a piece of clothing from its cultural surrounding, as an index at the normative level and in speech the cold weather and as a symbol at the normative level and in speech wealthiness or cruelty among other things. Thus, the fur coat worn by an actor is to be interpreted in the context of the performance to indicate the climatic region or season in which the dramatic work of the performance is set or/and the particular character type or a temporary psychic state in the character.

44 Considering Jirí Veltrusky’s statement: “all that is on the stage is a sign”, also costumes, even if they were thought to fulfil merely functional purposes, could be seen as potential semiotic signs thus carrying dramatic meanings (McKinney and Butterworth, 2009, pp. 152-153). In theatre, Fischer-Lichte (1992, pp. 89-90) argues the costume has no practical function to fulfil but every costume has to be regarded as a sign. “The transformation of practical functions into sign functions in any case permits a multitude of possibilities for different applications and interpretations.” Fischer-Lichte states the theatrical costume could go far beyond the functions exercised by the clothing in social life.

Fischer-Lichte (1992, pp. 64-73) describes that the actor’s appearance as a sign is generally used to indicate the portrayal of an actor as a specific character. This identification may refer to the character’s gender, age, position in society, social category, race, nationality, occupation, a particular type among the types of theatre, such as clown, situation in the character finds oneself in, state of health, or personality. Fischer-Lichte (1992, p. 77) states that the individual component signs mask, hair, and costume constitute the overall meaning of the sign “external appearance”. These components mutually reinforce and supplement each other, although they could also be regarded independently. One of these three systems could become the single distinguishing feature constituting meaning, while the others are not functioning.

Moreover, Aiofe Monks (2010, pp. 5-7) approaches the subject and emphasizes that: “costuming has no one primary set of effects or meanings”, as history and context together with the spectator’s “own agenda” will inform the experience and will inflect the meanings. In addition to the audience’s prior experiences or knowledge of theatre and the conditions of the theatre event itself, she broadens to their socio-economic context. Monks (2010, pp. 5-6) draws a line between semiotic approach to costuming and audience’s experience of the performance, meanings happening in between the costume and other theatrical sign systems. She argues audience being in a constant state of flux, where the significance of costuming is fundamentally arbitrary rather than completely fixed or absolutely true, as the meanings keep shifting depending on the actor’s gesture and movement and the whole theatrical event.

Semiotics is considered a valid means for both analyzing and determining the staging of a play (McKinney and Butterworth, 2009, p. 160). This seems to be a valid strategy for working with performances that either have a message to deliver, a narrative to be told or actors representing characters. I suggest that the semiotic way of thinking and producing meanings either consciously or subconsciously could be seen as the normative way of working for a costume designer. Kirsi Monni (2004, pp. 180-181) presents Western aesthetics as a principle based on theoretical knowledge creating artworks full of symbols. I further propose that the same way of understanding is also most often shared by the audience, thus effecting the whole process from planning to performing and watching a performance.

45 3.1.3 Costumed actor as a metaphor for the self

As the historical context helps the positioning of the present-day costumes, I shall next consider and establish costume historically in connection with the actor, who wears the costume in the theatrical performance, as discussed in Monks (2010).

Aiofe Monks (2010, pp. 50-56) states that dress constitutes a deeply formative metaphor for being a person in the world. She suggests that the costumed actor, that is theatre costume and actor together, works as a metaphor for the wider cultural practices of the self. Thus the notion of costumed actor reflects the relationship between the body and identity, how to dress and what dressing is for, at various moments in history. Accordingly, the history of the actor together with developments and shifts in the modes of the use of theatre costume helps to identify shifts in the location of the self, variable from an external to an interior model. Monks refers to actors, but I guess her thoughts could be broadened to all performers including dancers.

When stating that in the Renaissance selfhood was located in clothes, Monks (2010, pp. 41-42) suggests that dress had the power to communicate selfhood. Thus the use of theatre costume by putting the changeable dress of a king on the body of an actor (the wrong body from the lowly social status in real life dressed as a king to be played on the stage) posed a threat for the society. Actors (who had the status of servants) wore the costumes of higher status and thus disrupted the rightful connection between the dress and social status. Monks (2010, p. 52) reviews that in the eighteenth century, clothes became play-things for a theatrical form of identity. In theatre, the taste for variety, the exotic and the gestural was evident in the costumes. “Given that all performances took place in modern dress, with very little concern for historical accuracy, the actor was a foremost user of clothes: demonstrating how they might be worn, and satirising their excesses.” (Laver, 1964 cited in Monks, 2010, p. 46). The theatre was considered a social arena and even the actors on the stage wore the social dress even though the fictional world would logically have required the private clothing (Monks, 2010, p. 46).

Monks (2010, p. 52) illustrates that in the end of the eighteenth century, the desire for costume (and staging) to reflect narrative logic emerged. However, this did not replace the emphasis on the visual pleasures of the costumes, historical realism simply accessorised and complimented the contemporary and fashionable dress of the day. Monks (2010, p. 50) describes that in the nineteenth century, dress merely operated as the external signifier of an interior identity, while the identity was dislocated from clothes. Direct correlation between the character’s moral status and the external appearance of the actor could be detected.

By the mid-nineteenth century, historical accuracy in the visual had taken hold as the theatrical principle of the theatre (Monks, 2010, p. 53). According to Richard Sennett (1976 cited in Monks, 2010, pp 53-54), the interest in exactitude in costumes reveals a social anxiety about the relationship between appearance and identity in private life. The emergence of mass-produced clothing, clothes thus available for wider amount of people, 46 rendered social distinctions harder to express through clothing. The dress no longer coincided with the identity of the person within the body, but rendered the body socially correct. Sennett argues that as the clothes on the street disguised the self the costumes on the stage were driven to show people, as they really were, as genuine.

Monks (2010, p. 59-62) states that in the late nineteenth century, naturalism emerged and rejected the emphasis on spectacle in theatre and the idea of an actor’s costume being visually pleasurable in its own right. The paradoxical relationship with the costume of melodrama, that is the tension between clothes as revealing of self and clothes as distinct from self, was reiterated. Monks reviews that in order to overcome the inauthenticity of theatre costume, naturalism focused on the relationship between surface accuracy and truth by exposing authentic dress and objects on the stage. Costumes became autonomous objects, varying structures of appearance and truth embodied by the costumed actor. Costumes were used to produce substitute versions of the performer as an outer indicator of inner deformation. Monks states that the audience was to see through the surface, led by it, and understand the inner torment and greater understanding of what lay beneath the costumes. Costumes were to serve the world of the play, the wider social truth that the creation of illusion attempted to expose.

As the emergence of the director and the scenographer to the twentieth century theatre functioned primarily to assert an artistic and aesthetic coherence on the stage, Monks (2010, p. 68) argues that among the key means to communicate their views about the world of the play or other ideas manifested through it was the costume. Monks claims the director’s authorial mark was visible in the actor’s substance and the use of costume.

Monks (2010, pp. 68-77) suggests that new versions on the self, shifts in the attitude and demeanour of the body brought up by the modernist and avant-garde theatre demanded not only new versions of costume but also new versions of beauty that were centred on the relationship between aesthetics and usefulness. Beauty was no longer viewed as art’s great achievement, but as the means to an end. The category of beauty itself was re- imagined: no longer connected to leisure and consumption, but to express health, truth, labour and usefulness. Monks continues that in the early twentieth century the lavishness and beauty of the theatre event was defined entirely as a visual experience and established a direct relationship with the fashion industry, as the clothes onstage made by fashion designers were the same that could be bought in the couture houses. Modernist and avant-garde artists rejected this form of beauty and positioned themselves against the commercial system. For them costume was their means to reconfigure what the actors were made of and thus among the main targets when reformulating theatre aesthetics. Monks observes that costume was used to create the infection by theatre, in order to transform the audience, and to embody insights into becoming a new person for a new world. Actors made use of the re-invented reformed dress displaying the liberation of the body and the self on the stage.

While presenting the critique of fashion as one of the aesthetic and political strategies of naturalism, Monks (2010, pp. 72-73) suggests that according to avant-garde artists, naturalism did not go far enough in its critique. The Bauhaus, surrealist and dadaist artists went further in their presentation of the utopian body. However, 47 these costumes were informed by the fantasy of a body that was not visible on the stage. Monks argues that as a result aesthetics in the theatre became utilitarian. “The logic of costume was now located in its sympathy with other scenographic elements, in its revelation of eternal truths, or in its production of social, spiritual or political transformation in the spectator.”

While introducing many historically interesting insights into the connection between actor and costume, Monks (2010) argues that the wider cultural practice of the self correlates with the form of the costumed actor. Her consideration suggests that the correlation has lasted through the Western history from the Renaissance to our days. I believe that this is true and the connection will endure and can be traced and analysed as long as people are dressing up. When Monks presents the costumed actor as a metaphor for the self, thus suggesting an analogy based on identicalness as a valid and logic means to assert two objects in the comparison, I propose the metaphoric comparison as the normative act for a costume designer and a natural companion to the theorization through semiotics in the meaning making of theatre. In the previous sections Monks gave various examples of the metaphoric comparison, such as the precious attire and the crown as the metaphor for a royal person and the use of white colour for the costume of an innocent and young person.

3.1.4 Costume design process

To illuminate the contents and principles of the costume design process, I shall approach designing costumes as discussed in Bicât (2006), Matinaro (2014) and Weckman (2015).

I guess the most common way, also the way I have learned during my studies and that I have adapted, as the method to design a performance is the pre-production model. Tina Bicât (2006, pp. 22-33) argues when following the model, at least most of the performance is planned before the rehearsals start. She describes the process through its different phases: it starts with the early discussions concerning the style or genre of the performance, followed by the script analysis among the artistic team, from my experience, normally consisting of a director, a dramaturge, a choreographer, a set designer, a costume designer, a light designer and a sound designer. Bicât states when discovering the concept for the performance, usually the director envisages a fresh angle and shares it with the team, followed by the research period conducted separately by each member of the team. Bicât continues illustrating the secondary meeting that follows the research period, where the different designers meet with their presentations on the outcomes of their research in order to bring together the various insights and ideas. These meetings aim at ending up in discussions to create coherence for the performance. The pre-production phase is followed by the rehearsals and the realisation of the plans of the different designers.

48 Suvi Matinaro (2014, pp. 15-17, 19) presents in her master’s thesis the same model as the traditional production model. She reviews the model to be a linear method for costume designers. Matinaro illustrates the process and states that the first reading of the script usually ends the pre-production phase. In the model meeting the artistic team meets, sometimes for the first time, the performers and the whole production team, also those not included in the artistic team. After this the realisation of the costumes starts in co-operation with the wardrobe personnel and costume designer. Matinaro reviews the next phases of the costume designer’s work to include the character building together with the performers, choosing rehearsal costumes, the fittings of prototypes and the final costumes, as well as the costume rehearsals that usually end the work. She also argues that during the productions phase costume designers might loose contact with the artistic team due to busy production schedules.

Joanna Weckman (2015, p. 202) suggests that the linear way to understand the course of life is generally considered as characteristic in the Western culture. Thus, the linear approach of the costume design, as the chronologically forward moving process is also regarded as culturally valid. Weckman states that the same model is presented as valid in multiple dissertations, and that she also recognizes it as the valid model for the costume design process from her studies at the University of Applied Arts during the 1990s.

I am familiar with the linear costume design model from my experiences in working for text-based drama and musical productions. I suggest that the model works in that context, but I doubt it might not necessarily work within contemporary dance performance. I propose the linear costume design model could be understood to constitute the normal costume design process.

3.1.5 Dynamics in the working group

As a costume designer does not work alone but in a close co-operation with others contributing to a performance, thus also the work of the costume designer, the process needs to be investigated. In this section, I further describe the working process of designing a performance and especially the relations between the members of a working group and the whole performance as discussed in Schechner (2013).

Richard Schechner (2013, p. 250) approached the performance process by dividing the players among it into four categories: sourcers (authors, choreographers, composers, dramaturges, etc.), producers (directors, conductors, designers, technicians, business staff, etc.), performers and partakers (spectators, fans, the public, etc.). When studying the relationship between these players, Schechner (2013, pp. 252-254) traces different dynamics, suggests alternative modes, and presents configurations to describe them.

49 The first model that Schechner (2013, p. 251) presents, the Z-path configuration, he suggests representing the way mainstream theatre works. He describes the process of making a public performance: to begin with a sourcer, a playwright chosen by the producers, to continue with the producers assembling an artistic team, to continue with the team realizing the source, the play with the performers, to finalize in a specific theatre event offered by the performers to the partakers.

3.2 The Z-path presented in Schechner (2013).

As the second model, Schechner (2013, p. 252) illustrates the director rules configuration. He presents it as the more common way for theatre performances with a strong director. This model works from the principle that a play cannot speak for itself, thus the director taking for her/himself the right of interpretation of the source material.

3.3 The Director configuration presented in Schechner

The third model auteur-director configuration, Schechner (2013, pp. 253-254) describes as the way where an auteur-director totally controls what the partakers experience. He argues this model of auteuring to be the dominant mode in modern dance more often than in theatre.

3.4 The Auteur configuration presented in Schechner (2013).

The three different modes not only illuminate the change of ideas in a production team but also signal the hierarchy and equality within the team. Moreover as the fourth model, Schechner (2013, pp. 250-251) presents the performance quadriloque, which I shall discuss further in the section 4.2 Devised method. I suggest that the Z-path introduced by Schechner (2013, p. 251) as the mode for mainstream theatrical production resembles the linear costume design model, thus supporting my proposal of the linear costume design model that I described in the previous section as the normative costume design model.

50 3.1.6 Costume designer transmits meanings

In the previous section, I already suggested that the metaphorical analogy in signification based on the semiotic approach could be considered as the normative act for a costume designer’s work. In this passage, I further study the production of meanings as discussed in McKinney and Butterworth (2009) and Bicât (2006) in order to illuminate the costume designer harnessing the theatrical codes in the design process to transmit messages through costumes.

“…the dramatist encodes the text; the director decodes the text; the designer; re-encodes the text and finally the spectator decodes the production.”

(Aston and Savona, 1991 cited in McKinney and Butterworth, 2009, p. 160)

Tina Bicât (2006, pp. 22-23, 36) describes the artistic pre-production from the costumes point of view. She suggests that during the research period the costume designer sketches the costumes, finds materials and makes the costume plot based on the script in order to start building the understanding of the facts like the place, the era and the characters. Bicât (2006, p. 13) claims the costume designer also needs to compose a costume dramaturgy to justify decisions and choices. She continues illustrating the process: the designer produces pictures onstage for an audience, a crowd with “many minds”, which sees the performance for the first time, thus with fresh eyes followed by their immediate reactions, without deeper analysis. She suggests that in order to “trigger an understanding and response in every one of its members” the designer has to gain knowledge not only on the fashion history, manners and deportment of the specific period but get to know the characters and also make sure that the spectators will derive the right message. Bicât (2006, pp. 7, 11, 36) argues that everybody can by nature understand costume, and that especially silhouettes are easy to decode. As an example, she refers to the silhouettes of the Victorian era. According to her, the audience is skilled to decode the messages if the designer has composed them for today’s everyman and woman, not for experts. Bicât (2006, p. 38) introduces the idea of the representation of the character as symbols and signs, built not only on costumes and other theatrical means but also on actor’s skills, placed to be seen onstage resulting in a rapid translation and understanding to all, in the way the designer meant.

Aston and Savona (1991) present the theoretical model of passing the theatrical codes from the pre-production phase through the performances to the spectators. According to the ideas that Bicât presents, it seems that she believes that this theoretical model also works in practice. I propose it works in theory. But as designer, I cannot be sure that each spectator will understand my message in the way I wanted and share the same understanding of the message I wanted to deliver. I suggest establishing costume as both an artefact to support the acting and the costume designer’s tool to serve the overall theme of the performance. I propose that costume regarded accordingly could to some extent be defined as the normative conception of costume.

51 3.1.7 Costumes for dance

Within this section, to broaden the knowledge concerning dance costumes, I start to investigate costume in the context of dance as discussed in Helve (2008), Renvall, Tawast and Ahonen (2007) and Pantouvaki (2011).

Tua Helve (2008, pp. 6-7) uses the notion dance costume (tanssipuku). She defines it as an outfit (kokonaisuus) decided by a costume designer and/or choregrapher, consisting of one or several pieces of clothing, worn by a dancer when performing. Helve (2008, p. 57) argues that dance costume is primarily an aesthetic (decoration) and expressive artefact, thus leaving not only functionality (protection) but also decency (shame) as the basic principles for covering the human body, as defined by J.C. Flügel (1930), secondary.

While approaching the context of costume design for contemporary dance through certain factors that Helve (2008, pp. 3-5) presumes to be present every time when designing costumes for dance, she states that choreography with its particular style or quality of movement for each performance is the most relevant factor. Helve also considers the theme, subject and message of the choreography as factors that have an influence on costumes. According to the starting point of her study, all other factors, that is lighting, set design, traditions and zeitgeist, are secondary but at the same time present. In addition to the choreographer and costume designer, she proposes that the dancer is one of the most important factors influencing costume design.

Helve (2008, pp. 29-34) approaches dance costumes through the conceptual framework for apparel design by Jane Lamb and Jo Kallal, a model for assessing user needs and wants by incorporating functional, expressive and aesthetic considerations (FEA model). Helve sees that the FEA model reveals the basic features of dance costumes, but she broadens the model with temporal consideration.

When Helve (2008, p. 56) summarizes the results of her survey, she reviews, as she expected, the vocabulary of a given movement as the most important factor when defining a dance performance. She also reports the music, lighting, costumes and the choreographic theme. Helve (2008, p. 10) states the costume designer contributes to the visuals of a performance in the form of costumes. She suggests that the costumes are an equal element among the factors of the visual whole of a dance performance. Helve (2008, p. 57) continues by stating that the primary function of a dance costume is as an artefact to be both aesthetic and expressive. The expressiveness of a costume together with its ability to support the chosen theme exceeds the functional aspects of costumes.

As one of the keys to successful dance costumes, Helve (2008, pp. 60-63) refers to the costume designer’s vision informed by the music and the choreographer, who informs the designer of the context of the performance. She concludes her thesis by adding among the key elements the ability to combine the elaborated form and substance with consideration to the movement. 52 Renvall, Tawast and Ahonen (2007, pp. 16-17) suggest that the task of the costume designer is to design the performers’ appearances to fit the overall theme of the performance, considering its style, the dancers’ roles and the functionality for the movement. They (2007, p. 25) suggest that the dancer’s appearance does not only affect spectators but the way the dancer is seen in the whole of a dance performance. Together with the makeup, the way the dancer is costumed informs spectators about the dancer’s role, character and task in a dance performance.

In addition to a choreographer and dancers, a production team for a dance performance might include a producer, composer, sound designer, dramaturge, set designer, lighting designer, costume designer and a technician in audio-visuals. Occasionally, only one visual designer might be responsible for the whole scenography including all the visual aspects of a performance. (Renvall, Tawast and Ahonen, 2007, pp. 15, 18.)

In her essay, Sofia Pantouvaki (2011, p. 109) describes dance costumes as performative, motion-related works of art that are made to dress performers. According to her dance costumes are designed inspired by the dancer’s movement and in the knowledge that the costumes will be seen in motion. She states that the influences within a dance move both ways, thus the costume designer contributes not only to the visualising but also to the choreography. Pantouvaki (2011, pp. 109-110) argues that the “costume becomes another” when removed from the original context of the dramatic environment of a performance and disconnected from the living, moving body of the performer, as the main element completing the costume and the meaning making through it. Joanne Entwistle (cited in Pantouvaki, 2011, p. 110) suggests: “the body is a dynamic field, which gives life to dress” and “without a body, dress lacks fullness and movement; it is incomplete”.

For Pantouvaki (2011, p. 110), costumes are components of the visual narrative of performance. Gilbert and Tompkins (cited in Pantouvaki, 2011, p. 110) suggests that besides narratives costumes embody meanings; “they conceal a rhetoric power, both as a semiotic code and in [their] close relationship to the body”. As part of the holistic scenographic visual metaphor, costume design embeds a metaphorical power in costumes (Pantouvaki, 2011, p. 110).

Also Helve (2008, pp. 36-38) introduces dance costume as a semiotic sign. She values the designer’s possibility to attach meanings to costumes on more abstract level.

As the result, I suggest that dance costume, like costume as described earlier, is an expressive and aesthetic object, which is expected to support the overall theme of the performance and the characters’ roles. Moreover, dance costume is considered a sign transmitting costume designer’s messages both on its own and when connected to the performers moving body. The performer’s movement is described to influence the creation of a dance costume and a dance costume is assumed to enhance the dance movement.

53 3.1.8 Everyday clothing as costumes

One of my propositions for my thesis concerns the common use of everyday clothing as costumes in contemporary dance. In this section, I consider this topic as discussed in Martikainen (2013), Renvall, Tawast and Ahonen (2007), Burt (2006), Bicât (2006; 2012), Monks (2010), and in the responses of the spectators in the interviews (Appendix B).

In the introduction, I discussed the aesthetics of normal people in ordinary clothes in the context of contemporary dance (Martikainen, 2013, p. 74). Renvall, Tawast and Ahonen (2007, p. 25) review that in contemporary dance dancers’ clothing may be very mundane. Also the idea of the unnoticeable costume that I brought up earlier is connected to contemporary dance. In order to present the dancers as equal, the idea of dressing them similarly is presented. Some dance in contemporary dance is purely movement-based at the same time preferring the content of dance and new movement quality to the technical virtuosity of movement (Renvall, Tawast and Ahonen, 2007, p. 9). This kind of dance is connected to the minimal use of costumes, sets and lighting. This “NO to spectacle” attitude attached to contemporary dance dates from the era postmodern dance of 1960s in New York (Burt, 2006, p. 75-79).

Tina Bicât (2012, p. 50) acknowledges the financial problems that many performance companies struggle with. She suggests that in the production of a contemporary dance rather than having something made in the wardrobe, shopping costumes for high street styles form the greater part of the costume designer’s work (Bicât, 2012, p. 59-60). Bicât (2006, p. 128) observes it might be expensive to have a costume designer attending the rehearsals on a regular basis.

Aiofe Monks (2010, p. 3) refers to the porous relations between actor and costume and audience, “the interaction between how we see the world, and what we wear” and continues how difficult it is “to establish clear distinctions between actors and their clothes (or indeed between real life and the stage)”. Monks develops further the thought of “the porousness between actors and their costumes, and between life and performance”. She presents theatre as a contradictory place of illusion that enables audiences to look at real clothes and consider the actor’s role in the fashion system by thinking about the appearance of the audience and the actor.

Monks (2010, pp. 7-8) brings up the idea that it might be interesting to consider costuming regarding the actors’ economic and aesthetic relation to the costumes. According to her asking whether the actors or theatre own the costumes worn on the stage might be asked concerning the process of costume production but also the wider economic system, in which the actors work and audiences see performances. Monks continues reminding of costumes’ status as commodities, properties or fashion not only having an aesthetic influence on the meanings.

54 Monks (2010, p. 48) introduces the Medieval and Renaissance system of livery, where the owner of household was responsible for paying their servants with housing, food and clothing. Thus the employees were clearly marked by their relation to their patron by the household’s insignia in their clothing. She connects the idea of livery to theatre and the actor’s relationship to patronage. Monks (2010, p. 68) states that the emergence of directors in the twentieth century changed the labour through livery and employed the actor as a substitute body for the director’s vision. Thus the theatrical costume was seen an apparent sign of livery.

Vsevolod Meyerhold and Vladimir Mayakovsky (cited in Monks, 2010, p. 75) re-thought the means of costume production in theatre: actors should no longer appear clothed by the inequities of patronage of livery made by others, instead they should make and own their own clothes. Monks (2010, pp. 73-75) refers to these artists of Russian socialist theatre connecting their critique of objects deadened by capitalism and of the relationship between the dressing room and the stage to a wider political interrogation of the systems of creating theatre. At that time, costumes framed actors as laborers or peasants mediating the new world order for their audiences. By wearing proletariat overalls, the actors were recognized as workers and the theatre as a form of labor. Uniforms also made actors uniform, thus presenting the performers as a collective banishing the bourgeois system relied heavily on costume. They introduced the insight of beauty and truth as outcomes of this new form of aesthetics built on reconfigured hierarchies of the world. In Germany Bertolt Brecht continued the ideological interrogation of power relations of production, consumption and exploitation implicit in the use of costume and aesthetics in theatre by emphasizing the beauty of the craftsmanship locating beauty into the work in making clothes (Monks, 2010, p. 76).

Next, I contemplate how the appearance of everyday aesthetics was met in the context of the audience within PLAY. When trying to find explanations for the subject, these were the questions I asked the interviewees:

I argue: the use of everyday garments as costumes is a typical feature of a contemporary dance performance. Do you agree? Could you justify your view? Were the everyday garments in PLAY used according to this understanding? Could you justify your view?

I was not surprised that 27 respondents (Appendix B, pp. 29-32) as the majority out of a total of 33 did not hesitate to acknowledge my presumption of the wide use of everyday garments as costumes. As a matter of fact, I have to admit that I forgot to pose the question to the first six participants. In the arguments justifying the interviewees’ views, I witnessed words like: a contemporary dance convention, trend, or cliché. Within the overall acceptance of my proposition, the interviewees’ responses also brought forth slightly different emphases, thus indicating sub-divisions. I detected and listed the five thematic structures with related examples:

55 Everyday garments as a means to attach the performance to the present day:

The choice of the everyday styles attaches the dancers to the world outside the performance venue, thus introducing something familiar for me as a spectator.

The use of more mundane clothing as part of today’s dance reflects the wish of a working group instead of presenting the performance as elevated to bring it closer the audience.

Everyday clothing serves as an easy decision when avoiding taking a stance on something with costumes. Instead of using the costumes as an aesthetic estrangement effect, mundane choices attach the performance to reality, thus enabling the identification with it.

The dancers’ mundane appearance relates to the conceptual approach of dance that is very popular today. This means the use of everyday movement as dance movement. Moreover, the present-day performances aim at commenting reality.

The rehearsal gear is used to sham costumes, which thus manifests detheatricalization.

One participant who shared the opinion of the majority argued:

The strong trend for the preference for the everyday bodily being over the role-costume-like choices sometimes turns into a cliché. By accepting only the costumes based on functionality and the strict selection of colours and cut, both the existence of clothing is faded out and the multitude of everyday life is restricted and narrowed down.

The neutrality of everyday garments as a means to allow the spectators’ various associations:

One of the present-day conventions is to use the purchased clothing as costumes in order to attach the performer to reality, and at same time allow the spectators’ associations to lead them somewhere else.

Clothing serves as a concrete relation to the audience’s life, thus allowing the spectators to associate new connotations.

To allow the audience to choose alternative perspectives of looking at the performance apart from fantasy, costumes attach the action to reality.

56 The dance movement or/and dancer’s personality as the most important aspects:

The use of everyday clothing allows the movement and action to take its position as the most important part of the performance. While costumes do not hide the personality of the dancer subject, the dancer’s sensitivity could appear.

Thus, the focus is moved from considering the dancer’s appearance to the things done.

While in the process-based method of building a dance the pre-productions is not used, costumes might be minimalized.

As the neutral costumes settle in the background, the movement is allowed to determine the emergence of meanings.

The excessive use of costumes might compromise both the movement and the dancer’s personality.

The mundane choices are promoted as the dancers are wished to appear as individuals who, besides a choreographer, contribute to the creation of a performance.

The changed attitude towards dance:

The conscious and political choice promoted by the overall resistance of a dance performance as a product that should follow certain aesthetic principals is not only brought forth through the use of clothing from the dancers’ own closets but also through the use of performance space and lighting.

The dance performance, using e.g. contact improvisation, regarded as an event that happens in a communal situation as part of everyday life, thus brought forth as it appears, not carefully planned but unfinished.

When a dance is considered to create its existence through the dancer’s movement here and now, the dancer cannot be dressed in some role but left as she/he is.

While the whole dance is regarded as a part of everyday life, one way of showing it is the use of costume.

57 The use of normal clothing suggests the wish to search for something real and authentic in order to promote new ideas, themes and philosophical concerns.

In contemporary dance, there seems to be a loss of interest in the movement itself. Thus, a change from contemplating the dance movement towards considering the dancer’s existence and being onstage has occurred.

Everyday garments as a practical or affordable choice:

While normal pieces of clothing are easily available, they are seen as convenient for the process of planning a performance. Moreover, they allow the dancer to move quite freely.

Everyday garments are used especially, when a costume designer is not included in the working group.

The team can rarely afford a costume designer or to have the costumes made for some purpose.

Generally, while the production budget does not allow the use of a costume designer, the choreographer’s vision is brought forth in costumes, thus the costumes are sourced as second- hand or through H&M.

Whereas 13 interviewees connected the use of everyday aesthetics and contemporary dance to each other, through either the new dance of the 1960s and 1970s, or the dance following the examples by the 21st century European choreographers, or the changed consideration of performance, I suggest this as a wide request for reconsideration of not only costume but the costume design process in that context.

58 3.2 Contemporary dance

In this section, I proceed in my investigation by discussing the sphere of contemporary dance. I present a wide definition of contemporary dance, followed by the reviewing of both some basic terminology of dance and the different modes of representation in the worldmaking of dance. After this I discuss the present-day dance through the evolution of the new dance of the 1960s, as the precedent to contemporary dance, and its connection to visual arts and philosophy, especially phenomenology, suggesting the shift from a dance performance regarded as an object to an event. Within this section, I continue considering the meaning making in dance. I introduce the difference constituting the aesthetic and ontological paradigms of dance together with phenomenological philosophy in relation to dance as introduced in Monni (2004). As a result, I propose the ontological paradigmatic consideration as the cause for the conflict in the worldmaking between me as the costume designer and the working group with the choreographer and dancers in of Colour, colour. I conclude the second section discussing the notion of contemporary in dance, the ideals of the new dance of 1960s regarded as contemporary, and the consideration of a dance performance as an event.

In order to further illustrate contemporary dance as the context for dance costumes, I approach contemporary dance as discussed in Foster (1986), Renvall, Tawast and Ahonen (2007) and Helve (2008).

Susan Leigh Foster (1986) classifies dance mostly by the approach towards dance composition and conventions, but she also partly refers to dance’s relation to art periods or movements, e.g. expressionism, modernism and postmodernism. Dance as a performing art form is usually categorized by the chosen dance technique. Accordingly the following division could be made: ballet, modern dance, jazz dance, step, flamenco, street dance. These genres could be further described according to their characteristics in their distinguishing features and aesthetics. (Renvall, Tawast and Ahonen, 2007, p. 5.)

The notion of modern dance is often confused with contemporary dance, and it is argued to be unnecessary to define them as separate genres (Renvall, Tawast and Ahonen, 2007, p. 9). Tua Helve (2008, pp. 14-15, 17) discusses the difficulties of defining contemporary dance. She states that generally the notion contemporary dance is attached to the dance after 1960s and especially to the dance of last decades of 20th century. In her thesis, Helve chooses to include in the notion even contemporary ballet in the western cultural tradition. Helve (2008, p. 23) regards contemporary dance as a wide concept that covers various styles and genres of dance. However, Renvall, Tawast, and Ahonen (2007, p. 9) state that both modern dance and free dance (the dance form that preceded modern dance) challenged the dominance of ballet aesthetics and they both informed contemporary dance. On the other hand, many contemporary choreographers prefer to leave the

59 technical virtuosity and focus only on the movement and the search for each performers own ways to move. Contemporary dance is described to vary both in form and geographically in the same way as all art normally does. Renvall, Tawast, and Ahonen address the importance of the choice of theme and how it is approached, as the decisive factors to enable the variety of dance aesthetics in contemporary dance, instead of relying on dance conventions. In addition to sourcing from various cultures and dance forms, by challenging and crossing the existing boarders in dance, contemporary dance enters the discussion within the whole art world.

Renvall, Tawast, and Ahonen (2007, p. 4) review that the principle of dance as a performing art form is based on the idea of regarding the dancer’s movement, with all its variations, its use and control of a performance space, as conscious choices within a planned entity. Dance consists of changes, in rhythm and dynamics of movement that a dancer creates with one’s body. The duration, stillness, quality, intensity, the control of movement together with the use of space defines the dance. Dance is described as an active interaction between the dancer’s body and mind as well as the space and time surrounding the dancer.

3.2.1 Basic terminology of dance

In order to discuss (contemporary) dance, its terminology should be explained. Thus, I shall describe the basic terminology of dance as discussed in Foster (1986) and Renvall, Tawast, and Ahonen (2007).

When analysing compositions of dance, Susan Leigh Foster (1986, pp. 59, 97) provides a set of structural guidelines to the dance’s meaning. She divides choreographic strategies, techniques and conventions into five categories: the frame, mode of representation, style, vocabulary, and syntax. Each of them guiding and preparing the audience for an understanding of dance through the different phases of a dance performance.

Foster (1986, pp. 59-65) presents that the frame means the way dance defines itself as a unique event. The frame includes every form of announcement for an upcoming performance, like posters, possible interviews given by team members and chosen titles, as well as choices among various performance spaces influencing audiences perceiving and situating a performance within dance traditions. How performances begin and end, together with dancers’ gazes and ways to focus when performing are also regarded as focal directives telling how to look at performances, establishing a wanted way of communication between dancers and audiences.

While observing that to better understand meanings in a dance, Foster (1986, pp. 59, 65-67) suggests that it is crucial to acknowledge the chosen mode of representation. As the mode signals worldly experience, it implies the worldmaking of dance, its stance on the world. Foster presents four different methods: resemblance, replication, imitation, and reflection. The mode of resemblance is described as the use and repeat ofa certain quality of the chosen theme in dance movements. Thus the movement that embodied the attribute of the chosen subject resembles the original. In resemblance a single quality is selected and depicted in the 60 movement, whereas in replication a relationship between qualities is represented. Replication is used to signify a phenomenon as a whole made up of distinct parts. Both the movement after resemblance and replication could by mistake be identified as any other phenomenon closely resembling or replicating the chosen original. And again, when applying the mode of imitation, there is little doubt of the referent. Imitative representation in dance means producing a schematized version of the referent’s visual and aural characteristics. The mode of reflection means that a movement reflects only itself and thus can mean nothing but itself. At the same time it may suggest and evoke various associations.

Foster (1986, pp. 59, 65-87) states that the style in dance refers to the way a dance movement achieves its individual identity both in its genre and in the world. Thus, by referring to cultural identity, it puts dance in some context. Style may be applied to individual dancers with a personal style, movement occurring in a given style, choreographers recognizes by their style, and dance traditions. Foster states that style results from three choreographic conventions: the quality the movement is performed with, the characteristic use of body parts, and the dancer’s orientation in the performance space. She continues to discuss specific movement qualities shaping each dancer’s own performance persona, various symbolic meanings associated with different body parts and the cultural codes connected to different types of spaces. Foster concludes by stating that each choreographer defines her or his own style by the use of space, quality and parts of the body at the same time participating in a dance tradition with its own style.

The vocabulary means the basic units, the moves from which the dance in a dance performance is made. In the ballet and many types of folk dance, the vocabulary is based on a lexicon of moves, a well-defined catalogue of all permissible movement – e.g. arabesque and pirouette (Foster, 1986, pp. 59, 88-90). In contrast to this in a contemporary dance performance, any movement could be used – e.g. movement recognizable from the everyday activities as standing, sneaking or crawling looses its practical purpose and becomes part of the dance vocabulary as a conscious use of body (Renvall, Tawast, and Ahonen, 2007, p. 5).

According to Foster (1986, pp. 59, 92-96), the syntax defines the rules governing the sequence, the selection and combination of moves. These choices, as well as other syntactic choices such as repetition, variation, duration, the spatial location of the dancers and the orchestration (the solos, duets, smaller and larger groups) could be used separately or combined to produce further changes. With syntaxes the vocabulary of a dance is turned into phrases. Together they resonate against the worldmaking of a dance.

61 3.2.2 Representation in dance

I consider that it is important to look at the different modes of representation for dance as discussed in Foster (1986), as the chosen mode of representation could be used to signal the worldmaking of a dance performance.

Susan Leigh Foster (1986, pp. 99-121) conceptualizes choreography and dance gives historical bearings to the dance conventions through the general features of historical dances. She describes that the allegorical dance in the Late Renaissance was performed in the frame of the Renaissance theatre-in-the-round. The dance movement resembled the world in two ways: by sharing its numerical or geometric features, and containing some common attributes of texture, colour, or timbre. The meaning of the dance was derived from a similitude, not only of movement, but also of costumes, props and music. Thus, the dance was based on resemblance in its mode of representation.

Foster (1986, pp. 121-126) suggests that in the eighteenth century the neoclassical dance was elevated and framed with the proscenium arch. The predominant mode of representation changed to imitation. The idea of the well-composed dance (ballet) included the visual effectiveness of the dance together with lively and compelling scenes imitating the social and natural world.

Foster (1986, pp. 145-154) states that in the early twentieth century, the expressionist choreographers started with a journey inward. The dance vocabulary of movement was found only in the psyche. As an example Foster presents Isadora Duncan (1877 – 1927) among the ones who developed new vocabularies and styles of movement by the mode of replication as a response to expressionist aesthetics. While some sources present expressionist dance as part of free dance (and at the same time both as early modern), the others place it between free and modern dance.

Among many third or fourth generation modern (late modern) dancers, Foster (1986, pp. 167-185) presents the role of Merce Cunningham (1919 – 2009) as the one who conceptualized choreography in a new way and challenged the very idea of expression through movement. Based on the basic mode of representation in his choreography Foster describes Cunningham’s concept as reflective. By emphasizing the arbitrariness of any correlation between movement and meaning, Cunningham materialized dance movement. Foster refers to his dance and the dance further developed by the Judson Church group in New York from the 1950s onwards as objectivist dance. The objectivised dance movement means possibility for patterned movement to predominate as the subject matter and message of the dance. Accordingly, any movement, including commonplace tasks performed by people untrained in any dance techniques, could be defined as dance.

62 The modes of representation that I presented in the historical context of dance also apply to the representation in the other contexts of performance. Thus the different modes that I presented could be described as a valid means for meaning making through costumes and a tool defining the worldmaking of the whole performance. While discussing representation in general, the comparison between realistic representation and abstraction as indicating either a partial or complete departure from depicting reality is introduced, thus adding another level on the basis brought up by Foster (1984).

3.2.3 Evolution of the new dance

To illustrate the notion of contemporary dance, I shall next study the development of the new dance as discussed in Burt (2006).

While contemporary dance incorporates elements from modern dance, free dance and the many styles of dance, the new dance of New York in the 1960s – 70s acted as an opposite to modern dance, accordingly also called as the postmodern dance. Foster refers to the new dance as objectivist dance. Choreographer Simone Forti (cited in Burt, 2006, pp. 58-59) states that the new dance moved away from the aesthetic nature of (modern) dance with a pre-established movement vocabulary, thus working within a predetermined range of movement qualities. The new dance adopted approaches with the potential to discover unknown movement vocabularies and aesthetic qualities. Improvisation brought up the needed sensitivity to be discovered by dancers and audience in movement qualities created through conceptual structures in dance constructions. Ramsay Burt (2006, p. 60) suggests that when discussing the compositional structure, Yvonne Rainer describes her own interest in fragmentation and accretion, still finding underlying connections, but not completely exploding material that she recalls from Forti’s work. Rainer (cited in Burt, 2006, p. 60) states that Forti considered poem to be dance and used compositional structures where one thing followed the other without any established thematic connection to justify this. Burt (2006, p. 206) presents that Forti’s reading of a poem was an action not performed, but an action that was a natural action outside the human being, a situation that was her dance.

3.2.4 Connection of the new dance with philosophy and visual arts

In order to further illustrate the present-day dance, I continue reviewing the ideological background of the new dance. Accordingly in this section, I describe the connection between visual arts, philosophy and the new dance as discussed in Burt (2006).

63 Ramsay Burt (2006, p. 80) states that the artists associated with the Judson Dance Theater were not interested in the inner psychological states. Rather, they were concerned with external behaviour and actions in the world. The descriptions of Yvonne Rainer’s performances in 1962 and 1963 at the Judson Memorial Church give a good example of the concepts used within the Judson Church group. Rainer used series of ordinary movements, with no apparent connection to any codified dance vocabulary, juxtaposing different kinds of material, letting one thing follow another at the same time reciting a narrative without being meaningfully connected to the movement. Rainer’s style is described as a matter-of-fact combination of various elements (Burt, 2006, p. 72).

Burt (Burt, 2006, p. 73) states that Rainer consciously said “no to glamour” and “no to seduction” adopting a dry, minimalistic style of performing. Rainer referred to becoming aware of the “problem of performance” through discussions with Steve Paxton. Burt (2006, pp. 73-74) refers to, Paxton and Rainer’s collaboration Word Words (1963), which explored the performance of flattened, impersonal material in a cool, neutral manner. Also the title of the performance along with other titles was self-reflective. The stage presence and appearance of the Judson dancers were said to look alike. Burt (2006, p. 74) observes that the use of make-up and almost naked bodies or other costume made the dancers look identical. This blank and neutral mode of behaviour together with depersonalization and minimalism were the attributes associated with the Judson Dance Theater. Burt states that at the same the dancers performed they also engaged in a process of performative research into more minimal ways of signifying. Thus he connects the dance practice with the interest of Wittgenstein’s theories.

While presenting that Rainer’s Trio A (first performed at the Judson Memorial Church in 1966), brought together several of the formal and conceptual concerns and aesthetic sensibilities typical to the new dance of the Judson Memorial Church, Burt (2006, p. 75-79) states that Forti’s conceptual way in creating dance constructions was started with an idea that determined a particular way of moving. In Rainer’s way the idea evolved a sequence that elaborated an individual aesthetic sensibility. Burt claims that in the rehearsal the three dancers of Trio A had to find the movement in their own body. Thus they created their own individual pace that made them perform clearly out of sync with each other. The aesthetic identity of the performance was very minimal and neutralized, which demonstrated that the experiencing of aesthetic identity was almost entirely prescribed by the movement and the conceptual decisions made by those casting and staging it. At the same time the performance made audience aware of themselves watching. While for a spectator coming outside of the context of dance, it was hard to watch. The dance did not seem to make any sense in almost all the ways dance conventionally signified meanings. At the same time Burt states, based on the various performances of Trio A, there is not one way of experiencing the movement. He refers to Rainer’s Quasi survey and to her statement in it that begins “NO to spectacle”, that brought up the connection between Rainer and the minimalist artists. Rainer stated, when she wrote her Quasi survey, she was influenced by Donald Judd’s essay Specific objects, Robert Morris’s Notes on sculpture and Barbara Rose’s essay ABC art. Burt emphasizes that they all were ideologically connected to several American or European philosophers and scholars: Ralph Barton Perry, William James, Maurice Merleau-Ponty, Ludwig Wittgenstein, Roland Barthes, and Alain Robbe-Grillet.

64 Burt (2006, p. 79) suggests that, taken together, Rainer’s Trio A and Quasi survey position the viewer as a self-conscious subject in relation to the experience of viewing and reading the dance. Burt (2006, p. 83) observes that Rainer was concerned with the spectator’s perception and that the point of view of the dancer did not always correspond to that of the spectator, particularly the real energy used by the dancer perceived as apparent by the spectator.

In the 1960s the experimental dancers of the Judson Dance Theater were in close connection with the artists of the radical developments of visual art. The postmodern dance aligned itself with the formal purity of the abstract painting and minimalist sculpture produced by the members of the New York School, an informal group of American poets, painters, dancer and musicians that were active in the 1950s-60s (Burt, 2006, pp. 5-6, 12). Burt suggests that the influential art critic Clement Greenberg and the art historian Michael Fried (cited in Burt, 2006, p. 12, p. 79), who subsequently developed Greenberg’s idea, saw minimalism as an assault on the modernist art values. Fried argued that sculpture by Robert Morris and Donald Judd deviated from Greenbergian notion of modernism by positioning its viewers in a way that they became aware of the presence of the piece of art together with their own embodied, phenomenological relationship to it. Burt continues that Fried saw this theatrical situation as antithetical to the aesthetic appreciation, as he believed it to be. To Fried a true work of art was complete in itself, while the minimalistic sculpture, by generating presence, made a demand on the spectator to recognize it as art. Burt argues that Fried referred to Morris’s text Notes on sculpture and pointed out that Morris defined the art before minimal art as “previous art what is to be had from the work is strictly located within it”, compared to the experience of minimal art as “of an object in a situation – and one that, virtually by definition,includes the beholder”. Fried was critical of Morris’s proposition of the experience of perceiving not being instantaneous but durational.

When argueing that the work presented at the Judson Memorial Church at that time was in Fried’s terms theatrical, Burt (2006, p. 13, p.53) states that it demanded the spectator to take time to see it, and made them aware of their embodied relation to the physical presence and the materiality of the dancing bodies. Burt claims that Calvin Tomkins (cited in Burt, 2006, pp. 13-14) argued that in their work Marcel Duchamp, John Cage, Merce Cunningham, and Robert Rauschenberg constantly tried to break down the barriers between art and life. Trisha Brown (cited in Burt, 2006, p. 14) proposes that she and her fellow dancers tried the same at the Judson Memorial Church. The innovative dance, including improvising within structure, made the spectator aware of the performer’s bodily intelligence, actively read the performance and opened up new possibilities for meaningfulness.

The thought of dance as a durational, temporal bodily experience together with concreteness of the movements bearing the meaning creation of dance culminated the influence of the minimalist art of 1960s, thus suggesting the shift from a dance performance regarded as a complete singular aesthetic whole to one experienced as an event.

65 3.2.5 Phenomenology

While I consider phenomenology as one of the keys in trying to understand contemporary dance, next, I address phenomenology in the context of the present-day dance as discussed in Monni (2004) and McKinney and Butterworth (2009).

Kirsi Monni argues that through the philosophy of Martin Heidegger (cited in Monni, 2004, pp. 24-25) the ontological paradigm becomes possible. Monni (2004, p. 16) suggests that, as the body of the dancer is the instrument of creation many dancers as embodied minds intuitively regard dance as philosophy. In order to make clear the insights within contemporary dance and especially ontological dance, I present some principles concerning phenomenology.

The phenomenology of Edmund Husserl (1859 – 1938) and Martin Heidegger (1889 – 1976) brings forth the being from a first-person perspective, what it is to be a conscious being in the world and how the world and the things in it might be perceived (McKinney and Butterworth, 2009, pp. 166-167). For Maurice Merleau-Ponty (1908 – 1961) phenomenology is concerned with attempts to capture experience, before intellectual analysis. He emphasizes that encountering the world occurs through various perspectives, in terms of what is seen, heard, felt, sensed, imagines, anticipated and remembered, informing each other. Merleau-Ponty thus defines perception as a synaesthetic process in which the senses communicate with one another. Thus perception of an object is not that of viewing a flat surface as in a picture, but is informed by both our experiential knowledge of how it appears from different viewpoints and by our appreciation of the action of time and memory on that object. (McKinney and Butterworth, 2009, p. 170) When Merleau-Ponty (cited in McKinney and Butterworth, 2009, p. 170) states that: “there is an immediate equivalence between the orientation of the visual field and the awareness of one’s own body as the potentiality of that field” and “our body is not primarily in space: it is of it”, he suggests that our bodily, lived experience informs our perception of the world and we appreciate what we see in ways which are embodied and precognitive. When seeing a costume in a performance is inevitably linked with embodied understanding or memories of actual bodily experiences, the perception might evoke an understanding of what it feels like to touch or wear the costume or appear in it (McKinney and Butterworth, 2009, p. 170).

To emphasize the importance of phenomenology for contemporary dance, I wanted to separate discussing it from the previous section, which presented also other philosophical approaches. I shall further discuss phenomenology in the next two sections.

66 3.2.6 Ontological paradigm of dance

As I earlier (in the section 3.2 Contemporary dance) presented, contemporary dance constitutes multiple genres and techniques. To build an understanding of this wide concept, I introduce two concepts, the aesthetic and the ontological paradigm of dance as discussed in Monni (2004).

Kirsi Monni (2004, p. 15) states that the aesthetic and ontological paradigms of dance do not share the same understanding on the work of art. Martin Heidegger (cited in Monni, 2004, pp. 24-25) does not approach art considering the aesthetic tradition, but through the thinking of being in general, by asking in what ways being-in-the-world unfolds itself as concealment, and in what ways it generates art. He does not consider the relationship between art and reality as mimetic (symbolic, allegorical, representative). For Heidegger (cited in Monni, 2004, p. 25), a work of art is not an object that the receiver faces but a possibility to participate in the opening of reality, generated by the work of art. For him, art makes it possible to forget the metaphysical ways of facing beings and the world as an object, a picture, or a representation of it that exists outside our being, created by a subject. Art is a unique revealment of being, a place, where the history and situation of the human being open in the form of each work of art (Heidegger cited in Monni, 2004, p. 29).

Monni argues that Heidegger’s (cited in Monni, 2004, p. 17) phenomenology suggests a method to approach the personal process of creating art considering the phenomenon as it reveals itself in its being-in-the-world. Monni (2004, p. 18) claims that the Western tradition based on the Platonic metaphysics, which involves the division between the transcendental (idea) and the sensual (material), reduces the dancer’s body to aesthetic material that transmits ideas, thus conflicting her model of thinking as a dancer. Monni (2004, pp. 22, 27) argues that as the philosophical starting point for the bodily being-in-the-world, the Cartesian dualism separates mind from body and results in considering the dancer’s body as a medium that merely realizes ideas. Whereas, embracing the idea of the embodied-mind enables the shift to consider the dancer’s conscious movement as a specific way of thinking and opening of reality. Monni (2004, pp. 163-167) describes the ontological paradigm to be a fundamental change of orientation, not just a shift from one aesthetics to another, as art is not seen to represent reality but to allow reality to reveal itself since the dancer’s body no longer merely imitates and represents thoughts.

While discussing that various methods of meditation with the eastern philosophies of China, Japan and India affected the new dance, Monni refers to Cynthia Novack (cited in Monni, 2004, p. 179). When dancers stopped representing aesthetically coherent illusions and more or less let reality appear in their movement, the meaningfulness of dance also changed. She refers to F.S.C. Northrop (cited in Monni, 2004, pp. 180-181) and contemplates the difference between the Eastern and Western movement tradition and the notions of aesthetics in them. In the Western cultures, aesthetics is a principle based on theories and in the Eastern cultures it is a principle based on the experiences. A western artist is an individual who takes a position outside the portrayed object and by using theoretical knowledge creates the work of art full of symbols. Monni interprets that the starting point for an Eastern artist painting the scenery is not reality in front the painter as a representation but 67 rather reality as an experience. Monni refers to Timo Klemola (cited in Monni, 2004, p. 180) and argues that by focusing on the actual and immediate experience Eastern thinking disentangles the objectivized body and the emphasis on visual representation.

In addition to Eastern influences, contemporary philosophy, especially existential phenomenology, affected contemporary dance and the ontological paradigm. In addition to Heidegger, Monni (2004, pp. 189-190) introduces Maurice Merleau-Ponty, who with other philosophers, developed the notion of the lived or the phenomenal body, your own body as experienced by you, as yourself, thus making the body and mind inseparable. Monni states that according to the phenomenological method body can never be reduced to a mere object.

Monni considers the development of ontological paradigm to have started in the 1950s with Ann Halprin, Eric Hawkins and Merce Cunningham. Novack (cited in Monni, 2004, pp. 194-195) states that Cunningham aimed at shifting the meanings of movement from its symbolic content to structures of choreography and movement techniques. According to Novack, the new generation of post-modern dance of the 1960s-70s question the notion of dance based on the virtuosity of aestheticized movement, narratives, symbolic representation and the metaphysical subject. Novack continues that The Judson Dance Theater (1962-64, with e.g. Yvonne Rainer, Deborah Hay, Steve Paxton and David Gordon) and The Grand Union dance and performance collective (1970-76, with e.g. Steve Paxton, Trisha Brown, Douglas Dunn, David Gordon and Barbara Dilly), formed the avant-garde of dance in New York.

While suggesting that only when contact improvisation (introduced by Steve Paxton and his colleagues) and the release method (introduced by Mary Fulkerson with her colleagues) had emerged in the 1970s, Monni refers to Novack (Monni, 2004, p. 179). Thus, the aesthetic form of consciously controlled movement vocabulary was abandoned, and the focus moved to movement qualities and the awareness of the lived body. Monni (2004, pp. 196-197) considers contact improvisation to be the radical form of dance’s ontological paradigm. Paxton and his colleagues challenged the whole pattern of the Platonic metaphysics and executed dance as social interaction between the dancer and choreographer. Monni continues that contact improvisation therefore could not be considered only a new school or genre of dance, proposing new aesthetics against the old but constituting the new, ontological paradigm.

In her doctoral dissertation Monni (2004) establishes the two different paradigmatic approaches to dance. Monni (2004) describes that the Western aesthetic tradition constitutes the basis for the aesthetic paradigm for dance. I suggest that according to popular apprehension the idea of the aesthetic paradigm could thus be easier to comprehend, even though most of the contemporary dance choreographers might follow the ontological paradigm. Monni (2004, p. 197) concludes that the ontological paradigm that culminated in the 1970s has during its whole existence collided with the aesthetic paradigm and sees that in contemporary dance they appear intertwined. I would describe Colour, colour as a performance experimenting on or putting into practice the intentions and ideals of the Judson Dance Theater wholeheartedly and as aligned with the ontological paradigm, thus it appeared unusual to me. 68 3.2.7 The contemporary in dance

In this section, I further discuss the notion of contemporary dance. I first approach the concept of contemporary from the point of view of Renvall, Tawast, and Ahonen (2007), Arlander (2011) and Naukkarinen (2014), and then by my interviewees (Appendix B), followed by the discussion in Monni (2012), Lepecki (2012) and Burt (2006).

Unlike common categorization of dance based on used dance techniques, Renvall, Tawast, and Ahonen (2007, p. 9) present a classification of dance to the category of contemporary based on its contemporaneity.

When contemplating what we call the present, Ossi Naukkarinen (2014) introduces the idea of referring to anything existing or happening presently. He refers to Michael Kelly’s idea of a concept considered contemporary revealing that it is regarded as intrinsic in our time. When stating that every age understands itself as a transition absorbing new conceptions to fulfil their own needs, Naukkarinen also refers to Joseph Margolis. While Naukkarinen suggests that each publication gives different answers to the questions when modern, postmodern or contemporary were considered to begin or end, he refers to Wladyslaw Tatarkiewicz’s History of Aesthetics, Michael Kelly’s Encyclopedia of Aesthetics and Terry Smith’s What is Contemporary Art? Naukkarinen stresses that several other publications have refrained from defining what is contemporary, thus encouraging me to define it.

As definition that I could give arises from the limited sources that are related to the context of my research, I should let the others involved in dance to analyze and discuss the typical features of contemporary dance. After this, I aim to conceptualize the concept of contemporary in dance. Thus, I asked the interviewees the following questions:

Did you consider PLAY to be contemporary dance? Could you justify your view? Which typical/archetypal/stereotypical features for contemporary dance did you notice in the performance/costumes?

Many of the interviewees (Appendix B, pp. 1-6) felt themselves to be part of the very large field of contemporary dance scene. They acknowledged that within the field, different trends and influences could be clearly identified. They seemed to be ready, even eager, to name what they are doing differently from the other practitioners of dance, thus suggesting they are no longer practicing in contemporary dance. The interviewees felt unable to share the choices made by other practitioners in the field, yet acknowledging the importance of multiple voices. When describing contemporary dance, some of them used the term post-postmodern. Some emphasized that there was no need to categorize their activities related to performing, thus they suggested that instead of positioning themselves to work within contemporary dance they preferred the context of performance.

69 3.5 The mind map presents the concept of contemporary dance as suggested by the interviewees together with the partakers of the investigation.

Although the tradition of classical ballet and modern dance are sometimes assumed to be closely related to contemporary dance, Kirsi Monni (2012, pp. 6-9) argues, however, that contemporary choreography has much closer relationship with the conceptual art movement of the 1960s and 1970s, the history of postmodern dance of the 1960s, performance art and contemporary theatre. In order to establish interaction between the acts of art and the self-understanding of the community, Monni suggests that each field of art, including dance, should create and update the use of diverse theories on the modes of representation. Monni states that since the 1990s the phenomenological frame of reference has been adapted among the critical dance studies in Finland. Thus she names abandoning the idealized universal form of body in favour for the experiential lived individual bodily being-in-the-world, as the essence of this frame. I value her consideration on the importance of phenomenology to the present-day dance. As part of my studies, I shared the philosophy courses with the choreography and director students at Theatre Academy, thus I witnessed their enthusiasm for the subject. Based on my experiences I could propose that phenomenology exists more as an all-encompassing attitude, not as a conscious theoretic or ideological frame of approaching the practice of dance, even the whole life and not only performing. To some degree, Monni (2012, p. 10) considers André Lepecki’s (2012) Exhausting Dance parallel to Hans-Thies Lehmann’s Postdramatic Theatre (2006) and thus proposes a new concept of “postdance choreography”. While Lehmann’s publication is considered to establish the theses for the postdramatic theatre, Monni regards Lepecki’s book as the counterpart in dance. 70 Monni (2012, pp. 17-20) suggests introducing Jérôme Bel, Juan Dominquez, La Ribot, Xavier Le Roy and Vera Mantero (also introduced by Lepecki, 2012) as artists among “performative choreography” or conceptual dance. While considering these artists’ influence as the critical attitude towards the existing Western, imperialistic cultural and political reality, Monni emphasizes these artists’ use of the strategy of “exhausting dance” (introduced and defined by Lepecki, 2012) as an important phenomenon in contemporary dance. At the same time she points out that also choreographers in Finland made use of strategies equal to “exhausting dance”. Monni introduces the choreographers among Zodiak presents, preceding Zodiak, Center for New Dance since the 1980s, abandoning the kinetic imperative of choreography together with homogenous standards and ideals of beauty. Contemporary dance was also influenced by performance art and experimental theatre. Monni states that the different choreographic strategies, introduced by Lepecki (2012), also nourished dance in Finland. Among the most important means, she reviews the task-based choreographic thinking and individual bodily observation as central motives for movement, together with the choreography sourcing from the multitude of everyday movements.

Monni (2012, p. 8, p. 20) states that in the present-day Western democracies different people have different aesthetic values and purposes. She emphasizes the multitude of voices being heard and understanding of being- in-the-world through the perspective of an individual or communal experience. Although the choreography of the 2010s will maintain the roots to classical ballet and modern dance as well as further develop this tradition, Monni suggests, it will not only merge with its own historical roots but with different forms of arts, such as street art, outsider art, theatre, live art, and also science. She stresses that the choreography of the 2010s will become more worldly, pluralistic, political, poetic, and active.

During the 1990s’ younger generation of artists started to explore with the tradition of the Judson Dance Theater at the same refusing to be limited by the social and political parameters (Burt. 2006, p. 25). In his essay Art history, dance and the 1960s, Noël Carroll (cited in Burt, 2006, pp. 187-188) discusses the history of dance in line with Arthur Danto’s argument about the end of art (1997). Carroll regards the work of Judson Dance Theater constituting the end of dance, where for Danto Andy Warhol’s sculpture Brillo Box (1964) represented the end of art. He presents the evolutionary process where a representational theory collapsed in favor of an expressionist and a formalist theory, which, in turn, were superseded by a modernist project (the modernism of the Judson Dance Theater as the new synthesis), that brought the process to a halt. At the same time Carroll aimed to put a positive spin on the notion of the end of dance. He states that the artists that applied the new synthesis:

“…demonstrated that anything could become dance no matter how it looked…they have extended the range of possibilities for contemporary dance momentously. They have opened a new world of dance: not an end to dance, but perhaps a new beginning.”

(Carroll, 2003 cited in Burt, 2006, p. 187)

71 André Lepecki connects the concerns of Judson Dance Theater with the new European works when summering up their concerns as:

“…a distrust of representation, a suspicion of virtuosity as an end, the reduction of unessential props and scenic elements, an insistence on the dancer’s presence, a deep dialogue with the visual arts and with performance art, a politics informed by a critique of visuality, and a deep dialogue with performance theory.”

(Lepecki, 2004, p. 173 cited in Burt, 2006, pp. 193-194)

Ramsay Burt (2006, p. 188, p. 194, p. 201) refers to the works of Rainer and those created in Europe by Quatuor Allbrecht Knust, Jérôme Bel, Xavier Le Roy, and Boris Charmatz in the beginning of the twenty-first century. Burt suggests that these European choreographers approached the new American dance of the 1960s as part of dance history treated or cited as an unfinished archive still open to addition and modification, thus resisting the idea of thinking it as closed, concluded canon.

When Naukkarinen (2014) addresses the temporal aspect of aesthetics, e.g. aesthetics born in different eras existing side by side, he also referred to Arthur C. Danto’s Encounters & Reflections. Naukkarinen conceives the idea of making distinction between the recent phenomena being contemporary by nature and the earlier ones maybe old but still relevant for understanding the present. As an example, he presents Plato and Immanuel Kant and considers them as part of contemporary aesthetics. Thus, he introduces the idea of theories being re-contemporized. I suggest that the idea seems to have at least some similarities in the field of contemporary dance. He suggests that Smith understands that art created in today’s context thus framed with contemporaneity needs to be evaluated with new kind of aesthetics. This encouraged me to develop my own thinking.

Does contemporary in Finnish dance mean the same as postmodern in American dance? At least I could suggest that today it seems to be part of the contemporary dance scene. If I look at the intentions and ideals of the Judson Dance Theater, regarded as postmodern, in New York in 1962 – 64, they seem to match the ones of today’s dance artists in Finland. Maybe it has not been like this all the time during the past fifty years, but the influence and similarities in methods are obvious today.

72 The idea of simultaneity seems to be a typical feature of contemporary dance performances. In order to make performances feel real, artists try to ensure their performances to happen here and now, simultaneously with the reality outside the performance space. Also the element of one of a kind, non-repeatable experience is highlighted with the form of performance closer to performance art and happening instead of theatre performance. As a result, I would list among the characteristic features of contemporary dance: wide variety both in form and content, the freedom and right to choose, movement as an option, the co-existence of both the aesthetic tradition and the ontological consideration of dance, self-awareness, interest in ethical and political considerations. Thus, contemporary dance in Finland seems to share at least partly the same interests with the international influences on dance (Burt, 2006; Lepecki, 2012; Monni, 2012).

The concept of contemporary dance is wide and many-valued, on one hand even modern dance could be described as contemporary, on the other the post-dance, performative or conceptual choreography constituting contemporary dance. In order to clarify the use of the concept contemporary dance and make the chosen angle visible, I suggest attributes such as aesthetic, ontological, post-dance, performative or conceptual could be attached to the notion. What Monni emphasized (as one of the supervisors during the TAKO course) was the recognition of the different dance paradigms, together with the choice of the mode of representation and analogy, as means to define and make visible the worldmaking of the planned dance performance. She suggested the reflective mode to be the most typical even paradigmatic approach in contemporary dance. Monni (2004) argues that the “reflective”, “conscious”, objectivist, performative dance that emerged through the postmodern dance of 1960s constitutes (the present-day) contemporary dance.

73 3.3 Scenography

In this section, I present costumes and costume design as part of scenography. I introduce the metonymic mode of comparison as the valid approach for performances and dance as well. I discuss the audience’s role as the key factor for the emergence of meanings together with the idea of shared authorship. I introduce the idea of performance as appearing an event and accordingly suggest that also costume could be regarded as such. Furthermore, I discuss the metaphorical and metonymical modes of signification as well as the notions of perception and reception in the context of performance.

While costume is a part of the scenography and there is a wider selection of literature on the theory of scenography available, I approach the understanding of dance costumes and especially the meaning creation in a performance through the present-day scenography as discussed in McKinney and Butterworth (2009).

The contemporary definition of the term scenography suggests that scenography is a component of performance in the actualization of the performance (McKinney and Butterworth, 2009, p. 3). Pamela Howard (cited in McKinney and Butterworth, 2009, pp. 3-4) states: “Scenography extends and enriches audience experience of performance through images, which operate in conjunction with, but in different ways from, other aspects of the stage.”

Instead of not being simply concerned with creating and presenting images to an audience, McKinney and Butterworth (2009, p. 4) define scenography as the manipulation and orchestration of the performance environment pursued through architectonic structures, light, projected images, sound, costume, and props in relation to the performing bodies, the text, the performance space and the placement of the audience. McKinney and Butterworth emphasize scenography as an operation of images opening and extending the possibilities in communication with the audience’s sensory and rational experiences.

Dorita Hannah (cited in McKinney and Butterworth, 2009, p. 7) emphasizes that scenography orchestrates the visual and sensory environment of performance. In addition to the visual elements and reading scenography as an image, which tend to dominate, Hannah presents various ways, in which scenography may be apprehended: understanding as kineasthetic (sense of movement through muscular effort), as proxemic (pertaining to distances between people) and as haptic (understanding through sense of touch), together with sound, smell and taste. Thus, the audience as a vital component in the completion of scenography is brought up (McKinney and Butterworth, 2009, p. 7).

74 As earlier stated, scenography is considered as image. In his discussion of photographs and film imagery, Roland Barthes (cited in McKinney and Butterworth, 2009, pp. 164-165), applies semiotics when identifying three kinds of meaning: “informational”, “symbolic” and “third meaning as obstinate”. He brings forth the individual as interpreter, as there are potentially as many meanings as viewers. The readings of the informational and symbolic meanings of images are dependent on shared practical, notional, cultural, aesthetic knowledge invested in the image (thus not seen as anarchic). However, the obtuse meaning, when the viewer identifies signifiers, but cannot say exactly what is being signified, is “persistent and fleeting, smooth and elusive”, locatable only in its impact for the viewer, thus not easily translated to words. In terms of signification the informational and symbolic meanings are seen “obvious” and complete, while the obstinate cannot be absorbed intellectually, but rather offers more “poetic” insight. Accordingly, visual elements are, thus seen less stable than words, as image is polysemous, potentially offering signifiers, which imply a “floating chain” of signifieds. However, Barthes states that it may be that signification “cannot exhaust the image’s ineffable richness”.

Based on this understanding of the way image works on an individual spectator resulting in an interpretation, regardless of the message that a designer as the creator of the image intended to deliver, McKinney and Butterworth (2009, p. 165) stress that it might be hard to accommodate scenography within a semiotic approach. Patrice Pavis (cited in McKinney and Butterworth, 2009, p. 166) states that “meaning is a construction of signification” and not “the communication of a signification already existing in the world”. Monni (during the TAKO course) emphasized the concreteness of the movement for the meanings of dance. As a result, I suggest that instead of discussing the creation of meanings, the concept of the emergence of meanings should be introduced.

3.3.1 Metaphorical versus metonymical

As I suggested (in the section 3.1.3 Costumed actor as a metaphor for the self) that the metaphorical approach constitutes the normative act of comparison. While for the emergence of meanings the metaphorical comparison is considered restrictive in the present-day performances, in this section, I look at metonymy as the alternative mode of analogy in signification. Thus, I further consider the emergence of meanings as discussed in Burt (2006) and McKinney and Butterworth (2009).

Approaches to the signifying properties of the dancing body differ from presenting the body in a metaphorical way, like in expressionist dances, to embodied experience treated metonymically, like in the new dance of the 1960s. Peggy Phelan’ distinction is pertinent.

“Metaphor works by securing a vertical hierarchy of value and is reproductive; it works by erasing dissimilarity and negating difference; it turns two into one. Metonymy is additive and associative; it works to secure a horizontal axis of contiguity and displacement…”

(Phelan, 1993 cited in Burt. 2006, p. 17) 75 Ramsay Burt (2006, pp. 91-92) suggests that the new dance explored a new kind of subject but also the use of new modes of representation and signification. A shift from the universal to the particular and from the normative mainstream to the even subversive fringes was enacted. A shift from metaphor to metonymy and from symbolism to allegory was exemplified. In metaphor, a direct relationship between signifier and signified is evident. Metonymy, however, works through allusion and association, thus engendering the potential for private meanings to emerge. The Judson dancers projected their presence and subject matter in strangely absent ways thus asserted the distinction between representation and the physicality (materiality) of the dancing body representing it. They replaced finding profound metaphors for supposedly universal truths and introduced allegories of the ordinary and particular. This metonymic and allegorical structure of meanings for a new kind of subject matter was invented in their performances.

Craig Owens (cited in Burt. 2006, p. 160) argues devising allegorical imagery does not mean an artist inventing images but appropriating them, thus the original meaning of this imagery is not changed with the one created with the allegory. The artist rather adds another meaning to the image and when adding, however, the artist does not only replace: the allegorical meaning supplants an antecedent one; it is supplement.

McKinney and Butterworth (2009, p. 192-195) present that the polysemous and fluid nature of images makes the audience fill in ‘the blanks’, thus making a performance participatory in nature. Even in forms of presentation where the audience is seated, the mode of engagement tends to be active. Audience members can be seen as co-creators of scenography insofar as they find potential stimulation or agreement in or with an image and complete it for themselves through projection and appropriation. This suggests that audience engagement is not limited only to forms where audiences are physically engaged. The multi-sensory dimension of scenography is present and allows for the possibility of an active sensory and intellectual engagement on the part of the audience.

While the universal, normative and metaphoric modes of representation and signification, in a performance and especially within contemporary dance, are thus condemned as unfruitful or even impossible, I propose the particular, subversive and metonymic approaches considered as valid means to operate within contemporary dance.

76 3.3.2 Perception versus reception

Within this section, I shall further consider emerging meanings as discussed in Barthes (1977) and McKinney and Butterworth (2009).

Literary criticism of the 1960s and 1970s might be said to have reached its peak with Roland Barthes’ (1977, p. 148) essay The Death of the Author (1967), arguing that “a text’s unity lies not in its origin but in its destination”. Susan Bennett suggests that he post-structuralist thinking informed the ideas of the active role of audiences at “the nexus of production and reception” (1997 cited in McKinney and Butterworth, 2009, p. 171). Wolgang Iser’s (Iser, 1978 cited in McKinney and Butterworth, 2009, pp. 172-173) theories about “act of reading”, as an experience were influenced by phenomenology. Iser’s notion of the “wandering viewpoint” describing how “the whole text can never be perceived at any one time” and how the expectations of the future and past experiences affect the process of understanding. Iser also suggests that the key to an interactive readership consists of the indeterminate aspects of the text. This refers to the “blanks” for the reader to fill in or make their own connections to make sense of the whole.

Willmar Sauter (2000 cited in McKinney and Butterworth, 2009, pp. 175-176) argues that perception happens at the time of the performance, thus implying phenomenological experience, while reception happens afterwards, thus implying the analysis of “social and mental worlds”. At a live event the creation of a performance and experience of it are simultaneous, thus the meaning of a performance is created in a joint act of understanding between the performers and the spectators. Sauter suggests that theatrical communication happens at three levels interconnected. First: At the sensory level the spectator’s perception of the physical and mental presence of the actor results in the changed mood and response of the spectator sensed by the actor. Second: At the artistic level happens the recognition of the event as a separation from everyday life. Third: Due to the artistic otherness of the event, meaning can be attributed to the artistic actions at the symbolic level.

When regarding the nature of visual arts and experiencing it, Paul Crowther (1993 cited in McKinney and Butterworth, 2009, pp. 191-192) states that artworks are not only physical artefacts, which exist in space and take up space but also conceptualizations, as they are charged with semantic and conceptual energy. The experiencing and understanding of an artwork is “between the concrete particularity of material phenomenon, and the abstract generality of pure thought”. Thus modes of embodied understanding are as important as clear- cut perceptions and concepts.

While the emphasis of the audience’s active role in the meaning creation of a performance suggests the consideration of the performance as an event, I propose that accordingly also costume, in addition to its existence as a physical and material artefact, could be regarded to appear as an event. To further illuminate this idea, I shall continue to discuss it in the fourth chapter.

77 3.6 The dancers within the physical action of the performance PLAY.

3.4 Performance

Within this section, I investigate performance as the context for dance costumes and contemporary dance to occur. I present the performative turn as the shift from experiencing art as static art to art as a spatial, embodied event and constitute performance as the ongoing interactions of performers and audience, thus stressing the audience as the decisive factor of the performance.

In order to establish the concept of costume, the context of performance (as the site for costumes as well as for contemporary dance to occur) must be investigated. Thus, I shall next consider performance as discussed in Fischer-Lichte (2008), McKinney and Butterworth (2009) and Renvall, Tawast, and Ahonen (2007).

When defining performance Erika Fischer-Lichte (2008, p. 18) refers to several scholars and emphasizes the importance of making the “performative turn”, which was introduced to the Western art in the early 1960s and which led to the creation of the genre of action art and performance art. The performative turn also made each art form take a performative approach, the shift from art object to art event often realized in a form of performance, the shift from static art to a spatial, embodied event causing the participants to gain a new, refreshed comprehension of their own situation of being in the world. Fischer-Lichte uses the term autopoiesis (first utilized by Humberto Maturana and Francisco Varela in biology) to constitute performance 78 as continually operating feedback loop provided by the ongoing interactions of performers and audiences. Fischer-Lichte states that this dynamic loop ties the living process of the theatrical event to the processes of life itself. She connects the performative turn with the collapsing of subject and object, as binaries, in the case of performance, the binaries of spectator and actor. Fischer-Lichte presents the concept of liminality, performance seen as transformation, the transformation of audience into actors, dissolving boundaries and continually shifting perspectives.

In her definition of performance as a social play occurring between the actors and the spectators assembled to interact in a specific place for a certain period of time, Fischer-Lichte refers to Max Hermann (1920 cited in Fischer-Lichte, 2008, p. 32). Fischer-Lichte observes that at the heart of Hermann’s notion of performance and the specific aestheticity of performance lies the insight of performance as an event. Hermann does not consider performance to be a representation or an expression of something previously given, rather it “describes a genuine act of creation: the very process of performing involves all participants and thus generates the performance in its specific materiality”.

Hermann (1930 cited in Fischer-Lichte, 2008, pp. 33-36) values the physical, the actor’s moving bodies, over the dramatic text and the visual aspects of theatre, constituting the fleeting materiality of the performance as the main source for the “creative” activity of the audience. Thus, he shifts the focus from the fictive characters in their fictive world brought forth by the acting at the same time rejecting the bodies as mere carriers of meanings. Hermann foregrounds the materiality of the “real body” and the “real space” setting the performance in motion and the “secret empathy”, the synaesthetic perception, making the audience to reproduce the same actions and sharing the physical sensation.

The following three definitions both summarize the former knowledge and describe (dance) performance as I adjusted to understand it during my research process. Each of them illustrates the concept from a slightly different angle, thus complimenting each other. Renvall, Tawast, and Ahonen (2007, p. 5) present dance performance as a silent agreement between producers of dance, who define their piece of art as dance, and spectators, who attend the performance and agree to see it as dance. McKinney and Butterworth (2009, p. 175) suggest that “Performance happens at a given time and place for a group of people. As such, the experience of being there, the emotional and sensory engagement that occurs in the immediacy of the performance is crucial.” Fischer-Lichte (2008, p. 38) argues that the self-referential and ever-changing feedback loop generates and determines the performance, thus making the performance spontaneous and unpredictable to a certain degree.

While the concept of performativity is crucial for the understanding of costume as an event, I shall further discuss the notion in the fourth chapter.

79 3.5 The conflict in worldmaking

Before moving on investigating alternative approaches to costume design in contemporary dance in the fourth chapter, I assemble the produced knowledge on the frameworks of dance costume that I have presented within the third chapter. Based on the knowledge, I propose the linear costume design model as the normative model for designing costumes. I conclude discussing the linear costume design model in the context of contemporary dance, especially that according to the ontological paradigm of dance (Monni, 2004). I shall argue the difference between these two approaches as the decisive factor to establish the conflict in their worldmaking. This knowledge constitutes also the conflict, between my understanding of dance as a costume designer and the understanding of dance according to the ontological paradigm (Monni, 2004) that I experienced in Colour, colour.

The different modes of representation could be described as a valid means for meaning making through costumes and as a tool defining the worldmaking of the whole performance. I propose the linear costume design model could be understood to constitute the normal costume design process for mainstream theatrical production. I suggest that this model consists of the artistic pre-production model and the semiotic way of thinking together with the metaphoric comparison as the means of the meaning making in theatre. I further suggest that the normative conception of costume is defined as an artefact worn by a performer onstage in order to contribute to the portrayal and representation of the character. Moreover, costume is considered as the costume designer’s tool transmitting the pre-destined meanings to support and serve the acting and the overall theme of the performance. I propose that the linear costume design model might work in the context of text- based drama and musical productions.

The concept of contemporary dance is wide and many-valued. The aesthetic and the ontological are established as the alternative paradigmatic approaches to dance. I suggest that according to popular apprehension the idea of aesthetic paradigm could be easier to comprehend. I propose that costume for dance following the aesthetic paradigm, like costume as described earlier, is an expressive and aesthetic object, which could be expected to support the overall theme of the performance and the characters’ roles. Moreover, dance costume could be considered a sign transmitting costume designer’s messages both on its own and when connected to the performers moving body. The performer’s movement is described to influence the creation of a dance costume and a dance costume is assumed to enhance the dance movement. While the universal, normative and metaphoric modes of representation and signification might work for dance following the aesthetic paradigm, the linear costume design model might be applied.

80 I suggest that the ontological paradigm of dance that emerged through the postmodern dance of 1960s constitutes part of (the present-day) contemporary dance. The thought of dance as a durational, temporal bodily experience together with concreteness of the movements bearing the meaning creation of dance culminated the influence of the minimalist art of 1960s on dance, thus suggesting the shift from a dance performance regarded as a complete singular aesthetic whole to experienced as an event. Thus, instead of discussing the creation of meanings, the concept on the emergence of meanings should be introduced. I propose that the particular, subversive and metonymic approaches together with the mode of reflection are considered as valid means and as the most typical approaches in dance following the ontological paradigm. Thus, the linear costume design model is not likely to work within a contemporary dance performance, and the alternative working models should be considered. The audience’s decisive position in the process of performances to become meaningful promotes the idea of regarding the performance as an event.

Renvall, Tawast and Ahonen (2007, p. 9) suggest that part of contemporary dance could be described to prefer movement instead of visuality, such as costumes, sets and lights, thus emphasizing not the virtuosity of movement but the idea of movement as material. Milla Martikainen (2013, p. 86) also presents the idea that the form of a performance defines its content. Thus, instead of understanding the theme or subject of a performance as the content, the idea renders them tools among the other tools.

When reviewing the costume design process for dance the costume designer Marja Uusitalo, (2005, p. 70) argues that comparing theatre with dance is pure madness. She suggests that these two categories of performing art are distant to each other. She describes designing costumes for dance to coincide with orienteering in the bushes without a map with the help of stars and winds.

I consider the difference between the worldmaking of me as the costume designer applying the linear costume design model and Colour, colour as the performance following the ontological paradigm as the cause for the state of bafflement that manifested inColour, colour. While I became aware of this paradigmatic dilemma and understood the present-day choreographers’ wish to follow the ontological approach, I decided that I had to challenge my costume design processes and understanding of costume.

81 4. The approach of performance designer

In the fourth chapter, I exchange the viewpoint of the costume designer for the one of the performance designer. While I concluded the third chapter considering the linear costume design model as an invalid method for working in contemporary dance following the ontological paradigm (Monni, 2004), as an answer to the conflict, I start investigating alternative approaches to costume design in contemporary dance following the insight of the ontological paradigm. I present and discuss the results of my research in the context of the theoretical insights of my literature, the experiential knowledge through PLAY and the understanding built during the interviews.

Dorita Hannah (2014, p. 29) states that over the past century theatre design discourse has proposed the more contemporary notion of performance design as the interplay of shifting perceptual dynamisms from spatializing time to temporalizing space through the dynamic event. While Hannah (2014, pp. 16, 18) regards performance design to adopt performance theory, she describes “performance design, as the discursive practice of designing performances and performing design”.

4.1 The changed role of audience

Within this section, I further address the notion of performance together with the discussion of the audience’s changed role as co-creator and emerging meanings in the performance and present the concept of semioticity.

Erika Fischer-Lichte (2008, p. 18, p. 22) stresses the insight (defined by the performative turn) of a work of art no longer existing independently of its creator-subject’s activities entrusted to the perception and interpretation of the recipient-subject. Thus, the changed conditions for art production and reception occurring at the same time and place make production, work and reception inseparable.

Renvall, Tawast, and Ahonen (2007, p. 4) argue that in order to be regarded as a work of art, a dance necessitates an audience that turns the practiced work into a performance. While each member of the audience experiences and interprets the dance performance differently, the team producing the performance cannot predict and direct the reactions and sentiments within the audience.

82 4.1.1 Shared authorship

In this section, I contemplate how the theory and practice met in the context of my artistic practice within PLAY. I try to find out if an open form of the performance could make its audience more involved with the art piece or if participatory means are needed to influence the audience’s possibilities to share the feeling of being a co-creator. I observe the subject as discussed in the responses of the spectators in the interviews (Appendix B) and in Fischer-Lichte (2008).

According to what you experienced when watching PLAY, who was the author of the performance? Could you justify your view?

These were the questions I posed in my interview to test in practice the theories of spectators as authors. Before I start reviewing the results, I have to acknowledge that most of the interviewees admitted being aware already in advance about the process-based collective production method of the performances in the TAKO course. On the other hand, as I already stated, I wanted to conduct the interviews among professionals.

Because of this, I was not surprised that 24 respondents (Appendix B, pp. 14-20) as the majority out of a total of 33 did not hesitate to acknowledge the shared authorship between all the members of our working group: the choreographer, two dancers, costume, lighting, and sound designer. In the arguments justifying the interviewees’ views, I mostly witnessed words like coherent, process and consensus. Some of the respondents stated: The collective touch was evident in the result. Impossible to say who was responsible for making choices and how they concluded. I could not define which of the elements was dominant. Everything was in balance. Everyone seemed to be doing the same performance. All the elements strengthened the emerging meaning of each other.

A very dense composition, yet the strong elements of each member of the group were traceable.

Whereas four out of this majority of respondents still pondered the possible initiative role of the choreographer, thus they wanted to emphasize her role. Only one among them declared: “In a dance performance my prejudice is normally the choreographer, but this time the visuality impressed me, so I vote for the group.” Another participant who believed in the power of the whole group said: “The performance very clearly witnessed the presence of multiple authors, yet the other elements were submissive to the choreography.” This participant evidently wanted more equal possibilities for each area of performance.

While 7 spectators out of the 33 interviewees named the choreographer as the author, yet they admitted the valuable role of the other members in the group in creating the performance. These spectators justified their opinions by saying:

The performance was based on the composition of movement.

Even though all the elements led to the same direction and created a comprehensive work of art, I came to see a dance performance and for me it means choreography. 83 The movement informed me the most, the other fields strengthened and emphasized the message in it.

The choreographic composition was the centre of the performance, to which the other elements were attached.

There is always the great responsibility of the choreographer.

The choreographer is usually the initiator.

The last two spectators continued their responses by saying: “This might be a prejudice, but that is still my answer.” The respondent who preferred the choreographer to be the only author explained: “Even though perhaps not all the choices were made by the choreographer, dance was well composed with the other elements and the choreographic decision were evident and because it was a dance performance the thanks goes to her.” Thus, this sole respondent expresses her/his consideration of the choreographer as an auteur. As a contrast to this, one interviewee among the majority of the respondents who favoured the shared notion stated: “The definition of a solo work: a choreography performed by the choreographer in person, on a stage, in a costume, in lights and to sounds by the same choreographer.” Thus, she/he considered the notion of auteur choreographer nearly impossible.

Though only three arguments favoured the dancers as authors, I suggest that they reveal the dancer’s role among typical features for contemporary dance. A single participant brought up the idea of the dancers being the main authors and stated: “The dancers enabled the performance to occur and breathe.” Furthermore, two other spectators saw the dancers as co-creators and argued: It is not possible to force the dancers to move against their will.

The dancers must have been part of choreography making process also.

Only one person directly named me as the co-creator by explaining: “As performances usually are set designers’ pieces, this performance was very much a costume designer’s piece. Still, I would say that the author was choreographer.” Another interviewee commented on my contribution quite differently: “Evidently a collective work: white male underwear, t-shirts, and briefs. It is not possible that the costume designer brought them in, thus it must be the result of the process.” Neither were the other two designers directly mentioned but once, while one respondent mentioned the lighting designer as the co-creator by emphasizing “the dramaturgy of light”.

Only 3 of the 33 participants caught my attention and expectation of maybe sharing the wider understanding of the term author. In two comments, the message was the same: “The author can be traced by the meaning making, where the strongest meanings emerge you can find the author.” Thus the two interviewees attached the terms author and meaning to each other, and I agree with the connection. They connected the emerging meanings with the phenomenon (i.e. the locus where the meaning emerged, such as the movement) and thus named the choreographer as the author. In addition to these two respondents, one spectator responded differently and believing in multiple authors articulated: “There is never one author, each member of the group nourishes the process by sharing the topics valuable to themselves is an author.”

84 4.1 The mind map presents the multiple associations within the audience brought forth by the performance PLAY.

Only 2 of the 33 interviewees directly mentioned that they as spectators generate meanings, thus making themselves agents of authorship. While one of them used the term co-creator and brought up an idea of the audience’s bodily experience in creating meanings, the other emphasized that the performance happened in the coming together of the audience and the work contributed by the group, followed by the comment of not being able to detect the hierarchy of the group. Even though the majority of the respondents admitted that they enjoyed the performance and it affected them, only two felt themselves to be co-creators. Why so few?

What kind of thoughts came into your mind when watching PLAY? Why? Where from did these associations arise?

These were the other questions concerning the authorship that I asked the interviewees in my survey. The participants (Appendix B, pp. 6-14) told how they experienced different elements of performance and described their feelings. Everyone mentioned “war” or thing related to it, such as warriors, soldiers, US army, military training, paratroopers, uniforms, military underwear, war, black and white war movies, and the (Finnish) Winter War. I suggest these interpretations were based on the 1500 toy soldiers used in the set detected immediately as symbols of war without a possibility to be seen otherwise. Nevertheless, many very different details were in the respondents’ otherwise identical readings. 85 Nevertheless, within the overall war-related or masculine view, the interviewees’ responses also brought forth very different details, thus indicating sub-divisions. I detected and listed the three thematic structures with related examples: Control, violence and power: “concentration camp, prison, secret agents, and action men” Little boys and adolescents: “little boys in diapers, boys playing boyish games, war or computer games, sports, wrestling, contact sports, and contests” Miscellaneous: “Vladimir Putin, posing on catwalk, vogueing, homoerotic, and bondage”

Moreover I heard many bigger scale themes concerning today’s society and the male role. The responses made visible that the influence of each spectator’s own memories and their lived past were obviously present when sharing their readings.

Based on all these observations, I suggest that the experiences the spectators shared with me proved that their reception of the stimulus was unique and contextual. Though the frame or the start of each story resembled each other, the continuation and ending of each depiction was unique. Why then did not all of the interviewees feel themselves authors or co-creators of the performance? Why only two? For me, this is not enough. I would definitely add the spectators to the list of co-creators together with the rest of the performance group, especially when the participants proved to be able to create a different content for their depiction. I have to remind the reader that all of the interviewees were somehow active within the field. Was the wider notion of authorship still unknown to them? Or did the theory of shared authorship not work in practice? While the only reasonable word in the Finnish language that I could figure out was “yhteistyökumppani”, though the meaning of the word suggests the word “kanssaluoja”. This made me wonder if the word co-creator even exists in Finnish. Maybe the performance should have included participatory elements in order to turn the audience into co- creators. However, these observations provided me with valuable insight into the creation of the performance.

When talking about the transformative power of performance, made possible by the performative turn, Erika Fischer-Lichte (2008, pp. 17-18) emphasizes the feedback loop of performance redefining both the two relationships of fundamental importance to both hermeneutic and semiotic aesthetics (where every aspect of a work of art is seen as a sign). The first re-definition is the transformation of the subject-object relationship, the reversal of the roles between observer and observed, spectator and performer. The second follows from the first, due to the change of the clear distinction between subject and object, thus transforming all participants as co-subjects, changing the relationship between the materiality and the semioticity of the performance’s elements, between signifier and signified. Rather than leaving the spectators to merely perceive, feel, think and interpret a distinct object, the performative turn involves everyone present in a situation of here and now triggering reactions that motivate further actions. Thus, the process is made oscillatory, where all the co-subjects (by acting) contribute to the meaning making (by attaching varied meanings to the elements of performance at the same time not able to control the possible meanings that their actions might carry).

While suggesting that it is essential to pay attention to whether role reversal (the change of roles between actors and spectators) really happens or recreates the old in a new guise, Fischer-Lichte (2008, p. 41) states that in her view the answer still remains unclear. She quotes Richard Schechner (1973 cited in Fischer-Lichte,

86 2008, p. 41) discussing the potential for participation to occur at those points where the play stopped being a play and became a social event and when spectators felt they entered the performance as equals. As an example of the democratic model, Schechner refers to spectators joining the performance and doing what the performers were doing.

Fischer-Lichte (2008, pp. 47-50) refers to various performances from 1960s onwards and suggests that framing the performance in some way out of the ordinary might suggest different perceptions and offer the spectators various possibilities for becoming actors. Making a variety of framing devices to collide within the same performance e.g. different event types, could put the audience in situations where they could not react “automatically”, according to a set of given rules or be sure and determine the genre in case, thus making the reading of the performance hard for the audience. In addition to that, Fischer-Lichte reviews altering the normal proscenium model with the darkening of the auditorium dividing spectators and actors, incorporating methods from performance art such as non-traditional performance spaces, introducing aberrant bodies onstage, infliction of violence onto the performer’s body and offering fresh approached to narration. She considers these acts as not only visible and experienceable but negotiating processes of democratization and implementations of civil rights or redefining relationships within the given community.

4.1.2 Semiocity

In this section, I introduce both the concept of semioticity as discussed in Fiscer-Lichte (2008) and the concept of kinaesthetic empathy as discussed in McKinney and Butterworth (2009) and Monni (2004) in order to revisit the emergence of meanings.

Erika Fischer-Lichte (2008, p. 138-140) states that the members of historical avant-garde abandoned the literary theatre and thus theatre and performance artist since the 1960s have resigned from the model of transmission of predetermined meaning to the spectators. At the same time they refrained from the model where the production of the performance was reserved to only one segment of its participants, the producers and performers, while the spectators as partakers were left as receivers. Their approach with the bodily co-presence of actors and spectators has restricted performers to emitting sensuality and materiality to the individual spectator generating meaning on the basis of this materiality, thus according to Vsevolod Meyerhold (cited in Fischer-Lichte, 2008, p. 139) defining the spectators as “co-participant[s] and creator[s] of new meaning”. Fischer-Lichte sees that the artists have ever since examined how meaning is generated in performance.

87 Fischer-Licte (2008, pp. 140-143) discusses that by disconnecting individual theatrical tools from their larger predetermined contexts (the logic of action and psychology together with all causal interconnection) these elements appearing onstage can be described as emergent phenomena. Fischer-Lichte states that:

“…meaning is generated in and through the act of perception…” “To perceive something as something, means to perceive it as meaningful.“ “To perceive theatrical elements in their specific materiality, is to perceive them as self-referential and in their phenomenal being.”

The thing’s materiality adopts the meaning of its materiality (phenomenal being) given in it when perceived by the subject. Thus, the materiality does not act as a signifier, but as signified. Perceived in their specific materiality these elements appear de-semanticized, as they refer to themselves, thus triggering associations, ideas, thoughts, memories and emotions in the perceiving subject, enabling the connections to various other phenomena. This mixture of isolated materiality of various elements effects a pluralization of potential meaning. Fischer-Lichte makes a difference between emerging meanings, as unconscious, inexplicable and unmotivated, and an intentional process of interpretation. Interpretation depends on searching for meaning, which according to some criteria might match, while associative meaning merges without intention and effort, even against the will of the subject.

Fischer-Lichte (2008, pp. 144-146) suggests that the isolation of the various theatrical elements (in performance since the 1960s) gives rise to two very different types of perception and generation of meaning. The one suggests that the phenomenon is perceived as what it appears, so that in it materiality, signifier and signified coincide. While the other argues that they diverge from each other, and the phenomenon is perceived as a signifier that can be linked to various signifieds. Fischer-Lichte refers to Walter Benjamin and observes that these acts of perceiving and generating meaning reveal parallels to Benjamin’s art theory and his concepts of “symbol” and “allegory”. Fischer-Lichte suggests that the notions constitute a binary opposition that appears to be mutually exclusive. However, in the context of performance, the subject’s perception of a phenomenal being followed by the related associative generation of meaning (through the process of emergence) able the switch from symbolic to allegoric at any moment.

While defining presence as a process of consciousness articulated through the performer’s body and sensed by the spectator’s body, Fischer-Lichte (2008, pp. 98-101) emphasizes that through the performer’s presence both the spectator and the performer experience themselves as embodied minds in a constant process of becoming. Fisher-Lichte states that rather than make something extraordinary appear, presence, as an experience of the other and oneself as embodied minds, allows ordinary existence to be experienced as extraordinary by bringing forth the real, material physicality of the human body. This concept of presence requires the idea of

88 an embodied mind and therefore can only be connected to human beings. Maurice Merleau-Ponty’s (1968 cited in Fischer-Lichte, 2008, pp. 83) contribution to the term “embodiment” is the one generally used today. He sees that through its “flesh” the body is always already connected to the world, thus any human grasp on the world occurs through the body as embodied. Embodiment creates the possibility for the body to function as the object, subject, material and source of symbolic construction and the product of cultural inscriptions (Fischer-Lichte, 2008, pp. 89).

Fischer-Lichte (2008, pp. 147-148) emphasizes that presence is not equated with authenticity and at the same time, the opposition to it is not representation, as was for long considered in the aesthetic theories. Both presence and the dramatic character are brought forth through the processes of embodiment and are bound to the specific corporeality of the performer who engenders it. Yet they are not the same thing, even the process of embodiment is the same. While I within the previous sections discussed, perception can switch during the act of perceiving. Thus the difference between presence and representation as various kinds of embodiment is a result of perception.

Helmut Plessner (1982 cited in Fischer-Lichte, 2008, pp. 48-49) states that performers make their artwork out of the use of their own body, “the material of one’s own existence”. Both generating and perceiving corporeality in performance depend on processes of embodiment (whether they bring forth the character or not) and the phenomenon of presence (Fischer-Lichte, 2008, pp. 76-77, p. 90).

When introducing the idea of perceptual multistability as an emergent phenomenon, Fischer-Lichte (2008, pp. 148-149) attaches it to the performance since the 1960’s (which use a range of strategies that seem to enable it) rather than the realistic-psychological performance. She states that according to the current state of knowledge, perceptual multistability causes sudden shifts in perception, e.g. one order establishes the actor’s body as bodily being-in-the-world, while the other the actor as signifying a character. These produce discontinuity and leave the perceiving subject between two orders of perception, in a liminal stage of “betwixt and between”. The meanings of the first perceptual order of presence are conceived as pertaining to reality, while those of the second order of representation denote a fictive world or symbolic sphere. As the meaning that the perceiving subject attaches to the object’s phenomenal being generates a chain of associative meanings, a single order of perception cannot be stabilized. The perceiving subjects realize that the shifting meanings depend on the change, timing and frequency of these shifts and become aware of their role in the process of bringing forth the meanings.

89 Fischer-Lichte (2008, p. 141, p. 151) defines meanings as states of consciousness through conscious perceiving, perceived as something. Thus she regards sensations and emotions as meanings articulated physically, of which the perceiving subject becomes aware through their physicalization.

Bernard Beckerman (1979 cited in McKinney and Butterworth, 2009, p. 179) suggests that “we absorb the segmental pattern of presentation kinaesthetically rather than perceive it focally, that is, we absorb it through our muscles as well as our minds”. This idea is developed from Michael Polanyi (1967 cited in McKinney and Butterworth, 2009, p. 179), who describes how the whole body is involved in viewing. When viewing an object, we incorporate “it in our body – or extend our body to include it – so that we come to dwell in it”. Kinaesthetics could be defined as tacit and embodied understanding. Furthermore, Kirsi Monni (2004, p. 270) discusses the notion of kinaesthetic empathy and argues that while watching dancing the spectator’s kinaesthetic sensing allows the dance movement to become meaningful as tuned through the spectator’s kinaesthetic memory.

While the awareness of the audience as one of the co-creators through the knowledge of performance theories is considered, I suggest it affects the preparation of performance and changes both its content and form. Accordingly, performances are designed to happen here and now including e.g. interruptions in perceiving by letting reality “disturb” the illusions onstage, contacts with the audience through touch or gaze, the use of open form performances, participatory or draft-like elements to emphasize the shared authorship and one of a kind experience.

4.2 Collective working methods

In this section, as an option for the normative role of costume designer, I present the use of collective methods, such as the devised or process-based methods, as the valid working models. I continue to introduce the approach of the performance designer as an equal and all-embracing attitude and position within the team. I redefine the notion of costume through the intrinsic connection between costume and performer by presenting the concept of costuming as an act of wearing.

To clarify what to be seemed central thematics in collaborative or collective working methods, I present the notion of aestheticity and move on to investigating the distribution of power both within the performance and among the players when planning the performance as discussed in Fischer-Lichte (2008).

Erika Fischer-Lichte (2008, p.161-164) discusses the concept aestheticity as contradicting the traditional convictions of an aesthetics rooted in the work of art with its creator, the artist, as the omnipotent figure. Moreover, the same subject is approached and presented as the ontological approach as an alternative paradigm to that of the aesthetic (Monni, 2004). The aestheticity of performance in its uniqueness and singularity 90 emerges in the ephemerality of the event. Fischer-Lichte describes performances as events through which the performance artists create specific situations, to which they expose themselves and the spectators. By creating situations, which make predicting the further development of performance difficult, the artists make the audience aware of their responsibility in the event.

When stressing that in order to make the role reversal successful, Fischer-Lichte (2008, p. 50) suggests that artists have to relinquish their powerful position as sole creators and agree to share the authorship. Thus, it can be seen as the interplay of disempowerment and empowerment from either performer to audience or other way round.

Fischer-Lichte (2008, p. 50) describes performances elusiveness. Because they are defined by a self-generating and ever-changing autopoietic feedback loop, they cannot be understood to express pre-existing meanings or intentions. “Self-generation requires the participation of everyone, yet without any single participant being able to plan, control, or produce it alone.” Thus the division between producers and recipients becomes difficult. Through their action and behavior, the participants constitute elements of the feedback loop, which generates the performance and brings forth the spectators and actors. Fischer-Lichte stretches the term elusiveness and states that it also disputes the possibility of performances being planned, for they always stay unique and unrepeatable.

In generating the feedback loop, Fischer-Lichte (2008, pp. 51-60) emphasizes the important role of the creation of a community out of actors and spectators based on their bodily presence. She describes several ways of creating a community e.g. the use of socially integrated locations instead of traditional theatre buildings, collectively performed ritual or communal feast, physical contact. These conditions created for perception, through e.g. spatial arrangements or certain types of embodiment, transform the spectator into an actor even before role reversal occurs, as the opposition between acting and observing collapses. As perceiving subjects, spectators are always already actors, thus influencing the action by responding to the performance experienced.

While emphasizing that the concept of staging (mise-en-scène) must be clearly distinguished from the concept of performance, Fischer-Lichte (2008, pp. 47-48) states “the term staging comprises a concept and a plan, devised by one or more artists and evolving through the rehearsals process” that she sees as a slightly different feedback loop. Thus, Fischer-Lichte (2008, p. 164) distinguishes between the preparation of performance and the actual performance. Her theories deal with the performance itself. However, she states that the rehearsal process establishes crucial guidelines for the perception of the performance.

I suggest that the division of the participants within the team working in the pre-production of a performance to the ones planning and the others performing should be forgotten, while the equal distribution of power as well as the building of a firm and vivid community in order to promote the nourishing feedback loop should be favored. 91 4.2.1 Devised performance

Within this section, I present the devised method as an alternative method for planning a performance as discussed by Schechner (2013), Bicât (2006; 2012), Martikainen (2013), Hannah (2014) and my interviewees (Appendix B). Moreover, I present the experiences that were brought forth by my artistic practice.

In the previous chapter (in the section 3.1.5 Dynamics in the working groups) I brought up Richard Schechner’s configurations of the dynamic relationship among the players of performance. The mode leaving all connections between the players potentially available, Schechner (Schechner, 2013, p. 251) presents as the performance quadrilogue. The configuration of this mode is a rectangle, with every player connected to every other player, thus theoretically giving equal weight to all connections.

4.2 The performance quadrilogue presented in Schechner (2013).

Tina Bicât (2006, p. 38) defines devised performance as a performance invented through experiment by the company. The idea is to make use of the rehearsal period to create the performance. In Bicât’s (2012, pp. 10- 13) definition of the devising process even finding the funding for the performance is included. For my study the most interesting part of the process is finding the idea, sharing it, doing the research, development of the concept and finalizing the performance through rehearsals. She emphasizes the devising company making decisions collaboratively, thus the costume designer’s vision encompassing the whole production, not only costumes. Bicât (2012, p. 26) stressed that everyone is there to work for the final performance, to invent and share responsibility. She suggests that the strength of the devised method lies in the way the performance develops in preparation and rehearsal determining the appropriate ideas. Bicât (2012, p. 45) brings up the power of devising as the whole team “will be creating their own ideas based on the same body of research and discussion” inventing a dozen ideas from the same source, thus resulting in the emergence of new information and the progress in the project.

Bicât (2012, p. 12, p. 31) suggests the costume designer, as likely as anybody, to start the process and having the opportunity to contribute to the work of the company through the process by inventing and presenting suggestions and solutions. Bicât (2006, pp. 124-125) introduces the opened up and expanded role of costume designers (not a new development), as generators of ideas, rather than dressers. This idea of participation is attached in collaborating with the rest of the team, as an inventor and initiator in the rehearsal room during the whole process and especially when the devised method is applied. She describes working in an environment, where decisions become more public, demanding with long dialogues and establishing trust and good working relationship within the team (Bicât, 2006, p. 128). Bicât (2006, p. 126) envisages the designer “bringing food 92 for the imagination rather than specific information for the performer”. The use of unfinished ideas as stimuli instead of complete object or costumes allows everyone freely play and re-invent multiple possibilities leading to more fruitful interaction and interplay within the team.

As equipment for invention or devised method Bicât (2012, p. 19-29) suggests: sketching in rehearsal room, body’s movement as source, the use of different rehearsal costumes, early rehearsals as playground, workshops with different ideas, the assortment of clothes for costumes, improvisations, experiencing and developing the ideas of costumes within the rehearsals, stand-in costumes used as clues for designer, close relationship and connection with performers.

Milla Martikainen (2013, pp. 20, 26, 67) discusses the method of shared authorship as the state of co-existence of the working group, which allows the emergence of multiple voices as the key factor when planning the performance. She describes devising as an atmosphere of trust that makes the participants to produce interesting things in a short period of time. Thus, the working is efficient with different aspect multiplying the result and playing each other. Moreover, Martikainen considers collective working as a valid means to produce spatiality, to live the process of making a performance and to participate in its worldmaking. When reviewing the importance of the method, she suggests that the collective working renders the process and the surrounding world as porous while considering time and change. Martikainen presents different methods of tuning the mind-body, such as the use of score, in order to produce material or practice some skill in contact with the surrounding world. She observes that in devising within a given frame, the participants give up their own control for something otherwise unnoticeable to occur. As an example regarding costumes, Martikainen (2013, p. 114) presents things happening on their own: costume design evolving for the performance, thus taking its form. The coats that were used already in the first scores evolved into fake fur coats. She states that the choreographer had already used a fake fur coat both in her score within the rehearsals and in her previous solo work. Followed by intuition and through experimenting in scores, the coats seemed to produce something right for the performance. Thus, the coats became part of the performance.

Bicât (2006, p. 128) suggests that within the collective method the costume designer faces the fact that “the ideas the company produce must be considered and may be absorbed into the design of the costumes”, thus the whole company will be credited for their contributions. On the other hand the designer’s talent is acknowledged as a co-creator of the whole performance.

In order to shape and define new areas of scenographic consideration, Dorita Hannah and Olav Harslof (cited in McKinney and Butterworth, 2009, pp. 196-197) use the term Performance Design to examine how scenography might be considered in conjunction with other artists and designers who work to “transform the public domain with fleeting, time-based interventions that comment on our contemporary condition”. Hannah and Harslof state that examples of work establishing new possibilities for scenography are often collaborative. Hannah (2014, p. 29) suggests that designers have not only become instigators of and collaborators in the event as a critical reciprocity between theatre and quotidian life but actively present performance-artists. 93 Based on my experiences in Colour, colour and PLAY, I would describe the process of planning the performances as process-based. With this, I mean that the performances were built on sharing of ideas, thus not on a script, choreography or any other beforehand existing element. This does not prevent the various artists within the team from having initiative of bringing in their own interests. Accordingly, the choreography was created while sharing movements and talks. As in Colour, colour this was new to me, I expected the choreographer to act more auteur-like. In PLAY as members of the team, we did not cross all professional borders, even though we talked about all of us joining the actual performing. Moreover, according to the results of my interviews (Appendix B), the costume designers within the other TAKO groups consciously or unconsciously applied several methods that I consider devised methods, even though the whole teams did not necessarily use devising. I think they all were somehow driven by the need to experiment and make their work integral part of the whole.

For me this suggests a shift from the role of the costume designer, no longer needed in present-day performances, towards a totally different role that of the performance designer. The approach of the performance designer promotes an inspiring collective method that enables the feedback loop within the team together with a chance for not-planned actions and impressions to happen.

4.2.2 Costume and performer

Within the third chapter I already presented the normative definition of costume as an artefact. To be able to establish costume becoming meaningful as an event, costume and performer should be considered together. Accordingly, I investigate costume as discussed in Bicât (2006; 2012), Uusitalo (2005), Monks (2010), Pantouvaki (2011) and Helve (2008) and in so doing aim to make closer interlinks between the performer and costume.

The performers always notice their costumes, it is an important part of their creation of the character (Bicât, 2006, p. 17). Tina Bicât (2012, p. 41) suggests that the performers are the only ones really able to ‘know the way their bodies need to feel’ and the observations during the rehearsals will reveal many things, especially those concerning the practicality of costumes. As the outcome of collaboration with the performer during the process, Bicât (2006, p. 128) mentions the performer being more confident in the final costume that is embodied with the influences of the performer’s own body, act and movement. Bicât (2012, p. 12) brings up the idea of creating more ideas through playing with the costumes. She emphasizes the performers being capable of showing the designer “depths and movement in costume” that might surprise the designer. However, while reminding of the situation, when the designer observes the process from the outside, she suggests that it might bring forth possibilities otherwise disregarded.

94 4.3 The collage presents the dancers in Tyvek overalls in the course of the devising for the performance PLAY.

Marja Uusitalo (2005, pp. 72-73) emphasizes the importance of getting to know the team members and gaining their confidence. She welcomes and values all associations and moods rising from the costume designer’s own kinaesthetic understanding when watching the rehearsals during the design process. Moreover, she ponders the role of concreteness in the design process. Uusitalo presents the collaboration with a dancer as a useful tool to reveal the costumes functionality.

Aiofe Monks (2010, p. 10-11) refers to the theories of the wider fashion system, which argue that clothing anchors and produces the social body, and embeds that body within a web of social and economic relations. Thus, she suggests that theatre costume (she uses the notion theatre costume, and I read it as stage costume) produces the body of the actor. She defines the notion of costume accordingly: “Costume is that which is perceptually indistinct from the actor’s body, and yet something that can be removed. Costume is a body that can be taken off.” Besides “making the actor’s body possible”, Monks (2010, pp. 3, 12) states “that costume does far more than decorate the surface of the body”. Costumes “shape identity and form bodies”. She wishes 95 to discuss ”costuming rather than costume: not about dress, but rather about its uses, perception and effects in the relations between the actor, the costume and the audience.” According to Monks separating actors from their costumes makes us think of costumes merely as artefacts and actors as living paper dolls. She argues that it is the complex act of looking by the audience that counts.

While argueing that the effects of costuming can only take place when interacting with the actor in costume, Monks (2010, pp. 7, 20, 33) claims that the actor should not be taken as given or finished real object, but as a series of practices, as a process. She suggests that while actors practice their own bodies by wearing and using costumes, at the same time, their bodies are worn and used by costumes. Monks states that we approach, imagine, experience the actor’s body and our own body by taking account of the social frameworks. While discussing that dressing-up does not only transform the actor’s body but also the psyche, Monks (2010, p. 14) suggests that changes to the exterior have interior effects. She observes costume both as a means for the spectator to gain imaginative access to the actor’s body and a means for the actor to access the world of the performance (2010, pp. 20, 30).

Monks (Monks, 2010, p. 140) points out the duality of costume: while considered as a sign of the theatre, it is a vanishing act bearing the traces of lost performance and lost bodies but as an uncanny, removable and reusable object, it remains hanging in the wardrobe after the performance period is over. The stock theatre wardrobe has always recycled costumes in subsequent productions, retained or remade, altered in new forms from performance to performance. Monks states that this presents costumes after all as removable objects with seeming autonomy from the body of the performer, thus costumes having their own bodies. The autonomy of these uninhabited costumes is troubling, as they do not tell us about how they were used and what the reactions from the audience were during the performance but rather reveal the costumes in their inherent strangeness. Monks suggests that when we see a performer in a costume onstage, we perceive “the enactment of costuming: the peculiar conflation between flesh and dress and presence”.

Furthermore, Sofia Pantouvaki (2011, pp. 109-110) considers that costumes can exist, as they are, only in the context of a performance, when connected to the other elements in the whole of a performance. For costumes in display that is in the context of exhibition, Pantouvaki (2011, p. 110) detects three characters: a visual, a notional and a physical one. She further describes the physical approach to be concerned with the costume as a material object and with its textuality. While Pantouvaki discusses the three characters for costumes mentioned above, I read the visual as aesthetic, the notional as semiotic and the physical as material. I consider Pantouvaki to be aware of the enactment between the performer and her/his costume. However, I suggest that while Pantouvaki discusses costumes in display, she does not acknowledge the performative potential in costumes to a sufficient degree.

When Tua Helve (2008, p. 63) reflects the results of her thesis, she acknowledges an understanding of the audience’s role in the meaning creation. However, as her thesis approaches costume as an expressive and aesthetic artefact, she does not further address the audience’s role. 96 While Uusitalo (2005, p. 75) discusses the role of movement when designing dance costumes, she suggests that accenting and enhancing the dancer’s movement with the costume may not always be deliberate. Uusitalo argues that as the costumed dancer forms the constant unity with one’s costume, the dancer’s movement thus results in the movement of the loose parts of the costume. Moreover, she introduces the importance of the material aspects in costumes, including the amount, quality, colour, energy, and nature. Within the whole of Uusitalo’s article, I read her thoughts as regarding the emerging materiality of costume.

I agree that it is impossible for the performer to fully understand the visual effects of the performance while performing. Accordingly, to share insights, designer’s eyes looking at the performer’s body are needed as much as shared bodily experiences during the rehearsals. The concept of costuming allows multiple, contradictory and uncanny visions emerge in the exchange of looks between the costumed actor and the audience (Monks, 2010, p. 143). As the decisive factors to redefine costume, I share both the audience’s act of looking and costuming, read as verb rather than noun, with the active thought of dressing-up, act of wearing or act of embodiment.

4.3 The changed role of costume

I continue to investigate the role of costume in connection with the audience and performer by discussing the materiality and perfomativity. I approach the use of costume through the emphasis on experiencing costumes in the course of performance as an event, i.e. as costuming. Furtheermore, I introduce performativity and materiality to costumes as costumeness. I conclude the fourth chapter by revisiting the costuming process in my artistic practice in PLAY.

The changed performance, regarding it as an event constituting the interaction between spectators and producers as equal partakers, requires adapting another perspective considering the materiality of costumes and leaving the notion of meaning to live a life of its own. After all the costumes only exist when someone is wearing and using them, thus the materiality and performativity of costume makes a difference in connection to a performance happening in front of an audience (Monks, 2010, pp. 140-141).

4.3.1 Performativity

To further illuminate the idea of costume appearing as an event, the concept of performativity should be discussed as introduced in Fischer-Lichte (2008), Hannah (2014), and McKinney and Butterworth (2009). Moreover, I observe the subject as discussed in the responses of the spectators in the interviews (Appendix B). 97 While John L. Austin (1911 – 1960) introduced the term “performative” to philosophy of language in 1955 and applied it solely to speech acts, the definition of the term did not rule out the possibility of relating it to physical actions (Fischer-Lichte, 2008, pp. 24-25). In 1988 Judith Butler (cited in Fischer-Lichte, 2008, pp. 26-27) introduced the term to cultural philosophy in her text, Perfromative Acts and Gender Constitution: An Essay in Phenomenology and Feminist Theory, in which she argues: “In this sense, gender is in no way a stable identity or locus of agency from which various speech acts proceed; rather, it is…an identity instituted through a stylized repetition of acts.” According to Butler, these speech acts are “performative” and the term “itself carries the double meaning of dramatic and non-referential”. To her, the word dramatic means: “…that the body is not merely matter but a continual and incessant materializing of possibilities. One is not simply a body, but, in some very key sense, one does one’s body…”

Rather than considering costume design purely mimetic, Dorita Hannah (2014, pp. 15, 17) regards costume design as an” active and activating practice, capable of dynamically intervening between body and space”. She argues the concept of costume as “both an action (verb), in which some-one is ceremonially dressed, and the apparel itself (noun)”. Thus, I consider her notion of costume equal to the one of Monks’ costuming. As an example of design performativity, Hannah presents the archetypal garments from our daily lives, such as a red dress, a t-shirt, a kaftan, a veil or a hoodie, as contemporary iconic clothing. When taken from their quotidian role and brought to the stage, she discusses the potential of these universal prototypes to evoke multiple readings as performativity as they abound with abstraction and specificity.

Erika Fischer-Lichte (2008, p. 27) states that performative acts (as bodily acts) are “non-referential” (as they do not refer to pre-existing conditions), as no fixed and stable identity exists that they could express. Performativity, thus stands in an oppositional relation to expressivity. “Bodily perfomative acts do not express a pre-existing identity but engender identity through these very acts.”

As I earlier (in the section 3.4 Performance) brought up, Fischer-Lichte (2008, pp. 32-36) bases her definition of performance on Max Hermann and states: “Performance describes a genuine act of creation: the very process of performing involves all participants and thus generates the performance in its specific materiality”. Fischer-Lichte argues that Hermann’s notion of the performative (avant la lettre) stretches beyond that of Austin and Butler.

Moreover, Veltrusky (cited in McKinney and Butterworth, 2009, pp. 152-153) seems to be discussing performativity when he states: “so that even a lifeless object may be perceived as the performing subject, and a live human being may be perceived as an element completely without will”, reveal the signifying potential for all things on stage. He sees a constant shift of attention, “action force”, between performance’s elements or objects, demonstrating that props are not passive entities that rely on a performer to animate them. Veltrusky (to whom I referred in the section 3.1.2 Costume as a semiotic sign) sees that in semiotic analysis the human and the object are accorded the same signifying potential and states: “It is therefore impossible to draw a line between subject and object, since each component is potentially either.” 98 4.4 The collage presents the dancers in the alternative mundane stand-in costumes in the course of the devising for the performance PLAY.

Next, I review how the subject was met in the context of my artistic practice within PLAY. When trying to find explanations for the concept of performative, these were the questions I asked the interviewees:

Did you find any performative features in PLAY? Were the costumes performative? Could you justify your view? Could you give some example of the notion of performativity?

As I had heard the word performative been used during my studies I was familiar with the term but the concept was still unknown to me. Out of a total of 33 interviewees, 14 respondents (Appendix B, pp. 32-35) were somehow able to discuss the concept and accordingly, some of them stated:

The material and structure of the costumes together with the other elements onstage immediately clued some message or meaning. 99 While as a part of the performance the costumes were strongly narrative, they conveyed me as a spectator to some other place.

On their own, the costumes did not propose anything to me but while put in the contact with the performing bodies, images started to emerge.

As for me, the costumes were extremely narrative and expressive, another choice of costumes would have resulted in a totally different performance.

While costumes always relate to certain background and aesthetic choices, I regard them as intrinsically performative.

While even unconsciously revealing the lived layers of its wearer, costume always acts as a strong message.

As the amount of the previous responses revealed that while the term of performative was unknown to the majority of the participants, the responses (Appendix B, pp. 26-29) to the following questions (that I during the interviews posed before the questions concerning the notion performative), nevertheless, reveal that the content of the concept of performative was known to them.

What was the role and function of the costumes in PLAY? What kind of associations/ meanings emerged through costumes in PLAY? Did these meanings emerge only through costumes? Could you justify your view?

Nearly all respondents besides mentioning the functional purposes of costume, shared their visions of various dramaturgical purposes for the costumes that they as spectators experienced. The same feature of individually connecting their private thoughts to the culturally shared and context-related conventions already became evident through the responses in the section 4.1.1 Shared authorship. Based on these observations, I propose that the idea of the important connection between the costume, performer and the whole of performance is suggested.

During the interviews after having discussed with twenty-five respondents, I became aware of the emerging potential within materiality as the decisive factor for dance performances and thus also costumes to become meaningful. While there were already so many questions within my interview, thus before I gained the awareness (though I had the questions in my list), I did not pose the following questions:

What do the concepts of materiality and kinaesthetic empathy mean?

100 Thus, I received only a few responses and among them only 2 interviewees managed to articulate their views clearly enough to be reviewed here. Both of them (Appendix B, pp. 32-35) considered materiality as something abstract. Furthermore, 4 participants, (Appendix B, pp. 32-35) while discussing the notion of performative, broadened their statements without asking towards performativity and materiality.

While the performative potential of the costumes was not made use of, thus its affect on the audience was not realised.

In a performance, I consider performativity as a non-representational emerging meaning that induces some reaction or affect in the audience.

I understand performativity as the spectator’s reflection on that which is experienced.

Due to the materiality, temporality and spatiality of the costume and the way the costume exists or how it is used, meanings emerge.

4.3.2 Materiality

I already brought up the notion materiality in various connections within the previous sections. As I consider it among the performance designer’s most important tools, I present the notion as it is discussed in Monks (2010) and Fischer-Lichte (2008).

Aiofe Monks (2010, p. 11) encourages the reader to consider the rich possibilities of the costumed actor and reminds that costume does not remain stable or fully knowable. She suggests that we imagine viewing the costume like a kaleidoscope with new effects created out of the same elements depending on the chosen angle. Thus allowing the costume to appear as a locus for meanings or functions, to become an element of set design or a stage prop, to indicate a character or an illusion, to make us wonder how it feels to wear it, to present not only its surface but the composed layers of meaning.

While stating that costumes can be meaningful in various other ways than their significance for the depiction of character and narrative, Monks refers to Michael Carter (2003 cited in Monks, 2010, p. 39) who considers costumes to be also key elements in the business of symbolic exchange. Besides the meanings aroused by the character’s clothes, the audience may enjoy the real actor wearing the clothes. Monks (2010, p. 39) points out that spectators not only see costumes representing clothes on the stage, they see them being used.

101 Monks (2010, p. 121) suggests that costumes always flesh out characters. She presents staging a ghost, dressing the immaterial, as an example of making this process clearly visible. The dress of the ghost at the same time appears to be both a thing and a person, thus creating disarray between the illusion and the real, the ghost and the performing actor. The costume’s apparent indistinguishability from the actor’s body is likely to create fleshliness and presence. Monks (2010, p. 6) brings up the materiality of costumes, sometimes stubbornly remaining in view as a concrete costume or object, refusing to be meaningful. The costume could be seen to begin to produce and assume theatrical work determined by its structures and designs. Monks (2010, p. 129) states that costumes start to take on a life of their own and to wear the actor rather than the other way round.

Instead of hermeneutic and semiotic aesthetics (considering every sign of a work of art as a sign to overlook the materiality in it), Erika Fischer-Lichte (2008, pp. 17-18) emphasizes materiality preceding all attempts to interpret the elements in a performance beyond their self-referentiality. The materiality evokes a particular effect on its own terms and not as the result of its semiotic status. She claims that materiality dominates semiotic attributes, as everything perceptible about the material is defined and interpreted as a sign. Fischer- Lichte observes the changed relationship between the material and semiotic status in performance. They do not merge with each other rather they sever from each other. The materiality claims a life of its own and as the result objects and actions are no longer dependent on the meanings attributed to them.

Fischer-Lichte (2008, p. 130) states that temporality constitutes the conditions for the performance and the materiality of the performance to appear or emerge in space, to stabilize for varying periods of time and to vanish. Fischer-Lichte (2008, pp. 75-76) claims that performance exists merely in the present in the form of the continuous becoming and passing of the autopoietic feedback loop. Thus, a performance does not consist of fixed, transferable and material artefacts, but rather of the artefacts together with various material objects put to good use in the performance. She states that the performance brings forth its specific materiality, generates its performative materiality. The performative materiality brought forth in the present, eludes one’s grasp and is immediately destroyed. Materiality is not a given, but an emergent phenomenon generated by the contribution of the participants without being able to determine or control it (Fischer-Lichte, 2008, p. 130).

Maybe because of my strong background in manufacturing, I found it quite difficult to make the difference between the material and materiality of costume. I suggest that this might cause problems for many producers of performances as they are used to approach costumes as artefacts which have been sourced, manufactured, fitted, dyed, patinated, maintained, stored, put on and taken off by the performer, thus rendered as concrete. Instead of denying the material aspects of a costume, materiality makes use of a costume as it appears, as a rich potential for materiality. I propose that as a performance designer my aim is to investigate and enable possibilities for the materiality in costumes through the process of costuming to emerge.

102 4.3.3 Costumeness

In this section, I introduce the concept of costumeness. I present it as based on the knowledge provided in Hannah (2014) as well as on an example of spatiality as discussed in Fischer-Lichte (2008) together with the connection to the notions of materiality and costuming (Monks, 2010) as earlier discussed (in the section 4.2.2 Costume and performer).

While discussing the design’s strength to lie in performativity as transforming costumes from body-objects into event-objects that summon the historic, aesthetic and quotidian, Dorita Hannah (2014, pp. 17-18) refers to the affective and effective impact elicited by the performative quotidian garments.

Erika Fischer-Lichte (2008, pp. 107-114) stresses the difference between the architectural-geometric space (that pre-dates the performance and endures after it has ended) and the representation of it, the performative space, where the performance takes place. The performative space opens and suggests possibilities for movement and perception between the participants in the course of the performance, thus performative space brings forth spatiality. Fischer-Lichte emphasizes that spatiality is not a given but transitory and fleeting, constantly brought forth anew like the performance itself. Although the performative space is a representation it does not represent an artefact, like the architectural-geometric space, for which one or more creators are responsible but rather pertains to events. Fischer-Lichte brings up strategies that intensify the performativity of space. She mentions the use of an empty or almost empty space allowing unrestricted movement for participants, the creation of spatial arrangement to enable unexplored possibilities to occur between participants and the experimentation by taking performances to spaces usually fulfilling other purposes.

Followed by Fischer-Lichte’s example, I propose the use of the concept of costumeness as the notion for the performativity of costume. As proposed in the previous chapters, when presented on its own, costume exists only as a piece of clothing and a material artefact. While costume does not exist as a costume without the connections to its wearer, costume requires the body of a performer to become existent. Thus, costume does not represent clothing but costuming as the event or enactment where the costume is worn, used and perceived. Costuming opens and suggests possibilities for perception and kinesthetic sensing in the course of the performance, thus costuming brings forth the costumeness (pukuisuus). Through its materiality, costumeness is constantly brought forth anew, thus it is not given but transitory and fleeting. To illustrate these different levels I outlined this figure.

ARTEFACT ENACTMENT MATERIALITY

ARCHITECTURAL SPACE PERFORMATIVE SPACE SPATIALITY COSTUME AS A PIECE OF CLOTHING COSTUMING COSTUMENESS PERFORMER EMBODIMENT CORPOREALITY

I further discuss the connection between the notions performer, embodiment and corporeality within the fifth chapter. 103 4.3.4 Costuming process

In this section, I assemble my thoughts concerning dance costumes based on both my experiences within my artistic practice and the ideas discussed in Bicât (2012), Fischer-Lichte (2008), Monks (2010) and Burt (2006).

What if the mode of representation is not metaphorical or there is no story to tell or not even some vague theme to follow? What if the dance is not based on the aesthetic movement? What if costumes are not wanted to emphasize, strengthen or augment dance movements or the chosen theme…? What if costumes are not expected to have nothing in common with the movement? What are my means to work in this situation?

These were the thoughts at the point of my process while I pondered the role of the costume designer and was afraid there is no use for me on the field of contemporary dance. However, I realized that a different kind of approach was needed. Through my practice I could rethink the relationship between costume and dance. While everyday styles as costumes was one of my interests, I wanted to investigate possibilities for its use in PLAY. I kept in mind the idea of dance as part of reality and not as an image of it. However, I was not interested in using the dancers’ own clothes but aimed at choices not too far from their worlds, thus trying to find something that they could relate to. Thus, instead of not only giving the team a chance to imagine, I chose a set of costumes from the wardrobe of TeaK to be used as base or stand-in costumes for the performers in the devised work. As I had a plan or at least a hunch of where I was heading to, I carefully chose the pieces to be used in the rehearsals, thus setting limitations or guidelines not only to the design but for the invention of improvisation of the performers and whole team. While for me this served as an opportunity to play and wait for something unexpected to happen without careful considerations or an understandable explanation, I brought the costumes to the rehearsals already at the early stages. During the inventing process, I kept my designer’s eye not only on the possible additions and necessary changes to the selection and its quality but on ideas that might even make it past the experimental stage to the actual performance. (Bicât, 2012, pp. 55-56, 65.)

As I kept on reading my source material, considering the performance theories were part of my design process. I pondered the central message presented in Fischer-Lichte (2008). While looking at the mediality of performance, the encounter of the bodily co-presence of performers and spectators that produces the event of performance and thus, the pivotal role of the audience was introduced (Fischer-Lichte, 2008, pp.38-39). Accordingly, I should think about the mediality of costume as part of the communication within the performance. As the performance brings forth its materiality exclusively in the present and immediately destroys it again the moment it is created, materiality that emerges through costuming sets in motion a continuous cycle of generating materiality (Fischer-Lichte, 2008, p. 76). While the performers are not expected to transmit predetermined meanings to the spectators but to emit sensuality and materiality, thus the spectators generate meanings on the basis of the emerging materiality as the semioticity of costumes (Fischer-Lichte, 2008, p.139).

104 The specific aesthecity of the performance lies in its very nature as an event. As costumes and everything else within the dance are considered as performance, it thus offers a context for discussing the constantly shifting relationship between the aesthetic and the non-aesthetic, art and non-art (Fischer-Lichte, 2008, pp. 181-182).

Having acknowledged this, I started to think if I could make use of the idea of thinking the audience as co- creator. While expressivity and performativity are regarded as mutually exclusive oppositions (Fischer-Lichte, 2008, p. 35), instead of sending messages the costumes should be given a chance to become meaningful in front of the audience. To let the materiality as costumeness to appear, costumes should be given a chance to perform. Introducing the kinaesthetic empathy as a costume designer’s tool was also among the thing that I would have liked to test in practice. Moreover, as an opposite to the idea of carefully manufacturing costumes, I pondered possibilities to promote the idea of costumes as unfinished or considered as in process, thus constantly changing as an event. The idea, at least partially, was used as the pure white underwear worn by the dancers became sweaty, stained and marked by the occasional blood traces due to the rough movement. Furthermore, in order to promote costume as a communal element, I could have taught the dancers some basics of the manufacturing of costumes and create an experience of the process of making their own costumes. As an alternative for wearing the beforehand sourced clothes, I suggested that the dancers could borrow the clothes from audience and thus the result would have been unknown before the happening of the event. This would have forced the audience to participate in most concrete way. Thus, more subtle participatory methods were discussed, such as the open form of performance that leaves blanks for the spectators to fill. Regarding the costumes, for me, this suggested instead of presenting the performers as fixed into the role of a soldier, introducing them as costumed but still letting the personal dancer-subjects appear. Thus, the choice allowed the audience to associate metonymically.

The elements that were interesting to the choreographer Heli Keskikallio turned out to be inspiring also with regard to costume. She wanted to experiment on the concept of identifiability. Thus, she shared the same thematic concerns with me, the struggle between representation and presentation. Some movement material that originated in the toy soldiers was represented in many ways during the rehearsals. While balancing between more abstract reflections and imitative or resemblant choices, Keskikallio furthermore broadened the theme and applied it to movement in unison. While the overall themes for the performance turned out to be masculinity, violence and identifiability, my interest strengthened by the devising into the concept of uniformity. This was already evident in the selected stand-in costumes. I had chosen either exactly the same choices for the two male dancers, such as white Tyvek overalls, or almost similar male suits or more relaxed outfits. Through the use of costumes, the features that were first considered purely functional started to create aestheticity and when used more, semioticity started to emerge.

105 4.5 The curtain call of the performance PLAY with the two dancers and the four percussionists.

Although I had left behind the attaching of predetermined meanings to the costumes, I still wondered delivering a message. I could try following the costume designer’s own agenda and adding some elements conceptually totally irrelevant to the other elements of the performance. While otherness might complement sameness, moreover the two different worlds might collide and interrupt the illusion. Thus the happenings onstage could become true and real time, at the time rendering the audience’s awareness of watching. In PLAY, there were four percussionists placed on the balconies above the longer sides of the theatre hall. I ended up costuming them in a more theatrical manner than the dancers. Moreover, I wanted them to be totally unidentifiable from each other. At the end of the performance, the curtain calls are suggested to render the performers as characters or as themselves, thus blurring its boundaries between the illusion and the real (Monks 2010, p. 136). Monks argues the bow to be a further performance of “realness”, rather than a revelation on the actor’s “real” self. Bert States (1985, cited in Monks, 2010, pp. 136-137) describes actors in a sense pretending to be themselves with traces of their characters staying within their bodies, while during the bow characters do not just remain in actors, but actors also remain in costumes. The curtain call in PLAY made many things visible not only for me but for spectators as well. Mixed reactions from comments of destroying the perfect illusion to the confused laughs and to comments on the great ending were heard. Two very different sorts of materiality were brought together and not only differences in costumeness but in the materiality of body. While the percussionist appeared wearing theatrical skin in the form of bodysuits repressing the materiality of their bodies, the sweaty, almost naked dancers of real skin, flesh and blood in the actual weight, mass and physicality presented the body’s materiality (Burt. 2006, p. 17).

106 5. Discussion

In this section, I first resume, reflect on and further discuss the results of my study. After this,while reconsidering my attitude and if I changed as a traveller during the process, I critically look back the structure of the thesis, chosen methods, research process, and significance of the results. Before moving on to the concluding chapter, I revise the appreciation of the unnoticeable costume (that I already approached within the section 3.1.1 The role, purpose and function of costume). Furthermore, I end up the chapter reflecting my study in the context of artistic research. I address my research process considering the discussion in Arlander (2011), McKinney and Butterworth (2009), Levin (2005), Anttila (2009), Kvale and Brinkman (2009), Monks (2010), Martikainen (2013), Foster (1984), Schechner (2013), Uusitalo (2005), Helve (2008), Bicât (2006), Weckman (2009) and Monni (2012) and attempt to outline the what I conceive to be the most salient points in a new kind of understanding of costume.

The aim of my study was to find answers to the conflict in the worldmaking between me as a costume designer used to what I have here termed the aesthetic paradigm, and Colour, colour as an example of what here termed the ontological paradigm of dance. The latter’s ideals are in the works of the Judson Church Theater, such as dance with no narratives, no characters, no aestheticized movement, no music or other sounds, the movement as the site for possible meanings to emerge, the title and movement considered as self-referential, thus having no reasonable connections, etc. Thus as an option to my proposal of the linear costume design model that is the normative mode for costume design, my goal was to investigate alternatives for costumes no more taken for an aesthetic extension to the movement. As choreographers, dancers and performers who work with their body do not want to attach to distinct meanings beforehand, the meanings should be given possibilities to emerge in the course of the process.

The linear costume design model could be described to sustain the dichotomy based on creation and performing, thus separating the costume designer as engaged in creating art from the dancers as active in executing arts (Arlander, 2011, p. 317). As it is not possible to decide how the spectators experience and think, I propose that the act of metaphorical comparison and the use of imitation or replication in representation accordingly contradict the relation between the costume designer and the audience.

In my research, I ended up considering costume as a part of the scenographic image, appearing in the middle of it together with the performing body. Thus costume is regarded to exist only when both used by the performer and perceived by the spectator. From the perspective of spectator’s own body, the performer is experienced as embodied in connection to the costume, or more closely as inseparable from its wearer. Thus, together with the phenomenon of presence the conditions for generating and perceiving corporeality onstage are made possible. (Fischer-Lichte, 2008, p. 77.) Thus, the costume moving with the performer could be regarded to define its wearer and by turning the space around into spatiality, as well. Costume could be seen to become meaningful only through its use and in connection to the other activities of the performance.

107 While performances last for a certain time, they are considered ephemeral and thus to happen as events. While costumes are worn and used during the course of a performance process or period and after that removed from the performing bodies, costumes could also be suggested to happen in the enactment with the performer and the audience. As costumes are considered to perform, they could be rendered as performative, thus engendering materiality. Rather than as an end, costumes could be described as a means to end.

Annette Arlander (2011, pp. 318-319) brings up the nature of dance as time based, embodied and “performing” in the sense of having a live audience. She emphasizes the active engagement of a live audience, together with the energy exchange between performer and spectator, as well as the nonreproducibility of the performance among the characteristics of performing arts due to its “liveness”. Adding to this, Patrice Pavis (2003 cited in McKinney and Butterworth, 2009, pp. 166) embraces the perspective of the audience and the subjective experience of the spectator, when he suggests an emotional participation of the spectator by perceiving the emergence, the dynamics of the signifiers using all five senses.

I started my study from considering costume as an artefact and went on to costuming as an enactment created by a performer putting gesture into costume and costume realising a performer’s body in front of the spectator’s perception. Thus, I moved on from looking at artefacts to performativity and at the same time from meanings to becoming meaningful, from body to embodiment, from semiotics to semioticity, and from aesthetics to aestheticity. Next, I proceeded from costuming to regarding its emerging materiality as costumeness in the course of performance. As a result, I redefine the concept of costume as a materiality emerged within an interaction between partakers of a performance brought forth by costuming as an enactment of both a costume and a performer. This idea renders costume as ephemeral costumeness that constantly renews itself depending on the context and the person who perceives. As part of the process of performance, scenographers select objects and images, translate and transform them into moments of significance and invite the audience, through their imagination, to project their feelings and thoughts of these concrete-and-conceptual images, oscillating between “the material and the metaphysical” (Read, 1993 cited in McKinney and Butterworth, 2009, p. 191).

Moreover, I decided to suggest adapting both the collective working method and the approach of performance designer as the alternative valid modes for working within contemporary dance. I suggest that these approaches together with the consideration of costumeness among the most important tools of the designer might be applicable in other contemporary performances as well. Whereas Kirsi Monni (2004) argues that the paradigmatic approaches intertwine in practise, I suggest that the proposed methods are theoretical and also they intertwine.

Whereas the director together with the artistic team is considered to interpret and the actor to perform the work, Arlander (2011, pp. 317-318) reviews that in classical theatre, the playwright is considered the author of the performance. She suggests that this dichotomy rarely exists in contemporary theatre and dance, where the text or material used in the performance is produced in collaboration with the performers, thus supporting my choice of the collective approach and shared authorship. When discussing the agency of the artist within a given field, Arlander (2011, pp. 324-325) addresses the dilemma of the authorship. While the performing 108 artists and designers involved in a performance share credits, in theatre and dance works are traditionally named after the director and choreographer. Arlander suggests that the performer, when “performing herself, using her own body”, is not only executing given tasks but also collaborating and giving tasks to be solved. Arlander does not further discuss the designer’s role but reduces e.g. the costume designer to “working with an object, performance or event outside her body”. While the whole production team might join the performance onstage, I propose that as a performance designer, the designer is also obliged to start working with her/his body. Moreover, the process-based working method activates even the designer to both join the rehearsals and guide the workshops in order to advance and share the tacit knowledge.

When discussing a devised work from the perspective of a performance designer, the following quote illuminates my changed attitude in working methods and the approach to a performance:

“Rather than create a scenic construction from scratch, as is usual on the stage, scenographic strategies were employed to reveal the qualities and meanings inherent in a particular space and confirm and unsettle the complex and ongoing relationship between our physical environment and ourselves.”

(Irwin, 2008 cited in McKinney and Butterworth, 2009, p. 197)

Getting acquainted with dance costumes was among the most important aims of my thesis. As I have not made my BA studies in costume design I had a lot to catch up in terms of performance theory. Thus, the only alternative was to take the detour to reach the goal. While I acknowledge that a more concise thesis would have been adequate, I could be blamed of trying to eat the whole cake. I felt I was obliged to open all the doors and at least start looking for what could be found in relation to my topic and fill the gaps in my knowledge. Nevertheless, the design process is always a coming together of various aspects and considerations, thus in my work as a designer, the element of bricolage is constantly present. As time to time, I might not have entered in deep discussions with the material, I hope my voice could be detected among the multiple voices of my sources. Rather than consider the quoted material as reference-like observations, I wish to present it as carefully selected information bringing forth and supporting my insights. I admit that many second- hand references could still be found in my thesis and I acknowledge that this might be problematic for the preciseness of the knowledge. Though, many of the secondary sources would have easily available, I decided to leave them untouched to let the views of the chosen primary sources to be heard and make visible how I read and understood them.

When planning and documenting my research, I consulted Peter Levin’s Excellent Dissertations (2005, pp. 83-89). As the structure of mine was not directly presented in Levin, I made use of the alternative structures presented while trying to find my own decision. How I ended up choosing the final structure for my thesis was the result of the consideration that lasted through the whole process involving finding suitable literature to

109 dialogue with, the interviews, the practical exploration and the writing up of the study. Accordingly, I suggest that each researcher, especially within the artistic research, should outline her/his own structure advised by the process.

While examining the used methods and as I both value the knowledge of my peers and wanted to investigate the ways costume is related to within contemporary dance, I chose to approach the problem through interview. Pirkko Anttila (2009, p. 119) refers to “advocates of distributed cognition”, who consider knowledge “context- specific, as it is situated in the interplay between people, processes and artefacts”. I wanted to learn how people, working or studying in the field of contemporary dance and various forms of performances, experience the use of costumes in contemporary dance and to share the understanding of the chosen themes from the subjects’ perspectives. Kvale and Brinkman (2009, p. 247) state: “In a postmodern era, truth is constituted through a dialogue; valid knowledge claims emerge as conflicting interpretations and action possibilities are discussed and negotiated among the members of a community.”

My aim was to build a conversation with the versatility of aesthetics presented by the interviewees at the same time admitting that I might not able to create a coherent picture of my subject. Thus, I see myself as narrator sending not only my own message but speaking on behalf of the interviewees. I must admit that I got carried away with the enthusiasm of the interesting conversations. According to Kvale and Brinkman (2009, pp. 143-160), the number of my subjects was too large. However, a large number of different occupations were presented among the interviewed. Kvale and Brinkman (2009, pp. 189-207) warned that I should avoid the problem of facing the situation of having too much material to analyze. While the transcribed material was quite large, I could only make use of smaller parts of it in this study. As I applied qualitative approaches for my research, I mostly aimed at reporting about the variety among the answers. For practical reasons I sometimes also used quantification as suggested in Kvale and Brinkman (2009, p. 309). On the other hand, I was interested in the theories provided by the chosen literature. While balancing between the other sources and the knowledge through the interviews, I ended up proceeding followed by the theory in the thesis.

I still wish to discuss dance costumes. Aiofe Monks (2010, p. 63) suggests that the truth of the observable qualities of objects proven by empirical thinking become untrue when put on the stage, as they are rendered theatrical. Objects and costumes slip from the iconic to the symbolic, from the metonymical to the metaphorical. That real objects are unable to preserve their reality in performance leads to insight into truths that can only be found in art and theatre. Although Monks’ idea in question originates from semiotic considerations, it at the same time questions the possibility of meaning production. Performance is no longer considered a place of transition from reality to illusion or representing reality. While Jean-Luc Nancy (2015) discusses writing a text, he considers that rather than the text indicating meanings, the written text itself is meaningful. Nancy argues that he does not write about something, but the writing is something. Thus, I suggest that instead of representing life in dance, contemporary dance producers could be considered regarding dance as life.

110 5.1 The mind map presents the production of a contemporary dance performance as an action of creating and being part of reality instead of representing it.

While reviewing the process of planning the contemporary dance performance, Why Can’t We Be Friends, Milla Martikainen (2013, p. 100) discusses the importance of the connection between performance and everyday life. She states that the thought of framing everyday life and turning it into performance was advanced by introducing something private from the sphere of everyday life and home as part of the performance and thus rendered as public.

To challenge the elitist conception of art, to make dance more accessible and to establish more democratic relationship with the audience, already the Judson choreographers suggested with their dance a continuum between art and life (Foster, 1986, pp. 169-170). Moreover, Allan Kaprow (1983 cited in Schechner, 2013, p. 40) discusses the difference between artlike art and lifelike art:

“Western art actually has two avantgarde histories: one of artlike art, and the other of lifelike art. […] Simplistically put, artlike art holds that art is separate from life and everything else, while lifelike art holds that art is connected to life and everything else. In other words, there’s art at the service of art, and art at the service of life. […]”

111 Milla Martikainen (2013, pp. 11-14) suggests that a contemporary dance performance not only comments on the surrounding community but also creates it in a dialogue with it. Thus she presents a dance performance as a two-way communication. While sharing the experiences during the production of Why Can’t We Be Friends, Martikainen (2013, p. 74) emphasizes the need to keep each dancer as her/his own personal being. Accordingly, each performer chose her/his own way to appear and exist. While this affected the choice of costumes, own and old or even worn out clothing were chosen among the working group to be worn onstage. Costumes that take a significant role in a performance are generally experienced distracting, exaggerative or tendentious. Marja Uusitalo (2005, pp. 74-75) suggests that designing “grandiose” costumes needs extra attendance of the designer in the rehearsals. When Uusitalo addresses the costumes created in advance, thus existing before the movement, she considers this as an option but rather prefers the process-based development of all the elements side by side. While the costumes in contemporary dance are regarded as free to take whatever forms compared with other dance forms, such as ballet, Helve (2008, pp. 27-29) states that the costumes are affected by the prevailing temporal and cultural context. Various writers discussed the appreciation of the unnoticeable costume is (Bicât, 2006; Helve 2008; Monks, 2010; Weckman, 2009). Moreover, the interviewees addressed it (Appendix B). While balancing between flea market stuffiness and design-like effect, Uusitalo (2005, p. 76) proposes that when realising the choreographer’s strong vision, the costume designer sometimes acts as a midwife. I share the understanding of those producers of dance who prefer to perform in their everyday garment, rehearsal gear or decide on their own what to wear. I thus suggest that all dance performances might not need a separate costume designer, not even a performance designer. However, costume is a most versatile tool in the creation of the embodied performer, if only its performative abilities are thoroughly investigated and given time to evolve. Appropriate and successful costume can differ in all possible ways and vary from wearing the naked body, to everyday aesthetics or historical costumes.

While Kirsi Monni (2012, p. 10) argues that today’s contemporary dance could according to Lehmann’s Postdramatic Theatre (2006) be categorized as postdance choreography, I suggest that the postdance choreography requires postcostume thinking provided by a performance designer using costumeness instead of costumes.

When evaluating my study as artistic research within the field, I relate it the discussion in Arlander’s (2011) writing. Creating a stage performance involves discussions during its making, thus taking part in the planning and making of the performance was necessary (Arlander, 2011, pp. 315-316), as the process is beneficial to the knowledge production. Artwork or artistic practice is considered as experimentation and as a part of the research conducted by an artist. While I acknowledge costume as an overlooked subject of study, the concern of my research was not the costume as such as an artefact but its possibilities to emerge and materialize as the costume designer’s conscious choice in the context of contemporary dance. The aims of my approach were to discuss the customary and expected ways of costume design and try to find new modes to both work and study the subject.

112 Moreover, Arlander (2011, pp. 320-321) suggests research methods should be developed from the working methods being used within the field of study. She discusses the terminology of artistic research. While artistic or art-based research strive to reflect on and explicate the route to an artwork as the result, whereas the term practice-based research emphasizes the artistic practice. Thus, Arlander suggests that research involving artistic practice has an empirical dimension. The artists could be described as experimenting and playing in order to challenge the existing artistic practice. This also constituted the motivation of my research practice. As she suggests that planning a (dance) performance constitutes the thought of a site for collective improvised experimentation, I could not alone achieve the knowledge that is built in the cause of collaboration. When considering the practice of research in theatre or dance, Arlander suggests some kind of reception research constituting the impulsive response. As the main interest of performing lies in providing an experience for the audience, the research processes should include the spectators as well.

As one of the core questions defining the art-based research in a strict sense, Arlander (2011, pp. 322, 329) discusses the consideration of the research outcome. While reflexivity is essential for research, she suggests that the artist, to some extent, inevitably “stops being an artist after completing the work, and turns into a researcher looking at the material created by the artist”. Instead of considering the artwork to be data, the researcher is to use one’s experiences as material. As a possible response, Arlander challenged me to ponder my research process and the location my artistic practice within the research. Arlander (2011, pp. 323, 328) poses the question whether my artwork was the method. As a performance designer, I consider that only the costumes do not comprise my artwork but the whole process and the performance as a unique emerging event. She further suggests that I should ask myself whether my work as a performance designer makes “a means to produce new knowledge and understanding instead of a means to produce experiences and insight for a potential spectator”. Arlander suggests that this small difference together with the researcher’s willingness and openness to relate to previous research, to present the results in a research context, to document and discuss them, as well as to write about them as defining artistic research.

If I look at my research process: I used the questions and awareness aroused in Colour, colour for the planning of my research project, which included experimentation and testing of the proposed questions through observation and analysis in PLAY, thus constituting the making of the performance as the method, resulting in the reflexive analysis of my experiences as my material, and the production of new knowledge to the field. Accordingly, I suggest that my study constituted artistic research in a strict sense, as introduced in Arlander (2011).

Among the challenges for artistic research, Arlander (2011, pp 330-331) presents the need to decide to whom the research if for. Thus focusing on the purpose of the research and aiming at producing knowledge for the given field should be considered. Another concern that she introduces is the incorporation of the experimental artistic practice created outside academia into research. Following the advice that Arlander provides, I have from the beginning of my research process collaborated with both the prominent artists and scholars, from the student colleagues to the supervising professors and thesis advisors. I also consider the interviews as a way to collaborate and exchange thoughts within a wider amount of practitioners in the field. Furthermore, this written part of my study ensures the knowledge that I provided during the process to enter the discourse within the field.

113 6. Conclusion

Now that my study is finished and it is time to reflect on the work done, I consider my thesis to look more forwards than backwards. While it serves as a conclusion for my studies, at the same time I see my research as an opening towards more theoretical thinking. The results of my inquiry helped me to approach the concept of dance costumes and my possibilities to work as a designer within contemporary dance. I regard both the subject and outcome of my thesis as a current and central not only for designing costumes for contemporary dance but also for other contemporary performances and the discourse concerning the present-day performances. Thus, I believe that the results of my thesis might benefit both the producers of contemporary performances within the performing arts more broadly and the scholars sharing the interest in the subject. Furthermore, while among the people attending the cultural events in Finland, dance performances are regarded more popular than classical music concerts or opera, thus the results could be seen to concern much wider group of people than the ones working within the field (Lyytinen, 2013).

To reveal costume as it appears, during my process of investigation, I approached dance costumes by asking both aesthetic and ontological questions. Within the introduction I stated that for me, aesthetics is a conscious and critical way of looking at the phenomenon of costume. Thus, I consider my understanding of aesthetics and ontology partly overlapping each other, as does the notion of aestheticity that Fischer-Lichte (2008) introduces while presenting the concept of performance as an event, i.e. “as a genuine act of creation”. As a conclusion, I suggest that the approach of the performance designer values costumes ontologically, thus my thesis could be regarded as a study on the ontology of dance costumes.

I suggest that while some characteristics for the dance costumes, such as the use of everyday aesthetics, in contemporary dance exist, at the same time costumes might take as many forms as there are performances. While dance quite freely brings remote elements together, thus dance costumes might conceptually step aside from the concept of dance. With the total absence of movement or aestheticized movement, there might not be a need for the generic costume. Thus, costume might as well restrict the performer. Moreover, dance costumes as the subject of research could be approached considering contemporary dance as co-culture with the use of costumes with its specific mediality, materiality, semioticity and aestheticity (as suggested for the approach to study performance in Fischer-Lichte, 2008). The same approach could be applyed to designing costumes as well. While contemporary dance is informed by phenomenology as an attitude towards the whole of life, rather than dance only, it affects the creators that work in the field, and thus also how costumes are related to. As the main idea that results from the notion of performance being ephemeral is that performance could be determined in advance is considered impossible, I regard the phenomenological attitude as the decisive perspective to neglecting the representation of pre-determined roles for them to become meaningful in the process. Thus, the meaning making in dance costume should be trusted to happen accordingly. While dance performances are regarded as communal, social and documentary events, the costumes are likely to be affected by political and activistic themes.

114 During my study, I merely opened the discussion of the use of costumeness as the designer’s tool. I suggest that the subject should be further investigated and believe that valid results could be achieved while tested in practice. Based on my experience, it is practice that balances the rationalisation and theorisation, thus helping the researcher to preserve the fresh and passionate attitude based on both intuition and producing knowledge through practice as thinking. I suggest that while contemporary dance performance cannot be understood in its entirety (Fischer-Lichte, 2008, pp. 155-158), accordingly, costume in its emerging materiality, constituting itself newly and differently, appear as instable and elusive in the readings of each spectator. As a conclusion when describing the aestheticity of dance costumes, I regard them as in a state of flux.

I made a detour in my process but it was a necessary one while I learnt to know both many inspiring people and writings. As I proceeded in my study, I discovered new interesting publications, such as Helen Thomas’ The Body, Dance and Cultural Theory (2003), Rachel Fensham’s Repetition as Methodology: Costumes, archives and choreography (2014), and Jessica Bugg’s Dancing Dress: experiencing and perceiving dress in movement (2014) together with her other works. Although, I acknowledged their relevance for my thesis, I had to leave them for the next phase of my investigation. Moreover, I found new beginnings for possible studies to emerge from my research material and thinking built on it. I see intriguing possibilities to further research costume from various viewpoints within performance. Among the emerging perspectives, I could propose: the concept of affect as the decisive factor in the process of costumes becoming meaningful; experimenting through the artistic creation on the endless choices of approaching costume in its costumeness as a performative element with potential to act together with the performer by using means not possible for the other elements, thus complementing them; regarding the connection of dance costumes with the fashion system as proposed in Monks (2010); as well as the continuation of looking at the part of costume in constituting the authorship as a political question considering the thinking of Michel Foucault (What is an Author, 1969), Jacques Rancière (Aesthetics as Politics, 2004; The Distribution of the Sensible, 2004; The Emancipated Spectator, 2010) and Chantal Mouffe (Artistic Activism and Agonistic Spaces, 2007; Strategies of radical politics and aesthetic resitance, 2012).

Within these last lines of my thesis, in order to acknowledge the contribution of all the advisors and peers not only during this investigation process but in the course of my whole studies, for your support I wish to express my sincere gratitude. As it is impossible to name all of you wonderful people, thus I symbolically only adress my words, thank you, to Sofia, Leena and Reija.

115 References

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Dorita Hannah Adjunct Professor in Stage and Space Design, Aalto University Saara Hannula Performance-maker Ismo-Pekka Heikinheimo Choreographer Soili Huhtakallio Choreography student, TeaK of University of the Arts Liisa Ikonen Professor in Scenography of Performing Arts, Aalto University Laura Jantunen Performance artist Heli Keskikallio Choreography student, TeaK of University of the Arts Leila Kourkia Choreography student, TeaK of University of the Arts Siru Kosonen Costume design student, Aalto University Harri Kuorelahti Artistic Director, Zodiak Center for New Dance Marjo Kuusela Choreographer Soile Lahdenperä University Lecturer in Dance, TeaK of University of the Arts Veronika Lindberg Choreography student, TeaK of University of the Arts Linda Martikainen Choreography student, TeaK of University of the Arts Roosa Marttiini Costume design student, Aalto University Tuomas Mikkola Choreography student, TeaK of University of the Arts Mirva Mäkinen Choreographer Anne Nimell Directing student, TeaK of University of the Arts Liisa Niskanen Costume design student, Aalto University Samuli Nordberg University Lecturer in Theatre Work, University of Tampere Iiro Näkki Dance student, TeaK of University of the Arts Alexandra Ovtchinnikova Costume design student, Aalto University Heikki Paasonen Lighting designer Jarkko Partanen Choreographer Johannes Purovaara Dance student, TeaK of University of the Arts Sampo Pyhälä Lecturer in Scenography of Performing Arts, Aalto University Mammu Rankanen University Lecturer in Dance, TeaK of University of the Arts Simon le Roux Project Researcher, Aalto University Katri Soini Dancer Lotta Suomi Dancer Ari Tenhula Professor in Dance Performance, TeaK of University of the Arts Marja Uusitalo Costume designer Raija Vuorio PR Manager, TeaK of University of the Arts Appendix B nykytanssia kyllä oli nykytanssia, 1.30 esitys tapahtui nykytanssin kehyksessä ja paikassa, siinä on kaikki elementit: yleisö, valosuunnittelu, miten se oli setattu oli konventionaalista nykytanssille, kaksi nykytanssikoulutuksen saanutta tanssijaa, tanssijat itse usein määrittävät mitä lavalla tekevät, avoin määritelmä, yleensä naisten määrittelemää, miehet vähemmistönä, joten ovat 3.10 valokeilassa, vaikkakin , 3.30 esitys leikitteli stereotyyppisillä kuvilla: nostivat päällekkäisiä teemoja, nykytanssille tyypillinen piirre on heijastaa, nostaa yhteiskunnallisia teemoja, tässä ja nyt tapahtuminen on tyypillinen piirre, ei siis illuusio, puvut: 4-5 teemaa: boardwalk, liikkeen, pukujen, tilan tasolla, Lara Croft-mi-action, kontrastina militaristinen maskuliininen stereotypia taisteluvarustus sotatantereella, heteronormatiivinen homoeroottinen teema roolipeli, immersoituiminen videopelimaailmaan sotapeli, puku kuvastaa näitä kaikkia, 6.50 suojavarustus kyynär- ja polvisuojat ovat fyysisessä teatterissa tyypillistä, alusvaatteet normaalia, valjaiden käyttö on sekä funktionaalisina välineinä että osana pukua, korosti maskuliinisuutta ja homoeroottista, sotamaalaus, bodypaint, t-paitojen riisuminen korosti haarniskaa ja alusvaatetta, monokromaattisuus korosti ihoa ja vartalon muotoja, punainen ainoana värinä valkoisen ja mustan lisäksi, hyvin paljon pukusuunnittelijan esitys 1.50 tietyssä mielessä joo, mutta leikkaa performatiivisen esitystaiteen elementtejä, tämän päivän tottumuksen mukaan menee nykytanssin kenttään, hyvin konseptuaalinen, elementeistä muodostuva, nykytanssia, koska pääfokuksessa olivat liikkuvat ihmiset ja heidän toimintonsa, maailmaan mentiin sitä kautta, liikettä, materiaalia ja liikesanastoa oli rakennettu, jonka kautta teokseen mentiin, tyypillisiä tämän päivän nykytanssille olivat oli materiaalivalinnan fragmentaarisuus, aika paljon yksi alue, joka on katsojasta etäännytettyä eli ollaan liikkeenkin kanssa kuvallisessa maastossa, tapahtuu kaukana, ei narratiivia, palaset sitoutuvat toisiinsa kokemuksen kautta, merkityskenttää ei avata, ne ovat vain siellä olemassa, kuten katsoja ne havaitsee, riisutun/tyhjän tilan estetiikka on aika tyypillistä: esitystila on tällainen ja sitä ei pyritty peittämään ja sitten tämän päälle tuodaan jotakin joka viittaa mahdollisesti johonkin suuntaan, ei ehkä stereotypia: hyvin fyysinen toiminta, tietyille esityksille tyypillinen rajuus, 7.10 puvut: ei tyypillisiä, mutta ei uusia uria avaavaa, sitä maailmaa on tullut vastaan Ennakko-oletus, että tulen katsomaan nykytanssia määrittelee, katsottuani en olisi asettanut esitystä muuhun kategoriaan, esitystaide ja nykytanssi ovat lähellä toisiaan, koreografia perusteena, keskiössä liike, tutkittiin liikettä, kaksi tanssijaa, unisono koreografisena elementtinä on arkkityyppinen, valkoiset alushousut ja paljaat jalat, äänimaailma nykytanssimainen elektroninen tausta, katsoja-asetelma, jossa katsoja katsoo yhdeltä seinältä, adidakset, liike ei ollut pelkästään tanssitanssia eli abstraktia tanssin, vaan liikettä lähestyttiin jollain muulla tapaa Kyllä, liikkeeseen perustuva ei pelkästään esitys, paino esiintyjän työssä liikkuvana, raja on hämärtynyt, voi olla esitys jossa pääsääntöisesti puhutaan, ajatus siitä, että jos joku sanoo tekevänsä nykytanssia, niin se on sitä, aika fyysistä liikkumista, estetiikka valo-äänisuunnittelussa oli sellaista että se oli helppo lukea nykytanssiksi eikä performanssiksi tai teatteriksi, miten palat olivat yhdessä oli arkkityyppinen tapa tehdä nykytanssia, vaikutteita 90- luvun tai 2000-luvun alun esityksistä, sinällään ei ole olemassa sääntöjä, kuviin nojaava biisi, nykyään esitykset eivät välttämättä nojaa kuviin, vaan konseptiin ja sisältöön Joo, ei klassista tanssia, tanssiteatteria jossain määrin, tietty kerronnan logiikka, ei pelkästään esteettinen, liikekieli ei nojannut valmiiseen traditioon, vaan oli kokeiltu ja haettu asioita, kerronnallisuus noudattaa unenomaista logiikkaa, tekijöitten omia teemoja käsittelevä, Joo, Helkutin laaja käsite: liike on yksi juonne, puheen, liikkumattomuuden, jne., lähestyy kuvataiteen kentästä tulevaa performanssia, käyttävät hyvin paljon toisiaan, nykytanssi on päätöksellä sovittu, orgaaninen termi, ajassa olevia asioita vai stereotypioita (ei vielä aikaa kehittyä sellaisiksi), tanssijan fyysinen suoritus epäliikkeenä, liikettä maailmassa olevasta liikekielestä taisteluimitaatio, sisälle otettu liikettä maailmasta tanssillisuuden sijaan, puvut kahtena alueena eli tanssijat, luenko valjaat siihen vai en, riisuttu realistinen vaate, alusvaate on käytetty ratkaisu, joka pyrkii olemaan neutraali, varsinkin nykytanssissa haluttu pyrkimys ja rumpalit ylhäällä, hakama ja organza puvun mallina ja materiaalina: Erika Turunen, pukujen tekemisen traditio tulee baletista tai tanssiteatterista, esittävästä baletista, tavoitteena kevennetyt vaatteet, balettiversiovaatteet, ihotyllin käyttö Kyllä, liikekompositio oli saanut vaikutteita ympäristöstään ja niistä valituista välineistä, joita esityksessä käytettiin, valjaat ensin katosta alas, teatterisalia käytettiin rehellisesti tai sitten liike syntyi sota-aiheesta, yhdistin tavan liikkua ja muodostaa liikettä nykytanssiin, rajanveto on vaikea ja osittain tarpeetontakin tehdä, mikä nyt on pinnalla ja oli produktiossa näkyvissä, kollektiivinen tekotapa, jossa koreografi on mukana, 2.00 vastine baletille, tanssia lähestyttiin vapaasti, ei konventioiden ohjaamaa tai traditioiden kahlitsemaa, käytettiin kokeellisempaa lähestymistä tanssiin ja siihen mitä ihmisvartalo voi tehdä, mukana myös suhde performanssiin, ei niinkään tanssijan taidon esittelyä, kuten ehkä odotin, PLAY tasapainoili näiden välillä, koreografioitua liikettä ja esittelyä mitä omalla vartalolla ja liikkeellä voi tehdä, minimalismia, esteettisyydestä nauttimista Play oli ihan selvästi nykytanssiesitys, liikettä, esiintyjiä, jotka liikku tilassa, esitys, jossa yleisö oli läsnä, mutta ei ollut osallistava tapahtuma, yleisöä ei viety näyttämötilaan, vaan oli selvästi katsoja-esiintyjä–suhde, elävä esitys, tänä päivänä nykytanssiesitysgenren alla on hyvin paljon erilaisia esityksiä: installaatioita, puhetta, vähän liikettä, minulle henkilökohtaisesti enemmän liikettä sisältävät ovat mieluisampia

1 Oli ehdottomasti, liikettä ajassa ja tilassa, jos mennään yleisesti esitettävän teoksen elementteihin: valot, ääni, lavastus oli suuremmassa osassa kuin yleensä, duettomuoto, kahden esiintyjän kohtaamisia, perinteinen nykytanssiteos, tanssijoiden asut menee ehkä onko kysy nykytanssista vai modernista, tänä päivänä tanssijat puetaan arkivaatteisiin tai runsaisiin vaatteisiin, tanssijat olivat tässä vähäpukeisia, valjaat olivat hauskasti käytössä koko teoksen ajan Joo, kaikki elementit valot, äänet, puku, liike, joka ei kaavan alla, vaan vapaampaa ja improvisoinnin mahdollisuus, liike voi olla tunnelähtöistä, ei ole teknistä, ei ole niin sääntöjä, voi olla mitä vaan, voi kuitenkin ottaa vaikutteita klassisesta, yleensä on t-paita ja housut, alusvaatemaisuus on yksi paljon käytetty, kuten myös läpinäkyvyyskin, on houkuttelevaa 100%, liike, enemmän performanssia kuin tanssia, esitystä ei rajattu perinteisesti, abstrakti liike, tilassa liikkuvat ja elehtivät tanssijat, liikkeiden toisteisuus, vahva fyysisyys loi synesteettisen yhteyden tanssijoiden ja yleisön välille, ruumiillinen esitys jolla oli yhteys äänimaisemaansa, pukujen ja tanssin yhteys: puvut mahdollistivat fyysisyyden, vaikkakaan nykyään ei niin tarvitse olla, puvut voivat olla myös liikettä rajoittavia, silti en pitänyt pukuja tanssipukuina, mikä on hyvä asia, takossa oli kyse tanssista kokonaistaideteoksena, näkisin mieluummin suuntauksen kohti esityksiä, jossa jokainen alue asettaa esitykselle rajoja, koska pelkästään keskittymällä tanssiin jää kiinni vartaloon, esityksessä myös visuaalinen estetiikka voi saada suuremman merkityksen, visuaalinen maisema, jossa eri elementit, kuten puvustettu esiintyjä, kohtaavat… En oikein tiedä miten määrittelen, tanssi elää muutosta murrosta, kohti näyttelemistä, oli nykytanssia, hyvin ihmismäisiä perusliikkeitä, normaalia olemista, liikkeellisesti neutraalia, puvut tyypillisiä, koska olivat yksinkertaisia, mutta eivät olleet koska olivat samoja keskenään, nykyään puvut voivat olla laidasta laitaan eri tanssijalla, ovat eri persoonia, tanssijat käsitellään enemmän yksilöinä Oli, koreografia oli lähdeperusteinen: tapahtumisen ja liikkumisen lähtökohdat on otettu elävässä elämässä olevasta toiminnallisuudesta ja niitä on jalostettu ja kehitetty komposition välineillä, vuorikiipeilymaailmasta lähtenyt roikkumisen idea, kiipeilymaailman kehollisuudella tutkittiin teatteritilaa, paini- tai kamppailu-urheilu, rataharjoitus- tai tehtävärata, ei ole olemassa vain yhtä piirrettä, nykytanssi on niin monta, ei ollut tekstiä, ei puhetta, rajasi toiminnallisuuden fyysiseen toimintaan, joten rajasi sen selkeästi nykytanssin kehykseen, useimmiten miehet nykytanssissa esitetään hyvin maskuliinisen tarinan kautta, fyysinen dialogi oli mittelöä, puvut olivat funktionaalisia: eivät rajoittaneet liikettä, suojasivat kehoa, ilman näitä valintoja tämä teos ei olisi ollut mahdollinen, niillä tuettiin liikkumista, ei rajoitettu tai tuotettu kitkaa toiminnalle, jolloin olisi luettu toiminnan ja vaatteen välistä ristiriitaa, kalsarit ja t-paita on arkkityyppi, on ensimmäinen ympäristö ihosta, jota luetaan että tässä ollaan paljaana, tässä ollaan kehona, viestii, että ollaan lähellä En tiedä miten määrittelisin nykytanssin, mun puolestani oli, laaja kenttä, katsoin sitä esityskokonaisuutena, tilankäytöllinen, ihmiset tyhjässä tilassa, tuttua maastoa, puvuista tuli mieleen materiaalisuus: myös pikku-ukkelit, puvut ja ruumiin käyttö olivat materiaalisia, materiaalisuus lähestymistapana Voidaan kategorisoida nykytanssiksi, esitetty nykytanssin kontekstissa, nimetty koreografiaksi, esiintyy tanssijaopiskelijoita, yhteistyömoduulin tulos, vaikka siinä on performatiivisia tasoja, silti esityksen maailma avautuu tila-aika–komposition kautta, erityisesti tässä visuaalisuus, valot ja äänet olivat vahvasti luomassa maailmaa, valoja äänisuunnittelu loi tietynlaista yhtenäistä maailmaa, mitä fyysinen/koreografin materiaali tuki ehdottomasti, mutta ne lavastuksen kanssa veivät sitä tiettyyn suuntaan, viittaukset koreografisesti fyysisessä loppuosassa dv8, physical theatre, ultima vez jatkumoon liittyvät, koreografisesti materiaali oli kuitenkin hetkessä tapahtuvaa jolloin erottaa sen sieltä kuitenkin, henkäisy menneestä, nykytanssi on niin laaja termi, teatterin ja nykyteatterin ero on selkeämmin rajattu, kun taas nykytanssiin mahtuu niin paljon: modernista tanssista tulevat, kokeellisemmat, eri genrejä, yrityksiä tähän aikaan, esittämisen tavaltaan perinteisempi ei niin tapahtumallinen, onneksi puvuissa ei ollut minkäänlaista armykuviota, muu maailma niin vahvasti viittasi tietynlaiseen miehisyyteen, ihoa oli paljon esillä, kinestesia välittyy, alusvaatteissa esiintyminen on tavallista (harvemmin näkee raskaasti puettuja tanssijoita, jolloin puvun kanssa toimiminen on osa fyysisyyttä), valjaiden kanssa toimiminen oli kuitenkin tätä Oli, tanssijat, osaavat hyvin maadoittaa olemisensa, ei pyritä illuusioon keveydestä, vaan tässä ja nyt läsnä olevaa, viitteitä sirkustaiteeseen (sirkus), lattian käyttö, missä tanssin ja urheilun raja menee oli asetettu näyttämölle tanssina, tapa liikkua maassa, orgaaninen tapa käyttää kehoa, vaikka se on hyvin rankkaa ja fyysistä, silti kehon viisautta orgaanista ja ergonomista, tapa liikkua ja olla omassa kehossaan, teatterisalin käyttöön otto nerokkaasti, kaikki elementit liittyivät teoksen sisältöön On se joo, konteksti: esitettiin teakissa, nykytanssiin voi pistää lähes kaiken tanssin, liikemateriaali, asettelu oli aika teatteriasettelu katsoja-yleisö, liikettä lähestytään vapaasta näkökulmasta, jolloin liikkeen ei tarvitse toteuttaa tiettyä liikekuvastoa, kuten baletista, aiheen pohjalta voi tehdä teoksen, en kokenut olevani uuden äärellä, liikemateriaalin käsittely, aihetta sota ja taistelu oli käsitelty liikkeellisin keinoin oli ehdottomasti, selkeästi fyysinen, liikemateriaalia, tapahtuma toimi fyysisen teon kautta tosi vahvasti, liikemaailma varsinkin catwalkilla kompositioltaan, mutta myös koko teoksessa oli sitä, Kenneth Kvarnsröm tuli mieleen: militantti, visuaalisuus oli pelkistettyä ja tosi designattua, selkeät suunnat tilassa ja valossa, tietynlainen minimalismi hahmojen asuissa, tyylikkäästi ja pelkistetysti toteutetut, puvustusratkaisu oli hyvin perusteltu Esitystaiteilija, jossa tanssi on osana, kehollista ja kokemuksellista,

2 Joo, voisi määritellä muutenkin, koska konteksti oli se, voisi määritellä myös esitystaiteena, raja-aita ei ole niin selvä, perustuu liikkeellisiin kohtauksiin ilman narratiivia, tyypillisesti voidaan käyttää kieltä, valtavan laaja ilmiö, liikemateriaali ei ole tanssillista ja identifioitavissa tiettyyn genreen, vaan liikkuu arkiliikkeen ja meidän käytössä olevan sekä estetisoidun liikkeen välimaastossa, tästä materiaalista työstetään erilaisia artikuloituja kohtauksia, estetisoinnin kysymys: liike ei kuitenkaan ole arkista, vaan se on jollain tasolla estetisoitu, liikkeet on hallittuja ja loppuun vietyjä, toisin kuin esitystaiteessa, puvuissa ei ollut mitään odottamatonta, puvustusratkaisussa kaksi kategoriaa, pojat: käytännöllisyys, toiminnasta lähtevä, vaikka ovatkin esteettisen maailman kanssa yhdenmukaisia, eivät kuitenkaan nouse sen aihepiiristä, vaikka se onkin melko saumaton muun visuaalisuuden ja sotatematiikan kanssa, joten näiden välille on helppo luoda kytkös, hahmojen ja tematiikan välillä ei ollut ristiriitaa, vaan olivat stereotypisen machoja (polvisuojat, valjaat), soittajat: kiinnostavaa, että oli epämääräinen ja hauras, ja aukesi useampiin suuntiin, materiaalisesti ja temaattisesti, kiitokset olivat osa esitystä koska se avasi uuden tason, jota olisin jo kaivannut aiemmin Oli ja ei ollut, ennakkomielipide: esitykset ovat vähemmän tanssillisempia kuin aiempina vuosina, pystyn lukemaan nykytanssiin monenlaista liikettä, tapa ottaa tilaa haltuun oli moniulotteista ja kiinnostavaa, esiintyjien keskinäinen työskentely, puvuissa tyypillistä nykytanssiesitykselle oli minimalistisuus, vähillä keinoilla oli tuotu vahva viesti, ensimmäisen kolmanneksen aikana havahduin ajattelemaan, että vähäpukeisuudesta huolimatta koin, että he olivat voimakkaasti varustautuneita, liikkeen mahdollistavia Mitä tässä maailmassa ja kulttuurissa on tänä päivänä ja miten se näkyy liikkeessä. Toisaalta liikkumisen vapaus ja riemu. Oletko nykytanssikoreografi, puhuako tanssista vai liikkeestä? Onko nykytanssi nykyään jo sidottu johonkin muotoon, mielikuvia tietyntyyppisestä muodosta ja liikkumisesta, minun kohdallani release-pohjaisesta, somaattisesta tutkimista, abstraktista, kinesteettistä, ei niinkään maailmasuhteisia merkityksiä, minulla on nykytanssitanssitausta, tanssiteatteri käyttää nykytanssin liikesanastoa, pelailee teatterin keinoilla, narratiivista, henkilöhahmoja, pina bausch, raatikko, ihmisistä ja ihmisten tunteista ja olemismaailmoista kertovaa, oliko play nykytanssia? Oliko tavoite tehdä: ei tiettyä tyyliä tai estetiikkaa, osittain nykytanssia: punainen matto, liikkeen oleminen, abstrahointi ja toisto, laskeutuminen tapahtuma kehossa ja liikkeessä, koko esitysmuoto myös, aina kaikki tapahtuu tilassa ja ajassa, voi pohtia miten se toteutuu, nykytanssissa on ajassa liikkuvia ja toistuvia asioita, tässä ei ollut tämän päivän suuntaukselle tyypillisiä avoimia rakenteita, vaan liikkeet olivat setattuja, ei ollut tiukkaan tehtävärakenteeseen perustuvia scoreja, vaan tiukasti asetettu tietyt asiat tapahtuvaksi tietyssä paikassa ja ajassa aina, puvut: pojille laitetut valkoiset kalsarit, valjaat tuovat uutta Mitä suuremmassa määrin nykytanssia, mutta enemmän kuin nykytanssia se oli nykyesitys, kuuluen suurempaan esityskategoriaan, kuin ihan puhtaasti tanssiin, tanssin rajapinnat on niin hämärät, levittäytyy laajalle, kuvataiteen tanssin rajapintoihin, teatterin, musiikin, tämä oli esityksellinen, rakennettu fyysisestä liikkeestä on ykkösasia, ei modernia vaan nykytanssia eli liikekieli oli enemmän kehollista, fyysiseen olemiseen omassa kehossaan kuin tanssitekniikkaan pohjautuvaa sekä vahvana lähellä arkielämää, fyysisiä kiinnekohtia arkea, pohjaten 60-luvun judson churchiin, vahva asetelmallisuus (tiukka katse yleisöön, paljon seisovaa olemista, konseptuaalinen rakenne eli ollaan konkretian kanssa tekemisissä, mutta silti kaikki voidaan nähdä konseptin osasina ja konsepti on enemmän filosofiaa), visuaalisuus: - lattian rikkominen ja tekeminen vaaralliseksi pikkusotilaiden ja katosta riippumisen kautta, puvut eivät olleet tyypilliset nykytanssille: samanlaisuus, nykyään perusasia on että jokainen tanssija yrittää löytää itselleen omaa itseään vastaavan vaatteen, yhtenäinen ajattelu näkyi, ei ollut ikään kuin sattumanvaraisesti syntynyt, mikä nykyään on tavallista, koska pelataan, että vaatteissa olisi designleima Missä menee tanssin ja kehollisuuden raja, playssa kehollisuus oli läsnä, tanssia on liikkeen siirtyminen toisesta toiseen, play oli, onko enää olemassa lokeroita jopa teatterin ja tanssin välillä, reitit ja keholliset suunnat, kehollisuudessa jatkumo, iho oli tämän päivän nykytanssia, näkee miten keho liikkuu, tanssijan keho oli myös osa lavastusta, urheilullisen kropan käyttö omalla tavalla: nakkeluta ja paiskomiset, mistä liikekoreografia syntyi, nykytanssi lähestyy performanssia tai voi olla jopa installaatio Oli, etsitään jotakin ei valmiiseen malliin tai traditioon perustuvaa, joka kerta kun tehdään esitys ratkaistaan uudestaan mikä ja millainen on esitys, miten se toteutuu, mitä kaikkea tähän esitykseen voi kuulua, jokin elementti tuo jotain uutta liikkeen mahdollisuutta (tilan käyttö, vaijerit), haetaan jotakin ei olemassa olevaa toistettavuutta, pohditaan miten minä tanssin ja liikkeen kautta katselen maailmaa, miten se minua puhuttelee (selkeätä fyysisyyttä, tilan haltuunotto eli olemassa olevien mahdollisuuksien käyttö, lisäelementteinä liikekieli, joka on ihmisestä tulevaa, vaikka onkin taitavaa ja harjoiteltua, eri taiteen osa-alueiden vuoropuhelu on tyypillistä nykytanssille, paljas pinta on tyypillistä, painikohtaus: keho voi olla objekti jota käsitellään, ei pelkästään ihminen ihmisenä tai mies miehenä Nykytanssitanssija: olen, enemmän ja enemmän esiintyjä, nykytanssiesitys: liikettä, tietyn oman viitekehyksen kanssa tekemisessä, play: ei tanssillisia elementtejä, siinä oli tarkka aihe, jota käsitellään liikkeen kautta, fysiikan tai kinestesian (tässä: esiintyjälle annetun tehtävän kautta tuleva tarkka olemisen tapa, jota ei voi saavuttaa vain pelkän käskyn kautta, toteutan sitä osin tietämättäni, mutta jossain kohtaa pääsin sellaiseen vaiheeseen, että pystyin tietämään, jolloin pystyin toistamaan sen sellaisena kuin tähän biisiin kuului), teeman tutkiminen, tanssi=kaunista liikettä, tanssillisesti estetisoitua Puvut: lenkkarit käytetty elementti, kommentoivat sitä mitä muodissa tapahtuu tai mitä ihmiset käyttävät muussa elämässään, aiemmin paljaat jalat liittyen ehkä kauniiseen tanssiin, vaatteet olivat tavallisia vaatteita, toivat

3 helppouden ja vapauden liikkua, toisaalta jalat olivat paljaat ja alttiina, alushousut jalassa toivat lapsuuden ja paljaana olon, itse tykkäsin funktionaalisuudesta Kehon kautta olen koko ajan läsnä hetkessä, taide tapahtuu hetkessä, play oli nykytanssia: äänen perusteella, se assosioitui nykytanssiesityksiin, esim. 90-luvulla, unisono-sarjanpätkä punaisella matolla yhdessä musiikin kanssa oli nykytanssin ydintä, nykypäivää: piippaukset musiikissa radikaaleja eikä ennalta arvattavia, toistuva piippauksen ääni uuvuttavuuteen asti, pyritään olemassa läsnä tässä hetkessä, jottei se veisi historiaan tai jonnekin kuviin puvut: t-paidat ja pikkuhousut ovat nykytanssia, 2000-luku, kaupunginteatteri, dv8, kenkävalinta vei sen pois nykytanssista, tämä on monen asian summa, ne eivät palvele jotakin, ei kengän ulkonäkö, vaan miten se on yhteydessä muuhun kokonaisuuteen, ehkä pois visuaalisuudesta kohti funktionaalisuutta, toi ehkä inhimillisyyden, kuten esityksessä oli kaksi olemisen tapaa: esittämisen/esiintyjyyden tila ja sitten toden tunnun tuominen tappelun kautta, valjaat vie kinkkifiilikseen ja kengät tuovat tähän päivään ja toteen 36.00 olen nykytanssikoreografi, nykytanssin rajat, miten liikettä ymmärretään, liikkeen ja tanssin ja kehon oleminen tässä maailmassa, miten Häkki oli nykytanssia: materiaalin moninaista hahmottamista, taktiilisuutta, kehon liike ja objektit (kodin pienkoneet) lähtökohtana, yksityiskohdat yhdistettynä liikkeeseen, yksi konkreettinen objekti (esim. puhelin), kehollisesti mietittiin on-off -asetelmaa, mustavalkoisuus, koneet Play oli nykytanssia: yksioikoinen narratiivisuus (jossa kaikille katsojille tulee sama käsitys siitä mitä seurattiin) ei ole lähtökohta, liittyy ajan käyttöön, joka ei ole ennalta arvattavaa, vaan sitä venytetään (elokuvallisten toimintakohtausten, jotka oikeasti menisivät ohi muutamassa sekunnissa) useisiin minuutteihin, joten rikkoo samalla katsojan aikakäsitystä, esitys oli runsas tekstuureiltaan, joten en lue sitä nykytanssimaiseksi, pyrkimys yleisestä pois on tyypillistä Puvut: mustavalkoisuus on tuttua, kun paidat lähtivät, niistä tuli voimakkaammin läsnä olleet, niiden poistaminen teki merkittäväksi sen että ne peittivät jotakin, rumpalien puvut: mitä rumpalit olivat minulle, edustivat tuntematonta tai vierasta (ehkä toiseuden läsnäoloa, minkä tutkiminen on nykytanssille tyypillistä), oltiin lattiatasolla kliseen kautta tiedetyn ja tunnetun sekä aggressiivisen fyysisyyden tasolla Materiaalisuus: ääni, valo, liike, puvut, pukujen liike, niiden tekstuurit, miten ne liittyvät esityksen kokonaisuuteen, pikkusotilaat, niihin täytyy ottaa jokin suhde, joko fyysinen tai muuten tietoinen suhde, koko esitystilan käyttö teki tilan ääriviivat hyvin selviksi, ei tarjota ainoastaan visuaalista ärsykettä xxx ja xxx ja kietoutuminen näkyvät sekä liikekielessä, että visuaalisuudessa, yhden motiivin teos ei ole välttämättä tyypillistä nykytanssille, niukasti kinesteettinen, minimalistinen, ollaan kehollisuuden äärellä, jolloin tosi pienet asiat ratkaisevat ja merkitsevät, luo suuresti tunnelmaa, kinestesia (keho ja sitä kautta aistimaailma, ennen kaikkea tunto, mutta myös kuulo, näkö, liikemuisti, niiden yhdistämänä kaikki mitä se laukaisee toimijansa muistissa ja muistissa, vaikutusta miten sen hetken kokee, ennen kaikkea se liittyy tiedostava toimijana olemiseen ja kokemiseen) 40.10 xxx Olen nykytanssikoreografi, vapaa ja paljon sisältävä kenttä, mielelläni keskustelen nykymaalausten tai – runouden kanssa, mutta suhde ja kontakti nykytanssin koreografeihin ja teoksiin on avoimempi Oma tausta vaikuttaa, pienistä ympyröistä suuria asioita, koreografin pääkeho, mikä on tanssia on pohdinnan alla, koulutus tanssiliikkeistöön tanssijana, liikkeen tutkiminen liikkeenä, maailmaliikkeenä, ihmisen kehon tutkiminen liikkeenä, en koe välttämättä tekeväni tanssia, ajatus tanssiteoksen tekemisestä lukitsee mun pääni, teen liiketeoksen, tanssiteatterissa representoin tarinaa, jolloin ratkaisu on yksinkertainen, jos en operoi narratiivissa, cunningham- tyyppinen ei riitä, merkitysten etsiminen - 5.45 tanssihetki, Johanneksen kompositio punaisella matolla, mutta ei alun pelissä tai lopun painissa, oli se osa, jossa nykytanssi tuli esille, keskeisimmin ei siinä miten Heli on jäsentänyt ja rakentanut liikettä, vaan habitus, miten, millä tavalla, siinä tuli merkitysmaailmaa heti, en sano, että nykytanssi olisi tyhjä merkityksistä, omissa harjoituksissa meillä oli hetki, että tuli tunne, että nyt meni nykytanssiksi, kun tuli yleistä, esimerkki nykytanssikliseestä: kehon abstraktit muodot ovat ilmaisukeinona, kasvot ovat ilmeettömät, kehon arkkitehtuuri tilassa, ilmaisutanssia vastaan, itse puolestani himoitsen sitä, että ei tarvitse enää tehdä tätä, vaan olisi vapaampi liikkumaan, - 9.30 tanssija itse ymmärtää mitä tekee (puhui samasta kuin Iiro), milloin siirrytään yleisestä (kliseestä) johonkin muuhun, tanssija ymmärsi mitä hän liikkeellään väittää ja tekee, kinestesia ja merkitykset mukaan, merkitykset rakentuvat, kun on kehollisten toistojen kautta sisäistetty ja oma mieli pääsee laskeutumaan siihen, jolloin se voi alkaa merkitä, jos joutuu vain keskittymään siihen mitä tässä tapahtuu tämä ei ole mahdollista, annetun tehtävän kautta ovat ikään kuin vapaampia olemisen tavassaan (erilailla kuin siinä mitä on opittu tanssitunnilla) - 12.05 valo oli epätyypillinen nykytanssivalo, oli teatterillinen/teatraalinen tila ei ollut tyypillisellä tavalla nykytanssiriisuttu puvut: usein näkyy jalat, usein kun on käynyt katsomassa, tulee mieleen, miten puvut liittyvät muuhun, mitä tämä sanoo ei resonoi liikkeen kanssa, playssä esim. valjaiden mukana olo ja reisien paljaus oli perusteltua, niille ja puvustukselle oli syy - 38.00 en määrittele itseäni nykytanssikoreografiksi, koska se rajoittaa ja lataa liikaa odotuksia liikkeen suhteen, nimenomaan tanssi sanana aiheuttaa tämän, suuri yleisö ei vielä tiedosta, että tanssi voi olla niin paljon muuta, olen kinesteettinen runoilija - kinestesia, mulle tänään juuri tässä nyt, ymmärrystä maailmasta kehollisesti, operoin maailmassa kehon kautta,

4 Heideggeria lainatakseni ”kehoni on maailmassa olemisen paikka”, koska olen kehoni, en voi ymmärtää maailmaa muuten kuin sen kautta, en voi siitä irrottautua, kinestesia esityksessä: kaikkea mitä esitykseen rakentuu palautan havaintoni kautta, esiintyjän merkitysmaailma rakentuu spesifisesti kehollisen artikulaation kautta Kyllä, ajankohtainen aihe jo sellaisenaan tekee siitä nykytanssia, tässä hetkessä liikkuva aihepiiri, liikekieleltään etsii uudenlaisia tulkintoja, pyrkii olemaan uuden äärellä, sitoutui tiukasti nykytanssin perinteeseen: miten kokonaiskonsepti on luotu useiden tekijöiden yhteistaideteoksena, tanssijat vaikuttivat kehollisesti: heidän tutustumisensa nykytanssin eri tekniikoihin näkyi heidän kehollisuudessaan, nykytanssiin mahtuu erilaisia tekemisen tapoja ja ajattelua, siihen mahtuu aika paljon, tekijä voi väittää tekevänsä nykytanssia, perinteiseen black box – teatteritilaan tehty esitys, yleisö katsoi edessä tapahtuvaa, eteen suunnattua esitystä, joten esitystapa ja tapa jolla jotakin asetettiin näyttämölle oli hyvin perinteinen, ei siis kokeellisia ulottuvuuksia Puvut: valkoiset alusasut on usein nähty, alusasu kuvastaa arkipäiväisyyttä, vartaloon oli kirjoitettu jotakin on myös usein nähty nykytanssinäyttämöllä, kiinnostavaa puvustuksessa oli valjaiden käyttö, luin tekstin ja valjaat puvuksi, teksti tuli esille vasta sen jälkeen miten pukuja käytettiin Helposti jää muualla kuin teakissa kuvittamiseksi ja taitojen sovittamiseksi eri paikkoihin, nykytanssija: aika pitkään halusin jumpata, postpostmodernia?, postmodernia?, nykytanssisana on hämärtynyt, millaista se yleensä on, millaista se oli, pidin Susanna Leinosen jutuista, perinteisemmin tanssimaisista jutuista, pikkuhiljaa alkaa tuntua, että siinä ei meinaa päästä mihinkään, edelleen ne näyttävät hienoilta, mutta enää ei pidä niistä niin paljon, pikkuhiljaa tuntuu, että esiintyessään haluaisi jonkun oikean kokemuksen jostain myös katsoessaan, tekijälle sellainen voisi tulla: onko yrittävinään vai tekeekö tosissaan, toisaalta myös se että on yrittävinään mahdollistaa vaikeampien koreografioiden opettelun, mutta ei tunnu kovin aidolta, esim. sirkuksessa voisi päästä vauhdin ja liikkeen fiilikseen mutta muoto on niin tiukka ettei pääse kokemukseen ainoastaan asian vaikeuteen Play nykytanssia: voisi sanoa, koreografia, työryhmä jossa oli tanssijat ja koreografi, miten läpisetattua tekeminen on, tässä rakenne, mutta ajoitukset ja muukin muuttuu joka kerta, askelten määrää johonkin paikkaan ei laskettu vaan ne voi sijoittaa niin kuin kannattaisi tehdä, käytännöllisyyden asia: voi ottaa niin monta tai vähän askelia kun tarvii, toisaalta unisono: perinteinen tanssin keino, tässä vapaampana kuin konventionaalisesti, voi samaan aikaan mennä esitystaiteen puolelle, ehkä voisi aina puhua esittävästä taiteesta, rajoja on vaikea asettaa: nykytanssi, teatteri, fyysinen teatteri Oli, ei ollut selkeätä narratiivista kaavaa, kehollisuus ja kinestesia tärkeässä osassa, olisi toisaalta voinut olla myös nykyteatteriesitys, sen dramaturgia olisi sallinut tämän tulkinnan, performanssin ja nykytanssin raja minun mielestäni on vaikea vetää, nykytanssi tänään käyttää performanssin keinoja Kehollisuus, kehollista tai koreografista ajattelua, mitä ei välttämättä voi siirtää sanoihin, mitä ihminen on omassa kehossaan oman historiansa, treenaamisensa kanssa, hengittävänä, elävänä, alati muuttuvana, alati muuttuvassa ympäristössä, ei abstraktia tasoa, vaan konkretiaa Kinestesia, kokemus kehollisuudesta, tanssijan tai katsojan, hikinen ja hengittää kovaa Miten esiintyjät kulkivat tilassa, kompositiota oli selkeästi ajateltu ja reitit olivat selkeät, ei välttämättä tyypillistä, asioiden abstrahointi (pyssyleikki ilman pyssyjä, eleillä), tilan tutkiminen Liikekieli, trendi että on tarve käsitellä mieskuvaa, maskuliinisuutta ja aggressiivisuutta Puvut, eivät olleet tyypillisiä, antoivat minun assosioida, eivät siis olleet mukamas neutraalia nykytanssipuvustusta, löysät housut, maanvärisiä ja paita, ei ihan arkiset, vaan vähän tyylitellympiä, niitä ei ehkä enää näe niin paljon, jolla mielestäni pyrittiin neutraaliuteen, playn puvut tarjosivat tarttumapintaa ei tyypillisiin nykytanssiassosiaatioihin (valjaat, itse materiaalisuudessaan ja mitä ne tekivät keholle, kengät, se paino ja se ääni, kun yleensä ollaan paljain jaloin, paitojen pois ottaminen, miesmallikuvasto, miten se muuttui toiseksi, puvustusta oltiin käytetty koreografiassa) Materiaalisuus, valjaat näyttivät hankalan tuntuisilta päällä, että ne tekevät jotain keholle, kaikki ei ole niin sulavaa, niistä lähtevät äänet, mitkä niistä lähti, kun kaaduttiin maahan, mulle välittyi niistä kehollinen kokemus, asujen kankaan valkoisuus radikaali teko, kun kaikki muu on mustaa ja tummaa, iso kontrasti, pikkusotilaat, rumpalit ylhäällä tekivät tilan materiaalisuutta, rumpalien pukujen asujen ilmavuus, kaikki on jo itsessään materiaalisuutta, jonka tunnulla on iso merkitys 33.35 Nykytanssikoreografi: en tiedä, vaikeuksia tuottavat ennakko-odotukset ja –käsitykset esityksen suhteen koreografina: perinteisesti odotetaan että on tanssia ja virtuositeettia (kärjistäen), enemmän koen itseni esityksen tekijänä: esiintyjä, ihminen ja ihmisyys kiinnostavat, eri aiheet, tutkia esityksen kautta, mitä on olla ihminen, satun olemaan tanssitaustainen, joten kehon kautta lähestyminen on luonnollista, mutta käytän myös tekstiä ja performanssitaiteen keinoja

5 Oli, teakissa, koreografiopiskelija, tanssijaopiskelijat, vahvasti fyysinen tulokulma, varsinkin nuorempi polvi: crossborder, seikkailua teatterin, tanssin ja kuvataiteen välillä, tila-ajattelu: valo ja ääni luomassa tilaa yhdessä pukujen ja pikkusotilaiden kanssa, taiteilija tai ulkopuolinen taho määrittävät mitä tekevät tanssia, teatteria vai esitystaidetta, nykyään on tärkeämpää, että on mielenkiintoinen esitys ja muodon määrittelee taiteilija Tuttuja elementtejä: duetto kuljetus sekä fyysisyyden jännitteen esittely ja sen purkaminen, roikkuminen, alusvaatteissa, polvisuojat, lenkkarit, keho paljon esillä

assosiaatiot merkitykset assosiaatiot / merkitykset puvuissa - 10.00 vaikka vartalot ovat - yleensä ei käytetä puhtaan - 7.30 rumpalit, kuin olisivat olleet tutuissa ja erilaiset ja puvut ovat lähes valkoista, vaan johonkin trikoissa, heitä ei välttämättä huomannut samat, heidät lukee samaksi suuntaan murrettua, esityksen aikana, vaan näki kunnolla vasta - valkoinen on hyvin helposti hienovarisempaa sävyä lopussa, jolloin he menettivät luettava tummassa tilassa, arvoituksellisuutensa, toisaalta heidät oli vartalo erottuu, valkoinen mielenkiintoista nähdä lähempää, pyrstöt, tahraantuu ja korostaa likaa, lavalla he olivat ikään kuin kuolleita tai toisaalta neitseellinen toisaalta enkeleitä, huntumaisuus ja paljas, usein tanssi ehdoton ei avaudu heti katsottaessa, tanssia ajattelee paljon esityksen jälkeen, kuten nytkin - 8.50 luolasto-näytelmä, - valkoinen: murrettua ja mustaa - 20.00 rumpalit: tulevaisuusdystopia, on muovisotilaiden iso ja mustavalkoista käytetään sellaisia kasvottomia voimia, jotka vaikuttavat sotilaskenttä, johon ensin ei enemmän, kokovalkoinen on meihin, rumpalit kasvottomina kosketa, sitten kosketaan, tiukka ratkaisu: ehkä juuri siksi kaadetaan ja lopuksi tallotaan, laitos tuli mieleen merkitys jäi avoimeksi, en saanut sitä sidottua mihinkään, jättiläiset talloo ohikiitävänä hetkenä - punaisen maton estetiikka, jossa oli yleisökontakti - eri elementit jäivät sitoutumatta toisiinsa - valkoisuus: simppeli väri, - 6.20 valkoiset puvut ja meikit yhdessä toivat puhdas ja graafinen, anonyymi, mieleen kellopeliappelsiinin, adidakset neutraali, mutta näkyvä silti, oli suhteessa anonyymeihin kenkiin toi avoimempi lukea kuin väkivallanelementin, mulle esimerkiksi musta, visuaalisesti henkilökohtaisesta, verkkari, urheiluasut ovat hyvännäköinen, erottui hyvin jengiläisten ja käytössä ei enää pelkästään urheilijoilla, 17.30 rumpalit: teatraalisemmat tai fantasiaa, loppukiitoksissa tuli, jotkut hameet, tuli mieleen tero saarinen, hauskaa, kun seisoivat siinä vierekkäin, rumpalit edustivat jotain ihan toista tai muuta, jopa abstraktimpaa, tanssijat nykyaikaiset ja arkisemmat, kontrasti oli siisti - 5.30 - 18.20 valkoinen oli hyvä - 11.40 ei tullut olo, että puvut eivät toimi erikoisjoukkotapahtumat valinta, koska valkoiset tanssillisesti, rumpalit: teatterillisempia kuin jättivät cooliudessaan alusvaatteet ei ole tanssicoolia, tanssipukuja, toisaalta olivat staattisempia, sanoman alleen, miesbiisin mustat alusvaatteet on enkelihahmoja, kohtalonomaisia, jotka ovat taso: fyysisyys, tanssikonventio yläpuolella ja ohjaavat toimintaa sodanvastaisuus: - tanssijoilla valkoiset alusasut: militantti pikkusotilaat, koulutusleiri, miesbiisikuvasto kalsareiden tietokonepelimaailma: suhde painiin, valjaat ja polvisuojat ja liikkeen laadusta ja lenkkarit teknisenä asiana sijoittumisesta tilaan, tekstistä keholla, kritiikki maailman

6 menoon: sota on muuttunut pelinomaiseksi 8.25 catwalkin ja kehoesittelyn miehen keholle esitettyjen vaatimusten ahdistuksena, teemoja oli paljon - 16.00 valkoinen väri: puhtaus, - 3.00 tunnistettavia ilmiöitä: t-paidat, hallinta, urheilu, viattomuus alushousut, tennarit eli käytetään suhteessa sotilasteemaan, nykytodellisuudesta löytyviä asusteita, joista rumpalit: trikoot, erikoiset kootaan omanlaisensa kokonaisuus, valjaat housut, läpikuultavaa osana pukuna vaikka myös teknisinä, tunnistettavien elementtien käyttö synnyttää uusia assosiaatioita: t-paidat liittyivät sotilaan asuun, kasarmilla, koulutuksessa, univormun alla oleva ei univormu, mutta kuitenkin säädelty, viittasi kurinalaisuuteen, kouluttamiseen - rumpalit viittasivat taiteen, muodin, viihteen maailmaan ja sisälsivät esityksistä tuttuja elementtejä (trikoot, läpinäkyvyys, japaniviittaukset) mutta eivät viitannet minulle esityskontekstin ulkopuolelle, joten jäivät irrallisiksi - 9.15 kaksi jätkää ja - 10.00 play-teksti ihossa oli - 8.00 hämmentävää, näkyivät kunnolla vasta vaikuttava tila, suuri työ kauhean vaikuttava, tarttuu lopussa, kuuluvatko kiitokset esitykseen vai laittaa pikkusotilaat, virittää toisen ihoon ei: assosiaation punainen matto ja catwalk, sotatantereen, sota, sankaruus, - voimakas kehon kanssa rumpalien puvut olivat rajua catwalkin oliko ketään vastaan työskentely, joka tulee maailmaa, tuleeko arvosisältö eli odotus nykytanssiin performanssin tuodaanko ne alas, tietoisuus että ne olivat puolelta koko ajan siellä - tässä ja nyt tapahtuvuus, orgaaninen ainutkertaisuus (tässä esim. hiki ja värin tarttuminen) - onko kyseessä presentaatio vai representaatio (rumpalit puhuivat eri kieltä kuin tanssijat) - toisilla hikiset ihot=totta, toisilla ihotyllit=ei totta - ovatko hakamatkin taisteluun liittyvät - 2.50 sota-assosiaatiot - 6.30 kehomaalaus: punainen - 5.20 jossain vaiheessa tuntui olevan vallalla liikkeestä, miten sotilas voisi väri, joka levisi ihon pinnalta harmaan värin käyttäminen, mitään edetä tai kaatua korosti maskuliinisuutta, kaksi sanomattomuus, kaiken riisuminen, sellainen - mielenkiintoinen rajaus: peli nuorta kaveria, alushousuja ja tekotapa on ohitettu, nykytanssiesityksissä tai leikki ja sen yhteys sotaan, valjaita lukuun ottamatta ei ole näkee kaikentyyppisiä tekotapoja: niukka ikään kuin jo leikki-iässä muuta päällä, koko vartalo vaatetus, ehkä samalla myös lähdetään omaksumaan sotaan paljastetaan tarkoituksenmukainen liittyviä asioita, pelissä toinen - 15.30 valkoinen kontrastina - 16.00 rumpalit: leotardi, kasvottomuus, voittaa ja toinen häviää, - 20.45 kirjoitus iholla assosioi olisin halunnut katsoa heitä sellaisenaan kuin muovisotilaat tarjosivat anarkistiviestiin, punainen toi he ovat, korostettiin eroa puvuilla, muusikot ilmeisen assosiaatioon ja mieleen veren, julistava olo, laitettu omaan maailmaansa, lukuun ottamatta toimintaan pienoismanifesti musiikkia ei syntynyt vuorovaikutusta, - millaisessa tilassa ja suhde näyttivät muumioilta, sotakoneisto, joka katsojaan tarjosivat rummutti assosiaatioita - loppukiitoksissa oli ihanaa nähdä heidät - 5.10 vahva yhteys sotaan, - 6.30 enimmäkseen - 13.05 valkoinen, en ajatellut symbolismia, yleisesti maskuliinisuuteen, koreografiasta, luotiin erilaisia enemmän nousi, alusvaatteet, jotka oli valittu

7 toveruuteen, veljeyteen, kuvia maskuliinisuudesta, myös ainoastaan teemaan takia miesten väliseen kamppailuun, puvuilla, etenkin muotiin muoti, mies objektina, liittyvässä kohdassa, tosin myös kauneuden kaanon, sotaleikit, lavastuksen kautta siinä, ei enemmän maskuliinisuus kuin niinkään äänen ja valon sota - 3.50 pienet tinasotilaat, - 16.00 kauneuden ja kauhun - 2.41 aika moni puvustus on viimevuosina onpas näitä paljon, sotajuttu, ristiriita ollut mahdollisimman arkinen (housut ja valotilanteet, etsitään jotain, paita), tässä ei ollut sellaista, paljon mustia katosta tulevat hahmot: liehuvia, yhdessä ryhmä miettii maailman sotilaita, etsitäänkö jotakin, - 4.50 myös rumpalit: kaunista harsomaista putoaako joku, mistä on kyse: takaa valaistuna, hahmot, joista ei saanut sota, pelimaailma, selvää, ei kasvoja vei uhkaan, kauniit puvut, väkivaltainen maailma, vei absurdimpaan maailmaan, voimakas taistelu, paini rumpu assosioitui afrikkalaiseen, mutta puvut eivät, ristiriita oli aika kiva - 5.50 pohdin koko teoksessa - 21.40 valkoinen ei ole - äänen ja musiikin osuus varmaan oli suuri valinnat, jotka toivat ajatuksen konventio nykytanssissa, tässä merkitysten luomisessa myös kohti leikkimielisyyttä, vaikka se yhdessä alusvaatteiden eli - valo ja lavastus olivat aggressiivisempia sotilaita oli tanner täynnä, jos vähäpukeutuneisuuden kanssa asut olisivat olleet toi hauraudenelementin nuoriin militaristisempia, olisi ollut miehiin enemmän sotateemainen, nyt - myös soittajien asuissa oli enemmän leikkimielisyyteen haurautta: keijukaiset, enkelit olematta kuitenkaan kevyt, kahden esiintyjän lapsuusleikkien muistelemiseksi - 4.50 armeija ja sota, taistelu, - pikkusotilaat, äänimaailma loi - kahden miestanssijan liikkeet, lihakset ja kamppailu, kontrastina sille vahvasti militanttihenkeä, värit anatomia, esineellistäminen muotimaailma, ihmiskehon musta, valkoinen ja punainen - valjaista seksuaalisuus esineellistäminen toivat vaaran ja - 14.25 kun rumpaleilla oli läpinäkyvät asut: aggressiivisuuden, fyysisen elottomia, henkiä, häilyivät taustalla, voiman käytön mieleen menneisyyden haamut, jotka kummittelevat - 6.50 tärkeä esitys siinä - 8.00 ensimmäinen kuva, - 18.40 lopussa oli suhteessa, millaisessa pikkusotilaiden maisema, - puvut ehdottivat enemmän mahdollisuuksia maailmassa elämme, jossa kaverit laskeutuvat kuin niitä oli koreografisesti käytetty soditaan, liittyen amerikan helikopterista, rummutus (alushousut voivat olla haavoittuvia, rotumellakoihin, poliisi ampui sotilaallisuutta korostamassa, hauskoja, pateettisia) mustan pojan, isis, ikiaikainen paljon enemmän kysymys - 20.15 valkoinen väri teki puvuista hauraita, suhde sodan ja leikin välillä, sodasta kuin leikistä (Johannes kirjoitus iholla – puvut täytyi pestä aina kysymys kilvoittelusta leikin huizinge: homo lutens) supervalkoisiksi, muutos esityksen aikana perimmäisenä tehtävänä - mitä muuta oli voinut olla likaisempaan ja hikisempään loppua kohden - lasten leikkisyys, miehisen olisi ollut mielenkiintoista kilvoittelun kompleksisuus, joka - rumpalit olivat hyvin puvustuksellisia on myös seksuaalista - mahdollisuus yksinkertaisille asioille avata moneen suuntaan - antaa mahdollisuus yleisölle olla tekijä ja täydentää aukot - ajellut päät olivat hyvin puvustuksellinen ratkaisu - 5.40 sota: voimakas - 12.40 valkoisuus, valkoisuus, - 11.55 puku on esityksen elementeistä se, äänimaailma ja pikku-ukkelit, viattomuus, suhteessa esityksen joka kertoo vahviten tanssijasta, ihmisestä sirkus: valot ja liikkeet rankkuuteen, aikuiset-lapset, tuli - 20.00 rumpalit: puvuissa ihminen oli ilmassa, aikuisia (taistelua, sopiva ristiriita häivytetty pois, myös liikkeissä, hyönteinen sattuu) vai lapsia (play lukee) tuli mieleen, puku oli rumpaleilla suuremmassa roolissa kuin tanssijoilla - 7.10 teatteritila oli maailma, - kiinnostavaa oli mikrotason ja - 9.23 nimettömät tehtävät, molemmat olivat jota ja jonka rakenteita ihmisen skaalan ja tilantason identtiset vaatteiltaan, eivät persoonia, vaan

8 tutkittiin, romanttinen risteymä pikkusotilaiden kuuluivat johonkin ryhmään, paini- tai maailman valloittamisen idea, läsnäolon ja tuhoutumisen urheiluseuraan, armeijan erikoisjoukkoihin seikkailuluonne: armeija, kuri, kautta saattoi kamppailun - 29.15 rumpalit kehystivät rituaalin, hakaman fyysisen koulutuksen assosioida miljooniin leikkausta näin niissä, tyllirypytyspaisetta, ne maailma, tunnistettava ensimmäisessä oli ihmeellisiä, sijoittaminen reunoille, elokuvista tehtäväradan idea, maailmansodassa kuolleisiin, merkitys- ja havaintokentässä ne sijoittuvat painiminen-leikki-valta -kuvio lavastuksessa oleva lauma viesti reunoille, koska ne oli esityksessä sijoitettu oli minulle monitasoisin miesten valjastamisesta niin, huomasin värin, hahmon, utuisuuden yhteiskunnallisesti nimettömiin kaukaa, mutta vaatteet ja japanivaikutteen tehtäviin vasta loppukiitoksissa - 20.00 valkoisuus toi privaatin - voiko vaatteen konstruktio olla merkki alusvaatteisuuden jostakin (nähtyään loppukiitoksissa, osasi lukea rituaalisuuden myös rumpalien puvuista, mutta esityksen aikana vain äänen toisteisuudesta ja rumpalien sijoittelusta) - 5.10 ylivoimaisuus, kaksi - 6.30 rituaalinomaisuus, tilassa, - 17.00 rumpaleissa oli jotakin kohotettua tai tanssijaa, kehojen lihasten asemoinnissa, rumputyypit ja toisen maailman läsnäoloa, kaikki oli niin näkyminen, mutta kuitenkin niiden identiteetin peittäminen hallittua, materiaalisuus korostui, puuvilla kliinisiä, peli-play, sota- kasvojen päällä, tarkkuus, joka näyttää puuvillalta, ihohuokoisuus, saman assosiaation ensimmäisenä on osa rituaalia aikaisesti tuttu, koska tiedän omasta pikkusotilaista ja nuoret kokemuksesta millaiset on pikkuhousut ja t- hyväkuntoiset, paljon paita ja miltä ne tuntuvat, ylähäällä on näkyvillä olevat nuoret miehet vieraampaa materaalia ja samalla niiden sisällä voisi olla mitä vaan, puuvillan sisällä tiesin tarkkaan mitä sen sisällä on, valkoisessa näkyy kaikki, jos on taistelua, veri näkyy - 9.30 armeija, ukoista, - 16.10 valkoisuus toi - 19.20 rumpalien asu: fantasian herättäminen, etsintävaloista, äänistä, neutraaliutta, valkoinen on urheilumaailma tanssijoiden puvuista marssirummut, katosta alaston asuna laskeutuminen, suorittaminen ja esilläolo: catwalk ja juoksurata, ilman paitaa/play- teksti: showpaini, homoeroottinen vääntö, kukko-osasto, miesten voiman vääntö - 6.55 liikkuminen tilassa: - 18.00 rumpalit olivat - 4.20 tinasotilaat, viitteet urheilu- ja parkour, sotaharjoitus, anonyymejä, vaikka tanssijat taistelukulttuuriin, itsepuolustuslajeihin, gladiaattori, harjoitusrata, olivat samanlaisia niissä oli sankarit ja sotilaat, jos olisi valittu vapaapaini, ihmisen persoona läsnä maastopuvut olisi ollut vaikeata ottaa vastaan, supervoimien esittely pystyi polvisuojista näkemään samalla painijoina ja toisaalta jonain muuna, yksinkertainen puvustus ratkaisu antoi viitteitä, mutta ei liikaa, puvut eivät vieneet kaikkea huomiota, vaan saatoin keskittyä myös muun katsomiseen, neutraali, mutta toimiva, monimerkityksellisiä viitteitä: painijat, valjaat viittasivat urheiluun ja kiipeilyyn, sama toistuu: valkoisuus rikkoutuu mustista polvisuojista, siisteys ja rosoisuus läsnä samanaikaisesti, painishortsit vai alushousut, samalla kertoi jotakin mutta oli silti paljas, antaen tunteen hauraudesta, vaikka olikin atleettiset nuoret miehet, valkoinen viittasi puhtauteen ja viattomuuteen - 15.30 pysyykö valkoinen puhtaana kertoo kamppailulajeissa taidosta - kävi mielessä esityksen aikana: onko ne miehiä, keitä ne ovat, aisti läsnäolon, piilossa olevia vartijoita tai jotain, loppukiitoksissa

9 nakinkuoriasu sai miettimään: ihonvärisellä voi peittää ja paljastaa tai piilottaa, oli tarkoitettu antamaan tuntu tilan rajaamisesta - 7.40 alussa se ei sijoittunut - rumpalit toivat sen laajempaan - 6.50 tietyllä tavalla kahdet puvut, tanssijat sotakuvastossa mihinkään kenttään, se ei ole vain näiden enemmän sitä missä nyt mennään, tosi tiettyyn sotaan, asut olivat niin kahden ihmisen sota, lähti käytännöllinen, helppo liikkua, lisää hahmoon neutraalit (saattaisi olla linkittymään historian jotakin, mutta ei tee siitä hahmosta enempää mission impossible), - 26.40 teksti iholla: toi ei ollut kuin se on, rumpalit (Tero Saarinen, Susanna pikkusotilaat sodan massaa, tarpeellinen, mitä se kuitenkin Leinonen, kuka se niiden pukusuunnittelija voisi olla myös poikien tuo, poseeraus ja aloituslaukaus onkaan) olivat sen linjaa, kauko-itä, sotaleikki, painista kahden - maalin sekoittuminen ja samuraityypit soittaa rumpuja, old vs. new ihmisen leikki ei todellinen tarttuminen eivät tuoneet school, ne näki tavallaan erikseen, rumpalit suhteessa pikku-ukkojen minulle mitään uutta olivat taustalla, toivat itämaisuuden vietnamin kärsimykseen sota, tanssijat taas ihan länsimaisia, tapahtuu nyt tai silloin kun oli vietnamin sota, toivat aikakerroksia ja eri kansallisuuksia - rumpalien asut välittivät merkityksiä, joita ei muista välittynyt - 5.10 pikkupoikien/miesten - puku toi kontrastisuuden herkän ja vahvan sotaleikki, todellisuus ja välillä kuvitteellisuus risteytyivät, - rumpalien asut jäivät arvoitukseksi, catwalkista ja liikkeestä unenomaisuus, fantasia: japanilaiset muoti, helikopterista rummuttajamiehet ylävartalot paljaana tuli laskeutuvat sissit, mieleen, korostivat sotilaallisuutta ja muovisotilaista tuli lapsen taso maskuliinisuutta (myös äänen kautta) ja oman siskon poika kontrasti loppukiitoksissa oli suuri - 11.40 sota, aggressiivisuus, - rummutus tuki samaa - hauraus, soittajat, stereotyyppinen joka liitetään sotilaana maailmaa, mutta huomio ei maskuliinisuus olemiseen, toiminta oli kiinnittynyt siihen - rumpalien pukujen epäfunktionaalisuus, esteettisesti armeijaan ja useita vuosikymmeniä taaksepäin menevä sotilaskoulutukseen liittyvää, modernin tanssin estetiikka vallan käyttö, voimakkaan (sukkahousumeininki), toisaalta muoti: selviytyvän kehon estetiikka, voimakkaasti estetisoituja pukuja, sekoitus valjaat, pikkusotilaat, tila, erilaisia visuaalisia vinkkejä, joka ei kiinnity valo, ääni olivat kaikki samaa suoraan mihinkään genreen, tematiikkaa materiaalivalinnat olivat materiaalisia ja hauraita, kutsuu toisenlaiseen kehon materiaalisuuteen, jota esitykseen toivoin, mutta sitä ei hyödynnetty, rumpalit olivat kehollisuudeltaan myös hyvin erilaisia, toi kaipaamani epämääräisyyden - 5.20 kokonaisvaltainen - tila, pikkusotilaat, - oikeiden ihmisten asema voimakas ja kokemus, kertoi tarinaa, taistelutanner, uskoin ne uhkaava, muovisotilaat vaikka olivatkin visuaalisesti voimakas sotilaiksi, punainen linja pieniä ja kuvia ja metaforia, olivat todellinen yhtenäinen monella tasolla, keskellä kenttää oli haava, vaara, jotka menivät tanssijoiden ihosta läpi, muovisotilaita oli kahden vaaran tai pelon tai tuhon kuva, alussa olivat samalla puolella ja lopussa värisiä, joka kertasi ajatusta, valon ja äänet todella toisiaan vastaan että jokainen on potentiaalinen voimakkaasti tilannetta - läsnäolon ja toiminnan kautta tuleva vihollinen kannattelevia, mikä alkaa vahvistui hahmoissa (sotilaista tuli puvun leikkinä muuttuu todeksi, kaikki kautta totta), yhdessä mielikuvat tukivat kääntyy toisiaan vastaan toisiaan, myös pikkusotilaat - paradoksaalisesti koin alusvaatteet suojana ja univormuna, kunnes lopun painissa näin toisen loukanneen itsensä, valkoisella näkyi verta, niin se väritti loppua voimakkaasti, esityksen ja toden raja alkoi hämärtyä - 12.00 koreografille tärkeitä - aiheita, teemoja, merkityksiä, - kinestesia: ruumiillista, kehon liikettä,

10 asioita: punaisen maton joita halusin: sota, väkivalta, kehollisuutta, olemista, kinesteettinen akkumulaatio, kävelystä, väkivallan estetisointi, empatia, omassa kehossaan voi jakaa johon lisättiin aina yksi liike näkökulma: poikien leikki, peilisolujen kautta saman tunteen, mitä näkee lisää, oma kysymys: miten leikkii sotaa, tuntui - sodan kinestesia:kuollut ruumis, voisin liikkua läheisemmältä ruumiskasat, lihanpala, sotilaan koreografioitu representatiivisen (viittaa - kinesteettisempi, abstraktimpi: keho suoraan, referoi johonkin, sotilaallisen ja sodan kinestesia, - eri elementit tukivat toisiaan esim. sotilaista otetut asennot, sotaleikki, joista sotaleikki - rumpalit toivat syvyyttä ja lisää tasoja militanttiin liittyvä liike) ja valikoitui tärkeämmäksi, jonka esitykseen, mittasuhteet: pikku-ukot, tanssijat abstraktin (liikettä itsessään, kautta aloin rajata asioita suhteessa tilan valtavuuteen tuli näkyväksi tilassa ja ajassa, rumpalien kautta arkkitehtuurista, kinesteettistä) - Helena-teema: jumalateema, ketkä välimaastossa? pyörittävät tätä maailmaa ja pistävät liikkeelle - abstraktin ja representatiivisen tutkiminen onnistuin osittain, samoin kinestesian tuominen -valjaiden kautta tuli paljon merkityksiä - pikkupoikamaisuus (kuin vaipoissa) - valtataistelu/macho minulle enemmän kuin seksuaalisuus - rumpalit: jylhyys ja kasvottomuus, housujen muoto ja siivet - alussa viesti laskeutumisesta - 8.40 vahva viesti puvuissa: ihmettelin miksi sotilaista laskuvarjoissa, sitten ei tullut ensiksi mieleen urheilijat/nyrkkeilijät, tuli liikkeestä maratonrata, vaan joku outo kamppailulaji tai sotilaan urheilijat, tanssillisesti isoin alusvaatetus ennen varsinaisten vaatteiden idea oli valjaiden käyttö pukemista, johtuen valjaista, kasarmilla - valkoisuus vei amerikkalaisen valmistautuen, mikä oli erittäin hienoa merijalkaväkeen puvuissa: estetiikka ja funktionaalisuus olivat - näytti ettei ollut tahran tahraa, yhtä puvuissa järjestelmä taustalla, joka pitää - tekstit iholla: ilman muuta hyvä yllätys, sana huolen, myös poikien hyvä oli hyvä, olisiko takana ollut jotain muuta, kunto kertoi tästä ihasteli poikien kroppaa - valjaiden käyttö ja se ettei niitä riisuttu vei pitkälle - 6.30 tavasta liikkua ja olla - 9.00 ajattomuus: vaikka onkin - 11.40 tahdin lyöjät ovat kasvottomia, sekä ilmeistä: isovanhemmat uudet lenkkarit, =elokuvallinen, yhteiskunnan kasvottomuus, yhteiskunta, ja Suomen sodat, jolloin voin sen päässäni siirtää läpinäkyvyys ja aristokratia tai nykyään poikamaisuus, leikkisyys, olen minne itse haluan poliitikot, yläosa paljaana rumpalit olivat ikään kuin tirkistelijä - 17.30 valkoisuus: abstraktimmat ja täten assosioitavissa poterossa: elokuvallinen antautuminen, uhrina olo, vapaammin ajattelu, seuraan toimintaa, rauhan lippu - alushousuissa oleva mies, joka ei kuitenkaan nousivat omasta ole trendialusvaate, paljaaksi riisuttu, vaan kokemuspiiristä, elokuvista valkoinen puhtoinen, joka tahriutuu vereen pienessä määrin, kontrasti uusiin lenkkareihin, valjaat, joita ei koskaan riisuttu, kertoivat ihmisen heiteltävyydestä, ihminen voidaan komentaa lähtemään, - toinen lyhyt pätkä: adidas-raidat toivat tähän päivään: kyseessä olisi voinut olla oma tai naapurin lapsi, eleettömän t-paidan napit auki toisella, huomasi pukujen nyanssit, luki hahmot yksilöinä, mutta kuuluen joukkoon - 19.30 lenkkarit sitoivat voimakkaasti tähän päivän, vahvisti omia tunteita täten, toi asiat lähelle - hyvin maskuliininen, hyvin - lattiasta tehdään jotakin muuta - 5.20 käytetään kehoa muunakin kuin lihaksinen, aggressiivinen, kuin se on, joka joutuu liikkuvana kehona, sen pintaan kirjoitettiin, johon esiintyjät tarjosivat fyysiseen kosketukseen kehon keho voi olla taulu, rumpalit ääntä tuottavina helpotusta pelillä, flirtillä kanssa, muuhun kuin kehoina

11 catwalkilla, esillä olo, teksti ja tanssikosketukseen eli kivun - valjaat: tanssijat alkoivat epätilasta, kontakti katsojaan, jolloin elementit, jotka syntyivät irtoaminen siitä jätti heihin muiston siitä, katsojakin saa helpotusta, että liikkeen arvaamattomuudesta, missä he olivat olleet, valjaat muuttivat leikitään katsoja koki sen voimakkaasti alusasuisuuden joksikin muuksi, asevyöksi, - vastakkaisena tälle - koko tilaa käytettiin joka lisäksi sitä käytettiin kontaktikohtauksessa raadollisuudelle keveys ja syvyyssuuntaa - ei jääty paljauden armoilla olevaksi, vaan leijuminen: roikkumisesta ja - 28.00 valkoisuus: nimenomaan tanssija puettiin jostakin lähtien, kengät ja kiipeilystä alushousujen vitivalkoinen, joka polvisuojat, tehdään kontrastia paljaudella ei tahrautunut, pysyi puhtaana - 16.00 rumpalit sekasotkussa, arvokkuus ja - 25.55 peitetty vastaan paljas, koska soittajat tietoisuus, tietoisuus että jostain olivat läsnä ja peitettyinä, samalla näkyvillä ja asioista välitetään, kontrolli tai poissa, olemassa ja passiivisina, tuottavat vain järjestys, ei ihan köyhä ääntä, valintana tanssijat paljaina ja aktiivisina - 9.50 iso teema jo ennen - alussa ajattelin enemmän - 37.45 rumpaleihin ei ehtinyt saada esitystä: saada aitoa olemista koreografisesti ja teemallisesti, visuaalisesti kontaktia, ääneen kylläkin, esitykseen, tämä onnistui kun esitys alkoi muotoutua, tunsin elävien soittajien läsnäolon tiukasti painin kautta, teatterillista, fyysisyys on minun roolini, sen määritellyissä tilanteissa, koin että hetken olin tämä piirre on nykyteatterissa mahdollisimman tarkasti heidän tasolla, tuli tunne että ei olla vain läsnä, hakea aitoa väsymystä opetteleminen kahdestaan, koreografin tehtävä: ei kontaktia tai aggressiivisuutta annetun - miten kontaktissa Iiron kanssa rumpaleihin tehtävän kautta, jotta voi syntyä esim. leikillisyyttä tai primitiivisetkin olemisen tilat kontaktia katseen kautta mahdollistuvat, ei esitettyä vaan aitoa hetkessä syntyvää tunnetta - tila, valo, sotilaat lattialla, - 23.45 valkoisuus: molemmilla - vaippa-assosiaatio mieleen painunut kuvat, jossa samanlaiset, assosioitui sotilaan - 21.50 valjaat veivät pois sodasta kohti on mielikuva jo käydystä alusvaatteisiin kinkkiä, raakuuteen ja kivun haluamiseen, taistelusta, pelin assosiaatio jo suojien ja kenkien kautta urheiluun (tuli kyllä pelkästään teoksen nimestä, lihastonuksesta) kasvatus: isä-poika –suhde, poikana oleminen, poika ja sota, esiintyjien nuoruus vaikutti - - 55.00 arkisuus, aamutakki, herkkyys, puvun kautta muutimme liikemateriaali, puku vaati ja kutsui siihen, teos on absurdi ja outo: materiaalisuuden kautta teos merkityksellistyy minulle, ajattelin vain kontrastia ja materiaalisuutta - 20.50 assosiaatiot ja - elokuvamaisuus, toiminta- tai - 32.30 univormumaisuus, on kaksi eri maailmasuhteet ovat tärkeitä sotaelokuva, machokulttuurin yksikköä, tanssijoitten puvuissa merkittävää työn rakentamisessa, kommentointi, pojat on poikia oli materiaalien myötäeläminen liikkeessä, erityisesti kestot rakentavat - koreografina heräsi polvisuojat ja sneakerit olivat nykytanssille merkityksiä, merkityksiä alkoi kysymyksiä ammattietiikasta: tyypillistä ja valjaat epätavallista, joka irrotti syntyä, kun Johannes putsasi mitä voin itse vaatia tanssijoilta, sen ajatuksesta mies boksereissa kotona lattiaa Iiron alta, suhteita alko kysymys vastuista muodostua, ei kuitenkaan kristallin kirkkaita, vaan tulkinnan vara jäi - 44.00 kysymys siitä mikä on - xxx xxx xxx äänen tuottajina, - muita asioita, jotka syöttivät itselle, mitä tanssijan rooli, kuinka paljon xxx ääni, xxx tuntuisuus tässä pitäisi tapahtua: tilan huokoisuus, tilan liikettä teos vaatii, että teos on aistillisuus, joka viettelisi tiiviyden aistiminen, suhteessa viettelykseen tanssiteos, koska tanssijat ovat katsojan mukaansa - toisaalta pohtia sitä voiko tuudittautua tietoisia pienistä vire-eroista, - teoksen mahdollisen laaja siihen, että elämässä kaikki on hyvin ja voiko kuinka paljon tarvitaan aistiaaltoisuus, joka tulisi siihen tuudittautua välittääkseen jotain, onnistuin visuaalisesti, kinesteettisesti ja vastaamaan kysymykseen ketä auditiivisesti katsojan yli sekä nämä ihmiset ovat ja mikä niiden risteytyminen

12 niiden tausta on yhdistettynä keholliseksi kokemukseksi, esiintyjien omaan affektiiviseksi kokemukseksi henkilöhistoriaan ja miten he olivat tärkeimpiä ovat olleet oman kehonsa kautta tässä maailmassa - 14.10 keskeisimpänä miten - 22.40 valkoisuus: poikanen, - 23.45 pukujen ja koreografian aikamme kulttuuri ja viattomuus merkitysmaailmakenttä menivät melko lailla videopelimaailmat vaikuttavat, käsikädessä, jossa tosi keskeistä oli valjaiden elokuvamaailma, näkee osuus itsensä katsomassa actionleffoja, ei tämän päivän sodat vaan Stalin, johtuen pikku-ukkeleiden, valtavan taistelutantereen kautta, ihmishengillä leikkiminen, onko sota pikkupoikien leikkiä - 44.50 kinestesia, - maailman tarkastelu loppumetreillä teosta tehdessä turvallisesta paikasta (xxx merkitysmaailma lopullisesti istuen) asettuu paikalleen, xxx- ja - luoda tila, että katsoja päätyy xxxteema sijaintiin teoksessa, jossa turvallisesti tarkastelee lähellä tapahtuvaa väkivaltaa - yleisösuhde oli tärkeä - puvustus korosti - rumpalit olivat ylhäällä, pani - 7.30 alusvaatteet: amerikkalaiset sotaleffat assosiaatioita, toi esille mielikuvituksen liikkeelle, ja tietty mainoskuvasto, muotikuvastoon, koreografian merkityksiä, en olivatko painovoimattomia, pyrkivät olemaan sekä paljastavat että pysty katsomaan asioita jotka leijailevat, kasvot seksikkäät että tuomaan lihallisuuden esille, irrallisena vaan katson niitä peitettynä, enkelien, haamujen sotaisuus, taistelu ja voimien punnitseminen yhtä aikaa, suhteessa toisiinsa tai marttyyrien yhtye, samalla ihmisten välillä sekä fyysisyys korostuivat, huvittavia ja traagisia, koska lavalla oli pikkusotilaita, korostui onnistunut koska lähti paljon kuinka haavoittuvainen ihminen on, tuleeko assosiaatioita liikkeelle haavoja vai ei - tanssijoiden asut olivat paljon - Iho oli kuin puku, joka ei ollut suojaamassa yksioikoisemmat - 29.30 underwearparty - ne olivat keskenään eri maailmoissa: tanssijat väkivallan ja fyysisyyden, soittajat: eteerisempi taho, mahdollisuuden katsojalle hengähtää - 14.40 kokemusasia painissa (selkeimmin tässä kohdassa, myös ne kohdat, joissa oli selkeä tavoite ja suunta, mihin suunnata tai kiivetä, unisonossa oli vaikeampi tietää millaista kokemusta hakisi, piti kuitenkin keskittyä siihen suorittamiseen, jolloin kokemukseen kiinni pääseminen oli vaikeampaa) oli minulle tärkeä, yritin välttää esittämistä, jos Johannes makasi liian pitkään komensin ylös, yrittää oikeasti - 15.35 tullaan ylhäältä, valo: - kengät ja liike: urheilu, - pelimäisyys: videopelit enkeli, jumala, taivas, alusvaatteet: miesalusvaatemalli - kamppailu: maskuliinisuus, miesten väliset muuttuen actionleffaan, - rumpalit: jatkuva valta-asema suhteet agenttiin, sota: pikku-ukoista, - vire ja hymyily: leikkimielisyys

13 miten lähdetään tilaan - 35.42 tärkeintä alusta asti oli - minulle ei ole tärkeä sanoa tätä - tehdä asia tutuksi työryhmälle ja tanssijoille: henkilökohtaisuus, oma nykytanssiesitykseksi, vaan tarjosin ajatusta puvun kohdalla, että puvuista kiinnostus ja henkilökohtainen koska siinä mahdollisuus tulee jotain erityistä ja siten osa juuri kyseistä suhde esityksen tai taiteen moneen (esitystaidetta, esitystä, erikoinen tai epämukava puku voi lähtökohtana, fantasian ja performanssia, nykyteatteria) tuottaa yllättävän kokemuksen, voivat myös todellisuuden tutkiminen, minulle tämä ambivalenttius on auttaa esiintyjää keinoina tai strategiana: mielenkiintoisempaa aiheena xxx xxx xxx, oman seksuaalisuuden, rakkauden tutkiminen, jokaisella oman henkilökohtaisen suhteen löytäminen aiheeseen sekä esityksessä itsessään kontrastit: rakentaa esitys, jossa tapahtuu dynaamisia muutoksia, lisäksi, että tanssijat käyttävät ääntään ja puhuvat tekstiä - 7.05 poikien välinen suhde, - 5.50 puvut eivät tuttuudestaan huolimatta kahden miehen välinen suhde: ole stereotypioita, koska ne assosioituvat kisaileva, seksuaalinen, urheiluun, painiin, miehen kehoon, esillä homoeroottinen, lapsuus, tuloon, fyysisyyteen, osa tämän ajan kuvaa nuoruus, pikkusotilaat: että käytetään tuttuja asioita latasivat enemmän odotuksia, - 27.20 puku toi tietyn maskuliinisuuden ja laajemman kontekstin atleettiudun esiin tulemisen, rumpalien odotukset eivät lunastuneet, (freskojen enkelit) joita en olisi halunnut vaan pysyttiin juuri kahden nähdä kiitoksissa ja rikkoa illuusiota, ikuisuus ihmisen välisessä ja suhde kuolemaan - laskuvarjojääkärit tekijä yleisön rooli - jos esitykset yleensä ovat - koreografi - suoraan edestä syvyysvaikutelmaa hyödyntävä lavastuspainotteisia, tämä todellakin oli yleisölle esitetty, passiivinen, todistaja, tirkistelijä pukupainotteinen tuomalla tanssijat lähelle, kysytään katsojilta kuinka paljon haluatte nähdä, kuinka intiimisti haluaa kokea - 11.15 paha sanoa, en tiedä, - 14.05 kuten modernin taiteen museon kävijä, joka prosessimuoto, yhteistyössä ryhmä menee katsomaan taulua tai videoteosta, viipyy rakentaa, ryhmätyö ilmeisesti, hetken ja menee pois, henkilökohtaisesti kaipaan kollektiivinen työskentely, jossa päätöksen sitä, että esittävän taiteen tilanteissa teko on ollut tasa-arvoista, jolloin haaste kommunikaatio olisi sellainen, että tulen siirtyy autoritaarisesta työskentelystä tempaistuksi mukaan kokemukseen siihen, miten tehdään päätöksiä ja jäsennetään esitystä yhdessä suhteuttaen henkilökohtaisesti tärkeät asiat teoksen kannalta tärkeisiin asioihin, tästä johtuen mikä on lopputulos - 11.50 työryhmän yhteistyö, eri osa- - perinteinen nykytanssiyleisön sijoittelu yhdelle alueet, tanssijoita ei voi pakottaa seinälle, katsoa, todistaa ja jakaa esitys, tehdä tanssimaan tietyllä tavalla, koreografi voi esitys mahdolliseksi, sai olla rauhassa ja assosioida olla alulle panija - 10.10 mistään esityksestä ei voi koskaan - 9.10 aika passiivinen katsoja, jolla selkeästi sanoa, että se olisi vain yhden ihmisen esitetään illuusiota, ei mikään sellainen, että ollaan tekemä, ellei koreografi itse esiinny itse tässä samassa tilassa, toisaalta oltiin tietoisia siitä, tekemällään lavalla, yhdenkin osa-alueen että katsojat ovat paikalla, mutta toisaalta teos, muuttuminen muuttaa koko teoksen jossa olisi voinut olla neljäs seinä toiseksi - 10.20 koreografilla suurin rooli, mutta - unohdinko kuitenkin työryhmä

14 - 11.50 väkisinkin välittyy kollektiivisena, - 13.20 katsojakokemuksena sillä, että esiintyjiä oli esim. en usko pukusuunnittelijan tuoneen sekä alhaalla että ylhäällä oli merkitystä valkoisia t-paitoja ja kalsareita, vaan ne ovat syntyneet prosessissa - 11.40 koko työryhmä, ei noussut mikään - 12.20 todistaja, kontaktia otettiin, mutta kaikki yksittäinen osa-alue, koherentti teos kontaktit vaikuttivat ennalta harjoitelluilta, en kokenut että esiintyjä olisi lukenut yleisöstä mitään - 7.30 koreografi, sain liikkeestä eniten - 8.25 ei osallistuva, katsoja, tirkistelijä, kuin informaatiota, muut elementit korostivat urheilutapahtuman tai muotinäytöksen, kuin liikkeen esille nostamia asioita poliitikot seuraamassa sotatapahtumaa, televisiosta, tarkastelija - 6.20 usein ensimmäinen ajatus että - 5.55 katsoja, ei vedetty mukaan, ei kysytty koreografi, visuaalisuus vaikutti paljon, mitään, ei joutunut reagoimaan joten sen on pakko olla ryhmätyö - 8.15 selkeästi ryhmätyö, en osaa sanoa - 9.40 selkeästi istua katsomossa ja katsoa teosta, kuka oli eniten äänessä taiteellisia ratkaisu minulle se sopii, miksi olet tehnyt yleisöä tehtäessä, todella kokonaisteos, valo ei osallistavia töitä: olen halunnut haastaa yleisön ollut alisteinen liikkeelle tai äänelle, osallistumaan ohi paikalle tulon ja penkissä puvustus ei hyökännyt ensimmäiseksi eikä istumisen lisäksi, liittyykö tämä ruumiillisuuteen: jäänyt viimeiseksi perinteisissä tilanteissa yleisö jää rampin taakse, miten koet merkityksen muodostumisen osallistavissa teoksissa suhteessa perinteisiin: en näe eroa - 7.15 vahvasti koko ryhmä, koska - 8.20 aika perinteinen, katsomo, eriteltyinä yleisö visuaalinen ja äänellinen maailma olivat ja esiintyjät, ei osallistettu voimakkaita, mutta balanssissa keskenään - 10.00 hyvin selvästi useampia tekijöitä, - 11.40 yksinkertainen sijoittelu, kaikki osa-alueet palvelivat tosin syvyysvaikutelman salliminen yleisölle, koreografiaa, koherentti elokuvallinen asetelma tuki katsojakokemusta, koska nykyään ajattelemme elokuvallisesti, yleisö olisi kokenut tekijyyden kehollisesti enemmän, jos syvyyttä olisi käytetty moneen suuntaan - 7.30 viimekädessä tanssijat, ilman - 8.15 katsoja, ei kauhean osallistava, mutta taustatyötä ei olisi mitään, mutta tanssijat tanssijan katsekontaktin kautta katsomistilanteen herättävät teoksen eloon näkyväksi tekevä - 9.55 ajatellen mistä minulle välittyvät - 12.10 eri osa-alueet eivät tuottaneet tukkoisia teoksen voimakkaimmat merkitykset päällekkäisiä merkityksiä, vaan katsojan huomio ajatellen, luen lavastuksen suhteessa kulki ja salli ajatuksen kulun eri osa-alueiden tinasotilaisiin ja toiminnan suhteessa mukana, jäin odottamaan, missä maailmaa tutkivan esityksen fyysisyyteen ja puvuissa sankarimiestyypin roolia aletaan murtamaan, vastavuoroisen valjaisiin tarttumisen, odotushorisontti: roolin murtaminen ja vaatteen toiminnallisuudella oli iso kyseenalaistaminen, valjaspaini toi mahdollisuuden merkitys, ääni oli rytminen ja eroottiselle alavireelle suhteessa väkivaltaan dramaturgiaa jäsentävä, työryhmän työ ehdottomasti, - 7.30 kimppaduuni, valo oli tosi - 8.35 jonkin asian todistajia, en ollut ruumillani voimakkaassa osassa, valo ensin ja mukana, en osallistunut, koin kuitenkin ruumiillani, tanssijat reagoivat siihen kun tanssijat menivät pikkusotilaiden päälle, rituaaliin liittyen se oli jonkinlaista symmetriaa sisältävä esitys, jolloin koin etten ollut täysin ulkopuolella, mutta toisaalta en sisälläkään, koska esityksen maailma oli niin omansa ja erillään minusta, valolla sokaistiin katsojaa, kenen katse minun katseeni oli, ei kuitenkaan täysin ylivoimainen, jäin miettimään peliruudun takaa katsomista - 11.20 kaikki elementit tukivat vahvasti - 12.35 perinteinen katsoja, yleisö tuli sisään, katsoi toisiaan, oletan, että työryhmä on päässyt esityksen ja lähti pois, vahva esittämisen taso oli jonkinlaiseen konsensukseen, kuka ja mitä läsnä, oliko aitoja kontakteja kautta päätökset on tehty on mahdoton

15 sanoa, vahvasti tehtiin samaa asiaa - 7.45 virtuaalimaiset liikkujat, taustatiimi, - toisaalta - 9.15 todistan taistelutilannetta kuin lukisin kokonaisuus, ryhmä, muusikot koreografi hesaria, todistajana osallisena maailmassa, tiedostaen roolini - 9.30 liikkeessä myös näkyy tanssijoiden - yleensä - unohdin osuus, kaikkia ruokkiva kokonaisuus ajattelen, että koreografi, ennakkoajatus, katsojakokemu ksena sekin näkyy läpi, suuri vastuu koreografilla - 6.15 vahvasti kokonaistaideteos, kaikki - 6.30 hyvä olla, vaikka maailma oli militantti, elementit tukivat teoksesta nousevaa turvallisesti katsomossa, yleisölle selkeästi merkitystä esiinnyttiin, tehtävänä oli katsoa ja olla katsoja - 14.15 tekijäkäsitykseni on ei ole yhtä - 15.35 hyvin voimakkaasti todistava, etäisyys tekijää, kuitenkin oletin, että koreografi on näyttämön ja katsomon välillä oli aika iso, vaikka tehnyt valintoja tai hallinnut prosessia, ei ollut monttua erottamassa katsomoa ja vaikka tämä ei välttämättä välittynyt kuitenkaan esitys tulikin lähelle ja esiintyjät katsoivat suoraan esityksestä, se ei näyttänyt hänen työltään, yleisöä, kontakti oli silti etäinen, raja-aitaa ei joten prosessityöskentely, kaikilla rikottu, toiminta pysyi näyttämöllä, kaikki tila oli osapuolilla aika paljon valtaa ja jo täytetty, ei annettu tilaa katsojan omalle mahdollisuus sanoa mielipiteensä, kokemukselle nousta esiin suunnittelijat ja tanssijat ovat olleet tekijän roolissa, tuoda omia toiveita ja aiheita - (vastaus sähköpostilla 5.1.2015) - 9.10 yleisönä en kokenut tehtävääni mitenkään mielestäni tekijöitä olivat katsoja ja esitys erityiseksi, esitys ei osallistanut, tarkkailija, yhdessä, käsitykseni mukaan kokeminen minulle kerrottiin on aina vuorovaikutusta välittömästi - Olen tuossa varmasti ajatellut ja kommentoinut nähdyn ja muistetun välillä ja tässä sitä, että esitys ei osallistanut yleisöä teoksessa katsojan rooli esityksen tekijänä toiminnallisesti, emme vaikuttaneet tapahtumien korostui, “Sanoessani, että tekijöitä ovat kulkuun, valinneet eri vaihtoehdoista jne. esitys ja katsoja yhdessä, tarkoitan sitä, Katsojana istuimme yleisössä ja pysyimme siellä, että mielestäni teos syntyy vasta siinä eikä meillä ollut sinällään "tehtävää" tapahtumassa, jossa nämä kaksi kohtaavat. suoritettavana. Teos on tapahtuma, merkityksellistyminen Siitä huolimatta teoksen kokeminen tai jonkin uuden esiin tuleminen, joka merkityksellisenä on ja oli vuorovaikutusprosessi. vaatii nämä molemmat. Katsoja on tuon Sekä yleisesti, että myös play-esityksessä. tapahtuman yksi osapuoli oman Tässä, kuten aiemmin totesin, katsojana tulkintani elämismaailmansa, muistojensa ja (ja tekijyyteni) sai tilaa esim. esityksen ajatustensa kanssa ja esitys kaikkine eri sanattomuuden kautta, vapaudesta määritellä itse ulottuvuuksineen ja osatekijöineen toinen. ketä esityksen hahmot olivat jne... Ajattelen Koska esityksessä ”Play” toimittiin yleisesti katsojan tekijyyttä suhteessa esityksen liikkeen, äänen ja visualisoinnin varassa – muotoon. Ns. avoin muoto antaa tilaa katsojan suoraan verbalisoimatta – katsojan tekijyydelle, ja suljetumpi muoto (tarkasti tulkinnoille annettiin tilaa. välitettävä sisältö) vähemmän. Esityksen toimiminen ”tekijänä” on ehkä Playn asettaisin enemmän muodoltaan jotain sellaista, josta voisi puhua muodon avoimempien esitysten joukkoon antamisena, muistaen että muoto kertoo vain muistuttavuuden kautta ja vaatii siksi myös tuon toisen osapuolen, - vastaanottajan. Kokonaan toinen näkökulma avautuu tekijäluettelon näkökulmasta ja esityksen tekijöiden kuten ohjaaja, näyttelijät, visualistit jne.. roolien pohtimisesta. Tässä produktiossahan ei ollut lavastajaa, eikä (muistaakseni) työryhmän hierakiaa tai demokratiaa muutoinkaan (esim.

16 käsiohjelmassa) avattu katsojalle. Katsojana koin esityksen eri osa-alueet yhtenäisenä kokonaisuutena (taisin siitä mainitakin) enkä sitä kautta pysty lähestymään kysymystä tekijästä, ainakaan erottelujen kautta.” -19.45 me kaikki olimme tekijöitä, minä - 22.45 yleisö herättää asiat henkiin, syntyy dialogi moottorina, keskustelujen pohjalta teoksen, esiintyjien ja katsojien kesken, tässä päätöksiä tehden pohjautuen työryhmältä esityksessä yleisön rooli ei ollut kovin aktiivinen, tulleeseen tunteeseen eikä omaan alusta asti suunnittelijaryhmä toivoi setattua preferenssiin, teos alkaa kuljettaa meitä, katsomoa, perspektiivin ja etäisyyksien käyttö lopputuloksessa näki myös oman käden välineenä, katsomo toisessa päässä salia, aihe ja se jälkensä, mutta myös jotain millaiseksi esitys alkoi muotoutua tuntuivat tunnistamatonta sopivan perinteisestä nousevasta katsomosta ja yhdestä suunnasta katsottavaksi, koreografina pohdin sitä loppuun asti, toimiva ratkaisu, katsojat olivat todistajia tai sivusta katsojia, katsoivat edessään avautuvaa pelikenttää, mietittävä esityskohtaisesti, millaista katsomoa esitys kaipaa, ehkä nykyään konventio on pysytellä poissa perinteisestä katsomomallista - 14.30 - 16.20 yleisölle luotiin jännitteet, esityksen tiheys, koreografiset odotuksen (?), odotus luotiin hirveän hyvin, mutta päätökset se rikottiin onnistuneesti, jännite syntyi esim. siitä, näkyvät, valot että ymmärtää, että valjaissa ja lattialla, jossa on lavastus, puvut pikkusotilaita, ei voi tanssia, odottaa, mitä niillä ja tanssi on voisi tehdä, valjaiden käytön odotus ei täyttynyt, saatu hyvin jännitteitä luotiin valoilla, puvuilla, taistelun yhteen, koska olemus, leikki, tappelu, kilpailu, yleisö yllätettiin kyseessä on play-tekstillä tanssiesitys, kiitän koreografia, vaikka kaikki ei olisikaan hänen päätöstään - 25.50 te yhdessä olitte tekijöitä, tiivis ja - 9.30 vahvasti katsoja, monessa mielessä, niukka asetelmallisuus kertoo siitä tirkistelijä, asettelu, että yleisö istui paikallaan, vaikka istuin kolmessa eri paikassa eri kerroilla säilyi vahva mukana olemisen tunne, taltioija eli mustavalkovalokuvaajan rooli - 13.00 tunnen - 15.00 turvassa oleva perinteinen katsoja, ei ne tyypit, tulen kutsuttu mukaan osallistumaan näyttämön katsomaan tapahtumiin, mutta kontaktin otossa esiintyjät tanssiesityksiä tarjosivat maailmaansa katsojalle, minut selkeästi ja koreografien kutsuttiin mukaan kokemukseen, äänimaailma töitä, lähden vaikuttava, katsojana oli moneen suuntaan katsomaan valppaana, yllättävät elementit pitivät katsojan Helin työtä, hereillä, kinesteettisesti, visuaalisesti, auditiivisesti, hyvin mietityt aisteja mukaan kutsuva miten eri osa- alueet menevät samaan suuntaan, tukevat toisiaan ja luovat kokonaisvaltai sta taideteosta,

17 katson sitä kuitenkin koreografin työnä - 14.10 - 16.10 perinteinen yleisö, ne tuli katsomaan ja me epäselvä, näytettiin heille, välillä yleisö nauroi ja syntyi kaikkien osuus enemmän kontaktia, esityksen sisälläkin eroja näkyvissä, oma alkupuolella näytimme yleisölle kuvia ja tekijyys myös, painiosuudessa yleisö kuin varkain tuotiin mutta katsomaan jotain muuta kuin tanssia, painia, johon kuitenkin he eivät olleet varautuneet, yleisesti yleisön koreografin merkitys: yleisön osallistuminen yhteislauluun oli työ mielenkiintoinen kokemus, yleisön edessä voi tulla tunne epävarmuudesta, kuitenkin haluaa tulla hyväksytyksi - 10.50 valot rajasivat katsetta ja tilanteita, - 13.50 jyrkkä katsomo, kuin katsoisi ottelua yhteistyö/koreografi esityksenä tarkkailijana stadionilla, areenamainen tunnelma - 42.00 xxx - 44.40 suhde yleisöön epäonnistui, tavoitteena kävin kääntää katsojan ja tanssijan sijoittelu keskustelua päinvastaiseksi, mutta toisaalta myös rikkoa rajaa yksilöiden katsojan ja tanssijan välillä, katsojan arkiseen kanssa, asiat maailmaan, lavastettuun tilaan, arjen positiossa ja menivät aika tanssijat ja esitys abstraktissa maailmassa, asetettiin paljon minun katsojat tilalliseen positioon, mistä he esitystä kauttani, ei katsovat, jotta tulisi esille, että katsominen ei ole sanelemalla itsestään selvä asia, koska esityksessä vaan perusteatterissa on kaksi maailmaa (katsojat ja neuvottelujen näyttämö, vahva tilallinen positio), ei arvoasetelma, kautta vaan kokemukseen jotakin uutta sekä katsojalle ja esiintyjälle, tämä ratkaisu olisi voinut toimia paremmin galleriatilassa, jossa ihmiset olivat voineet mennä ja tulla sen sijaan, että heidät asetetaan, mikä oli epäonnistunut ratkaisu - 23.50 - 24.50 yleisön rooli muuttui teoksen aikana, alun koreografi, tutusta ja turvallisesta läpinäkyvän seinän takana esitys perustui olevasta katsojasta, joka katsoo kaukana olevia liikkeen tapahtumia, syvässä tilassa, maton rullaus sai kompositioon tapahtumat vyörymään yleisön sekaan, josta alkoi flirttaileva vuorovaikutus yleisön kanssa, joka haki kontaktia - 50.40 pitkälti - 53.20 toiveena tehdä teos, jossa katsojat voisivat koreografin olla vapaasti tilassa, ryhmä vastusti ensin, mutta harteilla oleva sitten tilanne kääntyi päinvastaiseksi, lavastajalla esitys, alussa tärkeä, että kaikki katsojat saisivat kokemuksen pyrkimys xxx, hänellä halu xxx katsomaan, ei toiminut, kollektiiviseen päädyttiin xxx, visuaalinen ja kinesteettinen eli työhön, jonkun affektiivinen kokemus oli tärkeä tavoite, otettava tavoitteena ei ollut välttämättä saada vastakaikua kuitenkin johto katsojalta, vaikka uskookin, että energiatasolla näin tehdä tilallista aina tapahtuukin, uskoo, että katsoja saa paljon, ja ajallista kun saapuu paikkaan, jossa on jotain käynnissä, kompositiota, vieraaseen paikkaan, aistimaailman herättely tanssijat ovat tavoitteena, uteliaisuus kokeilla katsojien reaktioita koreografin neljännen seinän kadotessa, kun materiaali xxx työväline tehdä kutsuvat mukaan teokseen, jännitti, että yleisön työtään, liika osallistuminen ei liikaa riko esitystä, kiinnosti jokainen myös suurempi yleisön osallistaminen, mutta aika suunnittelija ei riittänyt antanut

18 suuntaa, aiheet ja rakenne ovat koreografin vahvasti tuomia - 16.40 kysymys tekijyydestä liittyy - 53.00 katsojakokemus oli erilainen, kun paikka siihen, mikä minulle kantoi katsomossa vaihtui, perinteinen nouseva katsomo merkitysmaailmaa, oikeastaan kaikki oli perusteltu ratkaisu suhteessa punaiseen mattoon elementit, suunnittelijaryhmä, mutta myös ja tapahtumaan keskellä, kisakatsomosta pelin tanssijat seuraaminen, keskeisemmin kuitenkin liikkeen välittyminen kuningaskatsomoon suhteessa röllipaikkaan, katsoja - 56.10 - 47.30 alusta asti mukana, ei koreografina ryhmätyö, jota halunnut, että on yksi ennalta määrätty ei olisi katsojapositio, pyöriteltiin ajatusta, että yleisöllä olemassa vapaus liikkua (mainitsi Satu Herralan teoksen ilman ketään Väki), ympäristön omainen tila, jossa on eri meistä, mutta tyyppisiä paikkoja, joihin voi asettua, myös eri silti tasoissa olevia, virittää materiaalisuuden kautta koreografin merkitysmaailmaa: xxx, xxx xxx, erilaisia johtamana, katsomiskulmia, teos tapahtuisi katsojien tematiikka ja ympärillä, ihminen on vapaa valitsemaan, minne aihe olivat asettua, joko esille tai piiloon, turvaan, xxx, jolloin minulle katsoja voisi itse rakentaa tilaa (xxx xxx aihe, tärkeitä teema), haaveena aktivoida katsoja, kuten xxx xxx, valitsee xxx, jotka ovat radikaalisti erilaisia xxx, katsoja huomaa itse tekevänsä valinnan, jolloin kantaa enemmän vastuuta itsestäni suhteessa teokseen, vastuun omasta ajattelustaan (poliittisuus), xxx stabiloivat katsojan osittain, 55.00 yleisö katsoi myös toisiaan, yleisö kokisi itsensä myös keskellä olevaksi, kun esitys tapahtuu ympärillä - 12.45 ryhmä, valtaa oli jaettu, - koreografin - jakamassa tapahtumaa tekijäryhmän kanssa, ei vaikutelma, ettei kyseessä ollut taholta varsin pelkkä vastaanottaja, ei koskaan hiljainen perinteinen teos, jossa joku määrää tiukasti ohjattu vastaanottaja, vaikka se saattaa siltä vaikuttaa, suunnan, yhteistyönä tehty teos kokonaisuus, jaoin hetkessä ja tilassa muun yleisön kanssa jossa muille tekijäryhmän ajatuksia ja välittämiä tunteita, koki tekijöille entisenä tanssijana samuutta tanssijoiden kanssa, vapauksia miltä liikkuminen tuntuu, koki olevansa aktiivinen kokija, joka eläytyy ja seuraa visuaalisia ratkaisuja, ei suostu objektin rooliin vaan on subjekti, joka kokee, vaikka on perinteinen katsomoratkaisu - 17.10 suunnitteluvaiheessa, ryhmä, - 19.45 yleisön merkitys esiintyjälle, olisi joku kaikki, hauskaa, että suunnittelijat avasivat todistamassa, kun koen jotakin ja joku joka kokee suunsa, ajattelu oli kaikkien asia, samoja kokemuksia (kinesteettinen empatia), suunnittelijat avasivat ajatuksiaan fyysisen kokemuksen tai mielentilan tai moodin esiintyjille, havainto siitä, miten paljon välittäminen riittää suhteessa strukturoidun idean suunnittelijat vaikuttavat kokonaisuuteen, tai ideologian välittämiseen esityskaudellakin vielä ryhmän työ, vaikka - 26.30 perinteinen rooli, frontaali, nouseva, esiintyjiä katsotaankin ja heille katsoma, penkit, ääni- ja valopöydät takana, taputetaankin, mutta onhan heidän esiintyjänä haluaisi yleisön lähemmäksi ja ei ympärillään näkyvillä suunnittelutyö ainoastaan yhdelle sivulle, kontakti olisi helpompi sekä esityssuuntien ehdottomuuden kyseenalaistaminen, itsensä haastaminen esiintyjänä, kyseiseen teokseen se sopi, perinteinen ei ole sama kuin passiivinen - prosessi, jokaisen tekijän käden jälki - katsoja, vastaanottaja, saa katsoa turvallisesti ja näkyy, vahvoja elementtejä perinteisesti ilman, että minulta vaaditaan jotain - 39.30 aluksi - 41.05 yleisön merkitys, itse toimii harjoituksissa

19 hyvin selkeästi katsojana, esiintyjät saavat takaisin katsojalta, koreografi vuorovaikutus, tähän pyrittiin intiimillä kertoi tilavalinnalla, katsojat olivat lähellä esiintyjiä ja tuoneensa heidän ympärillään, puhu ja katse kohdistettiin hänelle suoraan yleisölle, kuvallinen asetelma näyttämöllä henkilökohtais yritettiin pitää avoimena, pyrittiin energian esti tärkeitä välittymiseen näyttämöltä katsomoon ja takaisin, asioita mukaan yleisö vaikuttaa vireeseen ja tulkintaan, vaikka se harjoituksiin perusteiltaan olisikin aina sama, mihin kontaktilla sekä häntä pyrittiin, jotta katsoja vaikuttuu suorasta kiinnostavia kontaktista ja saa henkilökohtaisesti jotain teemoja, että ajateltavaa tästä, koreografi itse nauttii tällaisesta hän oli katsoja-asetelmasta, rehellisesti tekee sellaisen prosessin esityksen, josta itse pitää, joka tulee lähelle ja on alkuun pistävä intiimi voima, prosessissa se lähti kehittymään ilman, että hän määräsi, jotta kaikki sisäistävät aiheen henkilökohtais esti, lopputulos näytti ryhmätyöltä, vaikka koreografina hän tunnisti sieltä oman työnsä alusta loppuun, mutta ilman tukevia elementtejä sisältö olisi jäänyt ohuemmaksi - koreografi, - katsoja, perinteinen, teatteritila, johon asetettu, kuljetus alku ja loppu, tuolit, edessä tapahtuva esitys koreografisen - jätti tilaa tulkinnoille, paljonkin teosajattelun - katsojaa ei liikuteltu fyysisesti keskusyksikkö - pelasi perinteisillä teatterin keinoilla, etäisyys, nä, johon muut korkeus, visuaalisesti hahmottuva teos tekijät yhdistyvät lankoina

poliittisuus ye no puvun poliittisuus s - 2.00 monella tapaa, kommentoi väkivaltaa, x - 3.00 jossain määrin pukujen kautta ruumiin miehen kehoa, sodan viihteellistämistä, poliittinen, miehisen vartalon ja seksuaalisuuden sodankäynnin, sotaleikkien vs. todelliset oikeat korostus, kun yleensä miestä ei niinkään esitetä ihmiset seksuaalisena, valittu kuitenkin näyttä nuoria miesvartaloita, seksuaalipolitiikkaa, ajatus kenen vartalo on tarpeeksi hyvä näyttämölle, kenen on lupa nousta näyttömälle, ehkä sosiaalipoliittinen, yleensä naisvartalot määrittävät nykytanssia, miehet

20 vähemmistössä, miehinen esitys feminiinisellä alalla - 15.00 no ei, jos käsiohjelmassa olisi ollut joku x - 16.00 jos olisi viittaus politiikan suuntaan, niin avaus poliittiseen suuntaan, jolloin olisin voinut olisi voinut olla, mutta en esityksen aikana kokenut lukea esitystä sen kautta, minulla ei kuitenkaan sitä lähtenyt nousemaan poliittinen diskurssi missään vaiheessa, kun sinne suuntaan ei ollut viittausta, tiesin, että nimi on play, joten politiikka ei tullut mieleen - 14.35 oli, ylipäätään jokainen esitys on jollain x - 15.50 adidakset olivat aika poliittiset, iso osa tavalla poliittinen, pikkusotilaat vievät ajatukset esitystä, kyseinen merkki tai nike, urheilullisuus, politiikkaan riisto vs. fair play, ristiriitaisuus, ennen kaikkea Etelä-Ranskan siirtolaisia, kengät olivat siistit eli hienot - 7.15 en sanoisi, että oli hirveän poliittinen, x - 8.20 otetaan paidat pois ja ruvetaan painimaan, periaatteessa aika moni asia näyttämöllä voidaan catwalk ja painin kehoesittely miehen ahdistuksen nähdä poliittisena, voi lukea pasifistisena, mutta ja miehelle asetettujen vaatimusten kuvauksena myös monella muulla tavalla ehkä jopa sotaa - 15.40 kun ollaan alusvaatteisillaan ollaan ikään ihannoivana, tässäkin oli sitä, coolia meininkiä kuin jouduttu tilanteeseen, ei olla ihan valmistauduttu, enkelihahmojen näkymättömyys esityksen aikana, mutta loppukiitoksissa he olivatkin myös likaantuneita eivät niin puhtoisia kuin annettiin odottaa - lisäksi ajatus, että esitys ei suinkaan lopu viimeiseen bläkäriin, vaan jatkuu, kun näkee esiintyjät pudotettuina, katsoja jatkaa esityksen lukemista - 11.40 aihe väistämättä poliittinen, synnyttää x - 13.20 totta kai, kertoivat hyvin vahvasti tarinaa, väistämättä kysymyksiä kuinka/miksi pitäisi, asuvalinta kiinnitti esityksen kasarmille, pitäisikö, yksilön vapaudesta, oikeuksista, liikuntasaliin, taisteluharjoituksiin, unenomainen armeijan tehtävistä ja velvollisuuksista, toisaalta kertomus kahden henkilön ja maailman henkisistä positiivisen veljellisenä, kisailevana, suhteista, alusvaatteilla paljastettiin ja erotisoitiin kilvoittelevana kokemuksena, luottamusta tanssijan kehoa, miehekkyyden esille tuominen, ei miesten välillä, kuitenkin samalla muiden somistauduta vaan ollaan funktionaalisia, viittaus ympäröivien asioiden poissulkeminen, katseelle univormuun, alusvaatteet olivat samanlaisia altistaminen itsessään on jo poliittinen teko, keskenään, unimaailmaan, nukkumiseen, vasta vaikka ei väittämää, tarjosi yhden kuvakulman heränneet, yöllä kasarmilla ilmiöön - 14.40 tietyllä tapaa kaikki on poliittista, x -15.20 teksti ihossa, sitä kautta kehollisuus, keho tunnistetaan pikkusotilaat jo se tuo poliittisen jota ei käsitellä lempeästi pelkästään, ts. Vartalot oli virityksen jätetty alttiiksi, siinä oli poliittista, alusvaatteet näillä leveysasteilla ja tässä tilanteessa ei ollut poliittista, varsinkin kun läsnä oli kaksi tasavertaista miestä, normialusvaatteet eivät riitä, mutta paidan riisuminen ja alta paljastuvat ikään kuin verinaarmut tekstinä kylläkin - 13.10 no joo, sota aina aiheena poliittinen tai x x - 14.20 ei ainakaan häpeilty tuoda esille ajankohtainen, aina uutisvirrassa, ei yhteisistä miesvartaloa, jollain lailla kannanottona, että asioista keskusteleva, en yhdistänyt sota-aihetta asetetaan tällä lailla näyttämölle, toisaalta olemme kuitenkaan mihinkään tiettyyn kontekstiin tai tottuneita katsomaan alastomuuttakin, en kokenut tapahtumaan sitä esineellistävänä, vaan sitä oli miellyttävä katsoa, miksi valkoiset alusvaatteet: puhtaan valkoinen kontrastina, jotka pysyivät valkoisena, valkoinen oli valittu, huomasin niiden olevan puhtaat, kuin irrallaan maailmasta, joka ei ole viaton ja puhdas, rumpaleiden puvustusta mietin, trikoot ja kasvottomat, olisi ollut kiva katsoa heitä sellaisenaan kuin he ovat, ikään kuin muusikot olisi laitettu omaan maailmaansa ja vuorovaikutusta ei synny tanssijoiden kanssa, tätä eroa korostettiin

21 puvustusratkaisulla, sotakoneisto, joka rummutti - 8.10 en pitänyt poliittisena, vahva aihe sota x - 9.45 comment on fashion, football stars selling kylläkin, enemmän minulle tosin maskuliinisuus underwear, models showing underwear, idea of oli aihe male bodies involved in sports or war embodying their masculinity to fashion, costumes emphasized that, social statement more than political - 10.10 ei noussut sanomaa tai statementtia, vaan x - 11.20 en nähnyt, ainoa että, kun oli rummutusta, näytti väkivallan uhan, herätti ajatuksia suhteessa olisin voinut kokea heidät afrikkalaisiksi, jos olisi sotiin, pelimaailman väkivaltaan, kilpailuun, ollut toisenlaiset vaatteet voittamista, lopputulema ei nostanut esitystä poliittiseksi - 12.00 no oli, nimenomaan pohdinta oliko x - 13.10 meni haurauden puolelle, siinä mielessä lapsuuden leikkien pohdinta vai kannanotto kiinnostava ristiriita, lainausmerkeissä maailman sotiin, ihan selkeästi asetti tämän alusvaatteissa, mulle ne eivät koko ajan esiintyneet kysymyksen, ei se ollut välttämättä huono, että alusvaatteina, vaan liikettä paljastavat asut, kyllä se tekijät jättivät sen auki katsojalle itse päättää, jo, että vähäpukeisuudessa on suhde ihan ehdottomasti ollakseen poliittinen ei tarvitse militaarisuuteen saattaa olla isokin kannanotto, jos väittää, tanssi ja taide nykypäivänä jo sinänsä on sotilaalta otetaan sotilaspuku pois, on iso teko, kun poliittisuutta, kyseessä on järjetön tanssissa ei ole tekstiä, joka selittää, on kiehtovaa ammatinvalinta tässä maailmassa kuinka avautuu jatkuvasti uusia tasoja, jolloin jää vapaampi kenttä omalle näkemykselle - 8.50 voi nähdä suhteessa maailmalla oleviin x - 10.10 emmä kyllä tiiä, en osaa sanoa, mikä on konflikteihin, rauhanturvaajapoikaystävä poliittista, kantaaottavaa, naisia on totuttu Afganistanissa näkemään alusvaatteissa mainoksissa esineellistettynä, ottiko tämä kantaa siihen, valkoinen väri: viaton, rauha, talvisota, mustat valjaat: sitominen, seksuaalinen kontrasti, valkoinen on ehkä käytetty puvuissa, koska sen voi tulkita aika monella eri tavalla, valoilla muutettavissa, neutraali väri - 13.00 poliittinen ilmeisellä tavalla, fasistinen, x - 14.10 underwear makes the body vulnerable, pelottava, olisin kaivannut sen horjuttamista harness became armature, powerful objects, esim. herkkyyden mukana ololla tai sodan drummers: feminization, angels, power to be even politiikan rinnastaminen olisi vienyt pidemmälle more political, chemical color hazmat suits/costumes, from another world - 9.05 en itse ajattele näin x - 9.40 ------14.00 poliittista potentiaalia kyllä, tinasotilaiden x - 16.05 puvut enemmän preferoivat löydettyjä kaatuminen miehisen vallan käytön ympäristöä materiaaleja, olemassa olevat tennarit, tuhoavana metaforana, pystyin lukemaan suojavarusteet jne. (arjen?), hakeutuen neutraaliin, poliittisia merkityksiä, miesten rooli no-man’s land –tyyppiseen, ei ollut iskostettuja kasvottomana, kuitenkin vastapainon esittely jätti jotakin sanomaa, joka olisi pitänyt symbolina lukea, aiheen käsittelyn vaiheeseen, erotiikka ja valta perusolettamamme on, että on olemassa yhdessä käsiteltynä valjaspainin painopisteen perusmaskuliininen pukeutumisratkaisu, jolloin sen horjuttamisessa valitseminen on kommentti, toisaalta näen puvut toimintaa tukevana ratkaisuna ei ristiriitaisena viestinä - 10.55 esitys kuin esitys on tekona poliittinen, x - 13.00 mietin ehkä eniten pitääkö ihmisen olla kuin voisi ajatella sodan kysyminen tai muoviukkeli, rumpalit tulivat lopussa alas ja ottivat kyseenalaistaminen, mutta se ei vienyt kovin maskin pois, luin sen osana esitystä, hyvä vahva pitkälle, mikä olisi poliittinen, yrittääkö se ristiriita, neutraalit kontra hyvinkin persoonalliset, muuttaa jotakin, voi olla myös läsnäolon tai mielikuvissa tanssijat olivat hyvin paljon ilman kehon politiikkaa, heräsi kysymys miksi tätä paitaa, valjaat tuovat vahvan armeijafiiliksen, näytetään, mikä olisi tämän tutun kuvaston lyhyet hiukset, yhteneväinen asu, vertautuvuus vastakohta muoviuteen, vaikka tanssijat näyttäytyivät kuitenkin aika pehmeinä tyyppeinä - 13.20 ei erityisemmin, ehkä lopun x - 14.25 no joo, normaalimpaa on, että naisen voimakkaiden miesten riisumista ja leikiksi vartaloa esineellistetään ja esitellään, tapa olla esillä nimeämistä suhteessa siihen, että sota ja armeija ja ottaa kantaa omaan seksuaalisuutensa ei on vakava, ja miehinen asia, voisi nähdä normaalisti nähdä, tof-kuvasto hyväksyttyä poliittisena, kuitenkin se päättyi tappeluun eikä arkikuvastossa vai ei

22 esimerkiksi läheisyyteen, joten en nähnyt esitystä poliittisena - 11.25 oli, liittyen tiedostavana katsojana x - 11.45 tosi hyvä kysymys, tasavertainen olemiseen avioliittolaki, voi nähdä mitä päivän politiikassa tapahtuu, stereotyyppinen miehisyyden esittäminen, mutta ei ristiriidassa, ei raivoenergialla, funktionaaliset tehtävät suhteessa kehoesittelyyn olivat balanssissa, lopussa kun paidat otettiin pois nousi esittely - 11.15 kaikki taide on poliittista, mutta esitys ei x - 12.00 mitäs jos olisikin ollut vain naisia, olisi ollut antanut mielipidettä sodan järjettömyydestä, aihe tosi poliittinen tai eri, esiteltiin perusmiehistä oli erittäin poliittinen ja sitä käsiteltiin miehen kuvastoa, ei näkynyt feminiinisyyttä, stereotypinen, keholla, eikä naisen, joten ei esitetty uutta kantaa, vogue skene ei toteutunut silti oli - 7.15 jollain tasolla, sota on ajankohtainen ja x x - 8.35 en osaa sanoa, sota ja kontrastina läsnä oleva, esitys oli etäännytetty, hiottu ja alusvaatteet, intiimi ja macho, miehen kuva, disainattu, minulle ehkä poliittinen on enemmän feminiini-maskuliini, objekti-subjekti, vartalon katsojan mukaansa tapahtumiin vetävä, esittely toi ristiriidan ja oli jollain tasolla poliittinen, osallistava on poliittinen ei ihan stereotyyppinen - 17.25 jotenkin aihepiiri oli, en kuitenkaan x x - 19.25 toi sama, tunnistettavan estetiikan löytänyt selkeätä näkökulmaa tai kannanottoa toistaminen, saatoin hyvin kuvitella tanssijat aihepiiriin, toistettiin olemassa olevaa kuvastoa, armeijan riveihin, ei ollut vaikeuksia sijoittaa heitä oli käytetty materiaalia, joka oli helppo tunnistaa sinne, stereotyyppinen heteromaskuliininen keho, ja josta on tietynlaisia assosiaatioita, kuitenkaan toisaalta seksuaalisuuden horjuttaminen parissa ottamatta uutta näkökulmaa, toistetaan, joten kohdassa, catwalkilla suorittamisen liikekielen ja suhteessa tähän aihepiiriin se riitä, ei siis jokaisen ontumiseen, poseeraamiseen, muotiin aiheen kanssa välttämätöntä, ei tuotu näkyviin yhdistäminen, painikohtaus homoeroottinen lataus jotain näkymättömissä olevaa tai kulttuurisesti stereotyyppisen maskuliinisuuden rinnalla, tunnistettavaa, omaa näkökulmaa ja tuoreutta kuitenkaan ei tämä riittänyt, se oli mahdollinen aiheen käsittelyyn ja siihen suhtautumiseen tulkinta, mutta en kokenut kuitenkaan sitä, se jäi kaivattiin suorittamiseksi, myös play toi mukanaan toisenlaisia sävyjä: peliin, bdsm, leikkiminen ja väkivalta kietoutuneena toisiinsa - 9.45 oli poliittinen, vaikutti mielipiteisiin, sai x - 11.10 suhteessa äskeiseen oli, koska oltiin ajattelemaan että leikin maailma muuttuu todeksi, paljaana vaaran ulottuvuus korostui leikin ja toden raja tulee vaikeammin hahmotettavaksi, kehotti minua tietoisuuteen tästä - 26.40 yleisesti: tanssipoliittista, kommentoi x - 31.20 keskusteltiinko pukujen poliittisuudesta, tanssin käytänteitä, instituutioita, toimintamalleja, miesten pukujen yhteydessä kyllä, lopullisesta taidepoliittistakin, yhteiskunnallisesti poliittinen ratkaisusta ei kuitenkaan, mikä on poliittista?, kyllä vaatii ehkä jollain lailla representaatiota, abstrakti oli: viihdeteollisuuden väkivallan estetisointi tuli taideteos ei kiinnity tässä maailmassa oleviin aikalailla kasvoille yhdessä liikkeen ja puvun asioihin, play: poliittisuudesta ei keskusteltu, synnyttämänä, niitä ei voi erottaa toisistaan, kuinka toisaalta tekijänä se on minulla takaraivossa, oli alusvaate voi muuttaa miehen nopeasti sotilaasta mielestäni läsnä kevyesti leikin maailmassa, sota vaippahousuiseen poikaan, heijaus abstraktin ja laajana teeman tuo väkisin mukaan poliittisuutta, representatiivisen välillä, kiinnittyi assosiatiivisesti viihdeteollisuuden estetisoitu kuva väkivallasta, useampaan asiaan, (väitän: mahdollisuus esittelyn asteelta ei edetty, olisi voinut mennä poliittisuuteen on juuri erilaisissa assosiaatioissa, käsittelyssä syvemmälle tai valita vain jotka syntyvät yhtä aikaa) vähemmän asioita esitykseen - 20.20 oli ilman muuta, sotaan ja sotilaan x - 21.40 ilman muuta sillä lailla poliittisesti sisäiseen olemukseen jollain lailla kantaaottava, kantaaottava, mies oli kaunis kamppailun kautta kamppailu ja kilpailu ihmisten välillä, toisaalta saavuttamassaan hikisen lihaksikkaassa ruumissa, täysin välinpitämättömiä alle jäävistä sitä ei kyseenalaistettu, vaan esiteltiin, mutta oli pikkusotilaista, oman tilan ottaminen muista silti, play oli moniselitteinen: onko tämä piittaamatta, olisi vielä voinut ottaa kantaa henkilöiden eli tanssijoiden kommentointi tai vahvemminkin kannanotto tilanteeseen vai tekijäryhmän viesti, näin sen keventävänä suhteessa teemaan - 10.50 kyllä se sitä oli, ei sotamyönteinen, jo x - 11.40 rumpaleiden anonyymiyden kautta tuli

23 aiheen esittely on poliittinen asia, sen nostaminen tietynlainen poliittisuus: tahdin lyöjät ovat keskusteluun, ajankohtainen aihe, kasvottomia, yhteiskunnan kasvottomuus, yhteiskunta, alushousuissa oleva mies, joka ei kuitenkaan ole trendialusvaate, paljaaksi riisuttu, vaan valkoinen puhtoinen, joka tahriutuu vereen pienessä määrin, kontrasti uusiin lenkkareihin, valjaat kertoivat ihmisen heiteltävyydestä, kuka tahansa meistä voisi olla siinä, komennettavana johonkin, keskitysleirit, ei pelkästään sotilas vaan uhri läsnä, 26.35 valkoinen on rauhan väri, - 19.50 voi katsoa poliittisena, valta-asetelma x - 21.40 mies näytettiin miehenä, teko ja tekeminen suhde, keskiössä oleminen, sivuissa oleminen, ei ollut stereotypinen, militanttisuus, lihaksikkuus, mitä toinen ihminen tekee toiselle, mitä maailma mustavalkoisuus, että suojaudutaan toi jotain järeän tai yhteiskunta tekee ihmiselle, mitä on vapaus, miehisyyden esille, mutta teot menivät sitä vasten mikä on ihmisen oma raja, miten tulla toimeen tuoden erilaisia kerroksia, meikki oli vähän outo, ihmisenä, miten jakaa tila, miten tehdä sääntöjä, heidän on maskeerattu, osana leikkiä, sotamaalaus sotilaallinen maailma kutsuu katsomaan suhteessa yhteiskuntaa, kyseessä ei ole parisuhdeduetto - 20.50 tekovaiheessa teemoina: sota, miehisyys, x - 22.40 miten koit itse: kun paita otetaan pois ja on alastomuus, poliittisia aiheita, ei kuitenkaan maalia iholla, tuntui hyvältä päästä törkeästi pyritty tekemään poliittista esitystä, mutta tunne näyttämään vartaloaan, osa leikkiä, pelailua siitä, että esityksestä kuitenkin tuli poliittinen, stereotyppistä machokuvastoa vasten, ei vaikea palaute aiheesta: nuorten miesten väkivalta, paikka, en ihan itsenäni kuitenkaan ollut, kun oli sotakuvasto, poliittisuus on tärkeä asia ja ratkaisu silmämeikkikin, miesvartalon voi myös näyttää tehdä asiat kinestesian ja kinesteettisten tehtävien suoraan ja konstailematta kautta, joka luo katsojille erilaisia mielikuvia, sen sijaan että olisi lähdetty tekemään poliittista taidetta - 15.30 kyllä se oli, poikuus, pelit, väkivallan, x -17.10 en ehkä kokenut sitä, paljaana oleminen aihe oli poliittinen, mutta minun mielestäni suhteessa aiheeseen vinksauttaa, kun sotaan yleensä poliittisuudessa annetaan jokin väite (statement), lähdetään varustautuneena, tässä asetetaan lähtijä asenne oli, että sota ei ole jees, asia oli asetettu hauraaksi näyttämölle - 48.20 kukaan ei nostanut poliittisuutta esille, x x - isot visuaalisuuden ja teatteriperinteiden asiat olivat keskiössä, pelkään käyttää sanaa poliittinen työssäni, mun pitäisi mennä eduskuntaan, en alleviivaa poliittisuutta, koska voisin esitysmuotona päätyä luentoon, jos haluaisin kertoa mitä mieltä olen tästä yhteiskunnasta, mutta annan sen olla jos huomaan poliittisen sävyn - 26.00 (mietti pitkään) ei poliittinen, poliittinen x - 27.30 koin sen enemmän kysyvän tanssitaideteos vaatii sanoja, ainoastaan liikkeen sukupuolinormeja, kansikuvamaailmaa, media-, tasolla on vaikea operoida, vaatii kielen yhteiskuntakriittinen, populaarikriittisyys, mulle tullakseen ymmärretyksi ja välitetyksi poliittisuus liittyy enemmän, vaatii enemmän täsmällisyyttä, kritisointia tai nauraa, kommentoida selvemmin jotakin, asetti kuvan esille ja heilutteli ja ravisutteli ja kysyi onko tämä ok, olisiko ehkä vaatinut lisää kestoa - 59.30 (oma näkemykseni: tanssipoliittinen x - ajatus rampin tutkimisesta), xxx oma salainen agenda: poliittisuus voisi tulla taiteellisten mielenkiintojen ei aihevalinnan kautta, olisin voinut avata tämä ryhmälle, ajatus esittämisestä ja itsensä esittämisestä (mitä on olla minä omassa arjessa, sukupuolen esittäminen, kosketuksen teema) heräsi ryhmässä - 18.18 raskas aihe, kevyesti poliittinen, x x - 21.27 sotilas, mutta mikä sotilas, asu ja

24 mahdollisuus olla muuta, minkä läpi itse sitä videopelimaailma yhdessä vievät Amerikkaan, katson, sodan teema tässä ajassa tai milloin kyllä oli poliittinen, valkoinen tuo viattoman tahansa, pieni hetki kun vilahti (jäi siis poikasen suhteessa sotilaaseen harmillisesti käsittelemättä laajemmin) patsastelu, joka osui tähän aikaan, kehon objektisointi, erityisesti naiskehon, kyllähän nyt kaikki on poliittista, jotta olisi päästy pidemmälle poliittisuudessa olisi vaadittu kärjistystä rinnastuksissa (puhui leikin kuvottavuudesta, joka jäi puuttumaan, mutta kuitenkin hän sen sinne luki tai kuvitteli) - poliittisuudesta puhuttiin avoimesti, meidän x esityksestä tulee poliittinen, ajankohtainen teema - 16.40 esityksessä oli selkeä poliittinen teema, x - 17.50 ehkä sellaista sukupuolipolitiikkaa: miten se tuli ulos, ei ollut vahvaa sanomaa, mutta perinteinen ajatus sodan käynnistä on kaksi selkeästi kantaaottava, mutta ei poliittisesti lihaksikasta miestä, joten ei siten uskalias, vaan aktiivinen, alleviivattu sodan, väkivallan, olivat leffa- ja muotimaailmasta tuttuja täydellisiä ihmisten välisen taistelun ja erimielisyyksien, vartaloita, mukana ei ollut erilaisia yksilöitä, poikien välisen voimien mittelyn teema stereotypia, gay-estetiikan kautta voi myös esityksen nähdä: vahvisti myös sen stereotyyppisiä käsityksiä ihaillusta, hyväksytystä, seksuaalisesti haluttavasta vartalosta tällä puolella - 22.50 olisi hauska nähdä poliittinen esitys, x - 34.40 niin jos tämä olisi ollut poliittinen esitys: kannanoton sijaan esitetään kysymyksiä, olisiko tämä ollut vasemmistolainen vai vältetään konkretiaa, virkistävää, pyrittiinkö oikeistolainen, nykytanssissa ei ole niin paljon poliittisuuteen: keskusteltiin maskuliinisuuden esittämistä, on ehkä suurempi maailmanpolitiikasta, niihin ei konkreettisesti genre tehdä naisille ja naisen kehosta, jonkun viitattu (Palestiina, Ukraina, Venäjä), katsoja verran miehestä, enemmän silloinkin miehen assosioi, jos assosioi, ei ollut selkeitä suhteesta naiseen tai voiko mies olla feminiininen, johtolankoja, sotateema tuli selkeästi esille, on miehen kehon pitäisi myös uskaltaa olla herkkä ja sota ja sotaleikit, mutta mitä sitten, ei tullut voida kävellä korkokengillä, tässä ei ainakaan ollut väitettä sellaista, enemmän olisikin hauska nähdä miehen kehoa suhteessa miehen kehon kuvaan, vaikka suhteessa millaisen kehon mä haluaisin, haluanko samaistua sellaiseen joka haluaa olla feminiininen vai jopa stereotyyppisen maskuliininen, onko sitä hirveästi käsitelty, eikä sitä välttämättä tässäkään käsitelty - yritin olla yrittämättä, tein aika vähän, oli oma ratkaisuni, huomasin että molemmat teimme eri tavalla, meillä oli niin vapaa ohjeistus, joten se oli mahdollista - tanssijasubjekti merkitsee juuri tätä, esiintyjä on persoona ja omanlaisensa, vaikka annettu tehtävä sitookin johonkin joukkoon tai massaan - ulkoisesti oli puettu aika klooneiksi, ainoa ero oli play-teksti, rakenne oli vapaa, jolloin ero mahdollistui -esitys tai tanssi on aina poliittinen, kehon x - 22.25 eri vaatteet olisivat luoneet täysin eri näyttäminen lavalla, kehoon ja ihmiseen liittyy merkitysmaailmoja, alusvaatteet: sotilas on paljon asioita, ei esitetty väitettä, kun ei ollut stereotypisesti vahva, nyt oli haavoittuvampi ja liitetty selvästi johonkin kontekstiin (esim. Irak- paljaampi, ihoa näkyi niin paljon oli ratkaiseva asia, USA), enemminkin tutkielma kahden tanssijan hiki ja lihakset näkyivät ole merkittävää: kehollisesta/kinesteettisesta suhteesta, väite ei ole tyydyttävää nähdä miten keho liikkuu, kinestesiaa, pakollinen, katsojat katsovat kahta miestanssijaa keho materiaalisuutena alusvaatteissa lavalla suhteessa normeihin miten voi olla ja miltä pitää näyttää ja mitä voi tehdä, stereotyyppisen mieskuvan rikkominen lopussa kamppailukohdassa, kuvan mureneminen, kun näkee, että oikeasti sattuu (kinesteettinen

25 empatia), katsoja ymmärtää että on tietoisuus poseeraamisesta, esitetään kysymys onko tämänlainen esittäminen hyväksyttyä ja mitä tämä on jää jokaisen katsojan itsensä päätettäväksi

- 44.26 koreografin ajatus, josta myös ryhmässä x - keskusteltiin, että yhteiskunnassa on vähän tilaa xxx, taide keinona päästä xxx, koska on tiukat konventiot ja tavat esim. lasten leikissä se vielä näkyy, mihin se moninaisuuden rikkaus katoaa aikuisilta, koreografin mielestäni tämä toteutui hänelle itselleen, parempana kuin jos hän olisi sen tehnyt yksin - 12.00 alkukuva latasi vahvan poliittisuuden, jota x x - 14.15 näin Putinin kuvassa, assosiaatio tuli esitys ei täysin lunastanut vahvempana, puvustus on poliittinen, Putinin uho ja - sotilastematiikka vaihtui poika-mies – painimaailman estetiikka ja sen tykötarpeet, tematiikkaa käsiohjelman kuva vaikutti taustalla ajatteluuni, - vartalot: mieskehon erotisointi samalla tavalla nykytanssissa: mies on joko alkkareissa tai alasti, kuin naiskehon joten se on standardi, baletissa se estetisoidaan, - paini, kisailu, peli, poseeraus, objekti, jota mutta sama pohjavire on läsnä, atleettinen katsotaan, toimijasta objektiksi, miehisestä naistanssija alusvaatteissa nähdään feministisenä, ei aktiivisesta feminiiniseksi passiiviseksi (tylsän ole vastausta tähän miksi tämä kiehtoo jatkuvasti perinteisesti ajatellen) (peruskamaa, että alusvaatteita ei ajatella värittyneesti?), on olemassa kolmenlaista: leikkisyyttä, esteettisyyttä, on joku tarve esim. sisältöön liittyvä ehkä poliittisuuteen liittyvä, esim. Knifin soolo Red, kuuluu olla alasti (18.00) jotta aihe puskee läpi, on tarve sanoa jotakin syvältä sisimmästään ja paljastaa jotakin, pitää konkreettisesti riisua ja näyttää, tällöin alastomuus on konkreettinen väline, olla haavoittuvampi ja enemmän auki, tämä on ehkä miksi sitä käytetään eniten keinona, annettiin osittain stereotyyppinen yhdistettynä homoeroottiseen, leikkisyys, tietoisen flirtinomainen hyvin tietoinen, valkoiset alusvaatteet: samaistuttava peruskundi, kuka tahansa meistä, ei mikään merkkialusvaate, vaan yleinen

puvun tehtävä - 4.20 ei ole järkeä sijoittaa näyttämölle, jos sitä ei käytetä, puvut olivat funktionaalisia, mahdollisuus painiliikkeisiin ja roikkumiseen, rumpalien puvut: vastakkainen voima tanssijoille, läpinäkyvä, pehmeämmän sävyisiä, eivät niin materiaalisia, feminiinisempi, lihasten käytön sijaan käyttivät ääntä, esityksen herkin osa, lisäsi alitajuisen tason, josta katsoja ei välttämättä ollut tietoinen - 16.30 funktionaalisesti kolme selkeätä tehtävää: valjaat jotka mahdollistavat kiipeämisen ja nostelun, polvisuojat ja kengät mahdollistavat kyseisen kaltaisen liikemateriaalin, osoittaa tanssijoiden kuuluvan samaan ryhmää tai joukkoon sekä että oli riisuttua eli alusvaateosastoa viitata jonkinlaiseen laitosajatteluun, hiusten samanlainen lyhyt malli toi jonkinlaista karuutta, puvustus paljastivat hyvän fyysisen kunnon ja että oikeasti sattuu, kun lattialle mennään ja näytti, että liha joutuu sen kestämään, jolloin se avasi brutaaliuden, rumpalien anonymiteetti ja sijoittaminen ylös: ovat yläpuolella ja saavuttamattomissa, heihin ei voi vaikuttaa, en enää alun jälkeen katsonut heitä, - 19.35 visuaalisen puolen lisäksi, herättää assosiaatioita ja olla osana teoksen rakentamista, sitä mistä siinä puhutaan, mitä kysytään ja pohditaan, yksi osa, joka keskustelee muiden osien kanssa - 19.15 tanssi on aina puvustettua, vaikka esiintyjät olisivat alasti, mitä tahansa lavalle tuo sillä on tehtävä, tiukat viittaukset ja merkitykset eli merkitysten antaminen, tosi paljon funktionaalisuutta myös - 15.15 sanonut aiemmin jo -17.00 valkoisissa herkempiä ja haavoittuneempia kuin jos tanssijat olisivat olleet mustissa, muodostivat merkityksiä, valkoinen alusvaate yhteismerkityksenä, jolloin tärkeämmäksi nousee alusvaatteisuus

26 - 22.55 sekä lähettivät oman viestinsä (puhtaus ja valkoisuus vastakkaisena rankkuuteen) että tukivat esitystä (niukat ja paljaat, antoivat tilaa muulle) - 10.50 käytännöllisyys oli ilmeistä, dramaturgisesti riisuttiin paita sekä kirjoituksella (tällöin muututtiin sotilaista poseeraaviksi, painijoiksi), puhtaasti visuaalinen: musta, valkoinen, punainen, korosti vartaloa, korosti teemaa ja loi omia merkityksiä (muoti, alusvaatteet, urheilusankarit vartaloaan käyttäen muodin markkinoijina) - 11.50 tukea kokonaisuutta ja olla osa työryhmän rakentamaa maailmaa - 15.50 kiinnostavaa: tanssijat alusvaatteissa (nykytanssille tyypillinen juttu), luin ensiksi muusikkoa naisena, joka on poikien mielikuva, liveäänen ja puvustuksen kautta tuli sotajoukkojen rumpalit ja taivaalliset sotajoukot, muusikoiden puvustaminen oli erityisempää kuin tanssijoiden, kasvojen peittäminen toi anonyymiyden 19.00 tanssijat olivat silti persoonina paikalla, oma kehollisuus - 13.20 viedä siihen maailmaan, kertoa jotakin hahmoista, kommentoida niitä aiheita, mitä teos käsittelee - 16.55 puvuissa oli potentiaalia toimia monilla tasoilla, pidin pukujen vähäeleisyydestä: yksinkertaistetusti t- paidat, alushousut, polvisuojat, mustat sukat ja kengät, paljaat sääret, muodostivat kokonaisuutena voimakkaan kuvan, ruumiista tuli yhtä aikaa minimalistinen mutta myös vaikuttava, rumpalit pelottavien uusnatsipoikien rinnalla olivat hämmentäviä, en ollut varma tyylillisestä ja konseptuaalisesta yhteydestä - 10.15 tanssijoiden puvut riisui eli vei persoonaa pois (hyvällä tavalla), koska ratkaisu oli simppeli, katsoi syvemmälle, jos olis ollut paljon eri elementtejä, olisi vienyt pois teoksen maailmasta, ikään kuin kuori olisi otettu pois, tuli ajatus, että pohjimmiltaan me kaikki olemme vain ihmisiä - 18.10 toisaalta näen puvut toimintaa tukevana vaatetuksena ei ristiriitaisena viestinä, mahdollistaa toimintaa, mahdollistaa merkityksiä (kiipeäminen, kenkä jo sinänsä viittasi nuorisoon, väljällä tavalla nuorisokulttuuriin), mitä oli valittu ei-peitettäväksi eli paljastaa: jalat, lihaksia, kädet, kasvot, jolloin kehollisuus ja lihaksisuutensa olivat läsnä - 15.30 kuinka paljon näyttää ja ei näytä kehoa, play-teksti iholla, rumpalit olivat samalla peitettyjä ja rituaalisoituja, kuinka paljon ruumista jää - 15.25 alusvaatteet pehmensivät armeijamaailmaa, voisivat kyllä olla täysin kontekstiin sidottuja sotilaan alusvaatteita, mutta univormujen tapaan eivät sitoneen katsojan ajattelua, valjaat toiminnan välineenä sekä kiipeilyssä että kanssakäymisessä - 16.55 rumpalit: meni hetki ennen kuin huomasin heidän olemassaolonsa, toivat ehdottamasta pois armeijasta, eteerisemmälle tai ei tämän maailman tasolle, outouttamisen taso puvuilla suhteessa militaariseen ääneen, jota he tuottivat, toi lisätason esitykseen, ei selkeätä yhtä ajatusta, mitä muuta tämä toiminta voisi olla tämän kahden sotilaan tai pojan toiminnasta ulos, muu visuaalisuus ja ääni tukivat sitä yhtä maailmaa voimakkaasti, puvulla oli rooli viedä johonkin muualle - 13.40 olisi ollut eri jos olisivat alasti, merkitysten välittäjä, paidan pois ottaminen laittoi tiedostamaan paidan olemassa olon - 13.20 tanssijoilla lisäsi hahmoa ja selkeytti mitä tyyppiä ne edustivat, edustivat sotilaan alusvaatteita, maastopuku riisuttu päältä pois, hieman avoimempi mutta kuitenkin selkeästi viitteellinen, näytti liikkeen, toiminnallinen tai käytännöllinen (polvisuojat) - rumpaleilla puvut toivat lisäkerroksen esitykseen ja veivät tiettyyn historialliseen tapahtumaan - toimivat eri korkeuksille sijoitettuna, mutta loppukiitoksissa eivät enää toimineet - 14.40 valkoinen väri nosti toiminnan hyvin esille, looginen valinta minulle koska edusti armeijan alusvaatetta (elokuvien perusteella) - 9.45 paljastivat kehollisuuden ja fyysisyyden, treenatut bodyt, intiimiys/macho tai herkkä/kova joka ilmeni valkoisten alusvaatteen omaisten asujen ja valjaiden kautta, kontrastin esille tuominen esim. tanssijat ja rumpalit katsoja alkaa heti rakentaa siltaa niiden välille - 22.05 funktionaalisuus, tukea teoksen teemoja - 11.30 mahdollistaa tapahtumat, jännä asia (pidin tanssijoita sotilaina) kun valjaat jäivät päälle niin se oli voimakkaasti kerronnallinen ulottuvuus, se oli niiden sotilasunivormu, samanaikaisesti tumman kuvan keskellä vaaleat vaatteet ja iho tulivat voimakkaasti esille, jos jotain olisi puuttunut se ei olisi ollut sama - 34.20 oli keskustelua paljon: muuntuva puku, puvustus koostuisi yleisön vaatteista (henkilökohtaisuudella ja yleisön osallistavuudella pelailua), miesten puvut, suojapuvut, kaikki tiivistyi lopputulemaan, puvun muuttuvuus, funktionaalisuus: ensin asia mitkä tarvitsee laskeutumiseen katosta, mutta sitten jotain muuta, esteettinen, näyttää asevyöltä, kiinni ottaminen valjaista kuin toistensa falloksesta (puku muuntuu toiminnan kautta), alkuajatukseni tunnistettava-tunnistamaton/representaatio-abstrakti -ajatuksella leikkiminen, lopulta tämä ulottui pukuun - tyylilaji missä oltiin: rumpalit olivat kasvottomuudessaan julmia, mutta kuitenkin abstrahoituja, kun oli siivet selässä, mikä oli hyvä, etteivät jääneet ylös, olivat kuin lentoon lähdössä, tuli kuin liikettä enemmän - 23.50 puvut loivat yhtä paljon muiden elementtien kanssa atmosfäärin, miljöön, kertoi ihmisistä, samalla tavalla puettuina ne kuuluivat johonkin ryhmään, funktionaalisuus valjaissa, urheilun maailmaan polvisuojat ja tossut, ajellut päät loi sotilaaseen, samankaltaisuuteen, maskuliinisuuteen - 18.10 välittää sanomaa ja tunnetta yhdessä muiden elementtien kanssa, ei vaate vaatteen vuoksi,

27 - 24.25 funktionaalisuus - 25.45 sallia ja näyttää paljasta pintaa ja vartaloa, käytännöllisyys valjaiden kanssa, valkoisuus näytti samanaikaisesti sekä herkän että machon, tunsin että mua ei ole puettu pelkäksi machoksi, mikä oli mukavaa, puku kommentoi moninaisuutta - 18.55 puvut etäännyttivät vain yhdestä tavasta katsoa ja tulkita sotaa, taisteluun tai peliin, kertoivat koreografian unisono-asiasta, vastasivat omalla tavallaan unisonoon, miten ihminen henkilöityy ja hahmoutuu näyttämöllä, mikä on esiintyjän olemispositio, merkitysten luojana - 50.25 annoin tehtävät xxx ja xxx suunnittelijoille, pukusuunnittelija ainoana teki ne, jolloin koin, että ratkaisu palvelee tätä alkulähteeltä asti, tuli täysi luotto, suunnittelija osoitti oman luottamuksensa, assosioituivat arkisuuteen, pyrittiin xxx, mutta muuttui kuitenkin parisuhdedraamaan, esiintyjien xxx eivät kuitenkaan olleet ratkaisu, vastaus vastakkaisuuteen oli samanlaisuus, maskuliinisuuden ja feminiinisyyden liudentaminen, materiaalisesti vahva ja miellyttävä valinta suhteessa muuhun, iholla ja liikkeessä - 30.30 yleisesti merkitysten luojia, mutta tässä erityisesti luotiin ykseyttä tanssijoiden välille ja toisaalta osoitettiin selkeä ero muusikoihin, näyttää lihalliset kehot ja paljon ihoa, suhteessa siihen, että rumpalien kehot oli täysin peitetty - 1.03.40 mua kiinnosti puku meidän tietämien kehon muotojen vääristäjänä eniten, puhuimme pukusuunnitelijan kanssa voisiko puku muokata liikkeettä ja vaikuttaa xxx, pukusuunnittelijaa kiinnosti mustavalkoisuus kommenttina tilan ja xxx olemukselle, mua rupesi vaikuttamaan seireenimaailma suhteessa pukuihin, tämä ajatus helopotti myös puvuista kommunikointia, xxx tai xxx tuominen pukuihin, ei liian alleviivaavasti, kysymystä ihmisyydestä linkkiytyen xxx, eniten ehkä toivoin, että puvut kysyisivät toiseutta, en ole varma onnistuttiinko, en varmaan silloin pystynyt tätä näin selvästi artikuloimaan - tuntuu, että lähestytään jo rooliasua: juuri liukuma tanssijasubjektista abstraktimpaan on haastavaa, miten tuoda yksilö esiin alleviivaamatta, jotta itse tarpeesta tehdä ero ei itsetarkoitus, tässä tärkeätä oli että puvun materiaaleissa oli samaa joustoa ja elastisuutta kuin tilassa ja ajassa - tanssijat tuottivat ääntä suullaan ja soittimilla ja liikuttamalla xxx voimakkaampikin tyypittely pois arkipäivästä olisi ehkä voinut olla mahdollinen, vieminen laajemman outouden maailmaan olisi kiinnostanut, toisaalta halusin pysyä saman kaaren alla - 1.11.45 tuntuu, että jos puku ei ole teoksen lähtökohtana se on yksi haastavimmista asioista tuoda mukaan siinä vaiheessa kun aiheet rupeavat nivoutumaan, se on niin visuaalinen, lähellä esiintyjää, muuttaa olemista, miltä tuntuu ja miten se näyttäytyy - 23.00 mulle katsojana, välittää osaltaan merkityksiä, tuoda merkitysmaailmaan - 57.40 meillä oli aika pitkä vaihe jolloin pukusuunnittelija luotsasi pukujen käyttöä harjoituksissa, esiintyjät valitsivat joka päivä uuden kokonaisuuden, esiintyjät kirjoittivat niistä ja pukusuunnittelija piirsi heitä, esiintyjät valitsivat värejä puvustosta, pukusuunnittelijoiden ja tanssijoiden välillä oli tiivis kanssakäyminen, lopputuloksessa ollut yksi asu edusti tanssijoiden mukaan muitakin asuja, ne olivat ikään kuin läsnä siinä, esiintyjät eivät täten olleet toteuttamassa jonkun toisen visiota, vaan olivat tanssijasubjekteja, jotka vaikuttivat, minä kehotin heitä sanomaan myös ei jos siltä tuntuu - 1.00.35 puhuttiin pukusuunnittelijan kanssa merkityksistä valintojen ja linjojen vaiheessa, mikä on suunta joka valitaan puvuissa, jotta se mistä teos puhuu tulisi esille, ehdotin arkista, joka tuo kodin ja turvan tunteen, päädyttiin arkisempaan, mitä sitten jatkoin koreografisestikin, haluttiin sitoa esitys tähän aikaan, koska aihe on tässä ajassa - materiaalisuus: liittyy kinestesiaan ja myös nykytanssikelaan kinesteettisena runoilijana, yhtä tärkeä muodon kanssa (esim. missä muodossa istun) on painon tunnistaminen, missä havaintoni vaeltaa, millä tavalla havainnon ja tuon esiin kehoni materiaalisuutta, mitä kerroksia tai puolia siitä on ainakin puolet, jos ei enemmänkin merkitysmaailman rakentamisesta, toki siis heidän vaatteidensa aitous, miten itse pukeutuu eri tilanteisiin, jotta voi tuntea itsensä hyväksi kussakin tilanteessa (silkki), pois omissa treenivaatteissani joustavuudesta, materiaalisuus resonoi oikean kanssa, oikeasta maailmasta, ei ainoastaan helpot liikkua - 21.00 valittu suunta toteutti koreografian ja koreografisen ajattelun suuntaa, sitä tukien, estetisoi tapahtuman, toi muistettavaa visuaalisuutta lisää, liikettä on vaikeampi muistaa - pukusuunnittelijana käytät tietoisesti tuttua kuvastoa, jotta voit välittää viestiä - 29.05 valjailla oli ainakin selkeä juttu, laskeutumisen lisäksi niihin pystyi tarttumaan, tuli toimintasankariolo, lenkit, karabiinit, nyörit ja liinat, täytyi vähän kävellä jalat levällään, kengät, sukat, paidat, bokserit, paita täytyi olla, jotta sen voi ottaa pois, peittivätkö bokserit vaan, voi olla joku kauneusajatus, tämännäköinen on hyvännäköinen, oliko ne häivyttämässä genitaaleja vai lisäämässä, (kysyin merkityksistä), rumpaleilla oli ihan eri, kasvottomat ja ylempänä ja puvut ainakin ihan eri maailmasta olevia, (määrittele assosiaatioita), toiminnan ja konkretian olo, actionmanolo, tekee oikeita asioita, toimittiin paljon ja tehtiin fyysistä työtä, rumpalit olivat paikoillaan ja tuottivat ääntä, olivat epäkonkreettisia ja enemmän aistillisia kuin lihallisia, jotenkin vaan levittivät jotakin, trikoita ja harsoja, puhuttiin jumaluudesta - 24.20 merkitysmaailma ja assosiaatiot olivat tässä esityksessä keskeisessä roolissa, valjaat toisaalta mahdollistivat koreografian, myös ehkä ohjata katsojan katsomista (lukuohje) - 38.00 (jotta puvut voisivat tulla osaksi esitystä, jotta tanssijat niihin voisivat kiinnittyä, jotta niistä tulisi sen

28 esityksen kannalta merkityksellisiä) - 46.30 xxx etäännyttivät arkisesta, värit toivat fantasian, xxx ja minkälaisia materiaaleja liittyen sensuaalisuuteen, aistillisuuteen ja kosketukseen, valoisuuteen, peilaaminen, naiivius, banaalius, xxx maailma, liittyen materiaalisuuteen ja merkityksiin, puvut toimivat hyvin, kokeiltiin ihonvärisiä liivejä, jolloin ihoa näkyi enemmän, ihon suurempi määrä olisi mahdollistanut kosketuksen ja oikean ihmisihon läsnäolon, (ajateltiinko merkityksiä) niistä ei niin paljon puhuttu varmaakaan, xxx, keskeneräisyys, puolipukeissa, ihminen vai eläin, toisaalta että on värejä yksityiskohtia mitä katsoa oli jo itsessään tärkeätä - 20.40 piirtää esiin poliittinen miehen rooli, sodan, urheilun, miehisen maailman, pojan, mitä vasten sitten voi ottaa muita suuntia, loivat kehyksen mitä vasten ajatella, heti atleettinen ja liikkeessä

arjen estetiikka /arjen estetiikka puvuissa - 4.50 tarvitaan konkreettista kosketuspintaa ihmisten elämään, jotta konnotaatioita on helpompi synnyttää, tutun sijoittaminen uuteen yhteyteen antaa toisaalta tilaa hengittää ja vie samalla voimakkaasti johonkin suuntaan - nykytanssitanssin yksi konventio tällä hetkellä on käyttää kaupasta löytyviä vaatteita, sitoa esiintyjä todellisuuteen ja samalla viedä assosiaatiot johonkin toisaalle - 14.00 tavalliset alusvaatteet, yhdistävänä tekijänä se pystyi viittaamaan useaan merkitykseen ja teemaan samanaikaisesti, niitä käytetään, koska ne ovat prosessin kannalta käytännöllinen valinta, helposti saatavissa, niissä on helppo liikkua, ne paljastavat tanssijan vartalon, playssa niitä käytettiin tarkoituksella ei sen takia, että se olisi ollut helppo valinta, niillä välitettiin merkityksiä - 12.30 en kiinnittänyt pukujen tavallisuuteen huomiota, kun valjaat tekivät niistä sen mitä ne olivat - miksi niitä käytetään on vaikea sanoa, se on koreografin, tekijöiden tai työryhmän valinta, ajassa liikkuvaa: halutaan arkisempien vaatteiden kautta tuoda esitys korkealta lähemmäs, arkiliike esityksessä, mennään hyvinkin pitkälle arkeen - toisaalta käytetään myös hyvin paljon fantasia-asuja - 19.35 arkiasujen käyttö nykytanssissa on tyypillistä, mielestäni se on tullut tanssin murroksesta jenkeistä 60- luvulla, joka toi tanssin jokapäiväiseen yhteyteen ja esiintymään esim. kadulla, kuka tahansa meistä voi tanssia, tässä oli kaksi nuortamiestä, yksilöä, jotka olivat ottaneet päällivaatteet pois, jos olisi ollut neljä tanssijaa olisi ollut joukko - 16.15 arkisia käytetään, jotta ei mene liian alleviivaavaksi, tanssissa menee helposti myös naurettavaksi, ei kannata laittaa liikaa asioita pukuihin, säilyy tarpeeksi neutraalina, että katsojalle jää enemmän mahdollisuus tulkintaa - arkivaatteiden käyttö oli teatraalisempaa, kuin huppareiden ja verkkareiden käyttö esityksissä, yleensä treenivaatteiden käyttö lava on tarkoitettu vastustamaan teatraalisuutta, kuin pilkkana teatteripuvustukselle,tässä suunta oli sinnepäin, kohti performatiivisuutta ja vapaata assosiaatiota, alusvaatteiden normaalista yhteydestä kohti kompleksisempaa asiayhteyttä, normaalisti piilotettu intiimiys tuotu esiin, Amerikassa t-paita on osa klassista alusvaatesettiä, luonnostaan teatraalista esittää hahmot lavalla alusvaatteissa - 13.50 pidän siitä, että voi käyttää tavallisia, jolloin niiden käytöstä ja riippuen yhdistelmistä ja kulmasta, ne nähdään ihan eri valossa, niitä käytetään paljon, ehkä helpon saatavuuden takia, varsinkin jos työryhmässä ei ole pukusuunnittelijaa, mutta myös pukusuunnittelija voi tehdä valinnan - 20.40 60-luvun arkiliikeajattelun kautta nykytanssiin on juurtunut hyvin voimakkaasti arjen olemisen, arkisen ihmisen situaation kehollisuus, yritetään toisaalta välttää sitä, että vaatetus näyttäisi roolivaatteelta, tämä on voimakas trendi, mutta myös klisee, joka sulkee arkiympäristössämme olevan moninaisuuden pois, siitä tullut sellainen, että suodatetaan suppeaan väri- ja leikkausmaailmaan sekä suppeaan funktionaalisuuteen, siinä mielessä siitä on tullut klisee, emme enää näe sitä vaatteena, vaan se yrittää häivyttää olemisensa, toisaalta tänä päivänä tapellaan sitä vastaan ja ollaan täysin keinotekoisessa, puvuissa ja välineissä ja peruukeissa, joiden ei voisikaan kuvitella olevan arkivaatteita, toisaalta ympärillämme on aina joku kuori, jotain merkityksiä, jota voidaan käyttää heijastuspintana sille että keinotekoisen kuoren sisällä on arkiliike tai konstruoitu liike - playssa valjaat olivat niin voimakkaat, näen sen joko urheilussa tai sm-kuvastossa, tässä oli tavallaan hyvin aseksuaalinen vaate joka näytettiin valtapelin välineenä, urheilijoista yleensä poistettu seksuaalisuus näytettiin välillisesti, siinä kohdassa tapahtui jotain mielenkiintoista - 19.35 ehkä playssa haluttiin sotilaiden lisäksi sitoa esitystä johonkin tiettyyn, tuo lähemmäksi, pois videomaailmasta, haluttiin sitoa tähän maailmaan kiinni, jolloin se saattaisi myös tuoda katsojalle vaihtoehtoja katsoa esitystä jonain muuna kuin fantasiana (poliittisuuskin ehkä mahdollistuisi) - 21.50 tanssijat kiinnittyvät teatterin ulkopuolisuuteen, tuttuuteen, johon minä itsekin voisin pukeutua, toisin kuin rumpalien puvut, malleiltaan ja kankailtaan sellaisia joita vois löytää valmiina - riippuu esityksestä: harvoin on varaa pukusuunnittelijaan, saati että ommeltaisiin, löydetty tai ostettu, spesiaalit teetetään, treenivaatteet liitän kontakti-imrovisaatioon, toisaalta mahdottomia tanssivaatteen näköiset vaatteet (liehuvat housut ja joku kivat toppi) jos tanssi ei ole geneeristä niin puvutkaan eivät voi olla - 19.15 tosi usein pukusuunnittelu tapahtuu uffin ja hm:n kautta, budjetti ratkaisee, ei ole varaa

29 pukusuunnittelijaan, pukusuunnittelu tulee koreografin näkemyksen mukaan - oli kuitenkin valittu alusasut, joissa ei näkynyt brändiä, neutraalius oli läsnä, ajattomia valkoisuudessaan, samanlaisuus teki univormumaisuuden yhdessä valjaiden kanssa - 16.00 oikeat vaatteet toimivat, koska ne ovat yksikertainen ja helppo liikkua, antaa minulle mahdollisuuden nähdä siinä sotilaan lisäksi, judotyypin, nyrkkeilijän, painijan, ei kuitenkaan alleviivannut sotilasta - itse tuen arkivaatteiden käyttöä esityksessä, tanssijalle on tärkeä, että vaatteissa on hyvä liikkua, mukava olla, ei tuoda liikaa viitteitä, joita ei haluta, jolloin liikkeelle jää enemmän tilaa puhua, vaate ei huuda läpi, lisäksi käytäntö eli tottumus, plus ei ole pukusuunnittelijaa, esim. Erika Turunen, tuntuu, että katson aina samaa teosta, puvut ovat niin paljon ja tunnistettavat - tanssijan oman persoonan mukaan tulo vaarantuu, vaatteen liike korostuu, tanssija häviää, tanssissa menen katsomaan koreografiaa, liikettä, ideaa, ennen kaikkia ihmisiä, en tosi hienoja vaatteita - luin ne pukujen puolesta identtisiksi, mutta esiintyjinä olivat tosi erilaiset, yhtäläisyys ei tarkoita persoonina samaa, fysiikka on erilainen, rumpalit luin massana loppukiitoksiin saakka - 12.30 tällä hetkellä kyllä, liittyen siihen mitä tehdään, vallalla on ollut käsitteellinen suuntaus, tehdään arkiliikkeestä tai ikään kuin tekoja tanssiliikkeen sijaan, arjesta nousevaa - katsojana tavallisesta poikkeava tuo absurdiutta - halutaan pitää auki, ei stailata loppuun asti, halutaan näyttää keskeneräisyyttä, luonnosmaista - teokset pyrkivät kommentoimaan vahvasti tätä päivää - playssa: nämä olivat selkeästi hahmompia, ei niin mitä vaan päällä, vaan selkeästi mietitty, musta-valkoisuus paljasti sen ja rakensi hahmot - aikapaljon nykyään halutaan esittää tanssijat yksilöinä: esiintyjät on ihmisiä ja persoonia, jotka tuovat sisältöä esitykseen, koreografin rooli on muuttunut, että tehdään yhdessä, tanssijat tuottavat myös sisältöä, koreografi luo konseptia - playssa: katsoja luki samanlaisiksi, silti näyttäytyivät yksilöinä, tässä puvun samankaltaisuus tuki teoksen sisältöä (univormu, koulupuku, veljekset, kaksoset) - 25.05 samaa mieltä: helppo ratkaisu kun ei haluta ottaa puvustuksella kantaa, ei mikään ratkaisu on käyttää treenivaatteita tai jokapäiväisiä, esteettisesti ei etäännytetä ja halutaan kiinnittää todellisuuteen, esitykseen samaistuminen on mahdollisesti, esiintyjät ovat yhtä katsojien arjessaan kokeman elämys maailman kanssa, abstraktista kohti konkretiaa - playssa: maailma ei ollut arkinen, esityksen maailma oli estetisoitu funktionaalisuus, valinnat korostivat hahmoja, eivät olleet tanssijoiden omat, olivat puhtaat, eivät käytön jäljiltä, ostettu teosta varten, samanlaisia keskenään, valkoinen kirkkaana esteettisenä valintana, kun ei haluttu ottaa kantaa - teos tarjosi stereotypistä kuvaa maskuliinisesta kehosta, joka on valjastettu tiettyyn käyttöön, sotilaan kehoksi, jolloin omalle keholle on hyvin vähän tilaan, suorittaa annettuja tehtäviä, myös tanssijoilla oli rooli, joka ei ollut noussut heistä itsestään, anonyymit kehot - 14.55 voi olla, että tässä ajassa elävinä ihmisinä meidän on helpompi samaistua, budjetti, työryhmästä puuttuu pukusuunnittelija - valjaat tekivät näistä vaatteista esiintymisasuja - fyysisesti erilaisia tanssijoita - 39.50 paljon käytetään joo, ei osaa tai ei ehdi ajatella, että sekin vaikuttaa merkitysmaailmaan, tietoisesti esitystilanne tuodaan myös puvun tasolla arkipäivään, nykyään kuitenkin puvulla pelaillaan eli tyylitellään tai rikotaan tuomalla jotain ihan muuta esim. kokosukkapuku - playssa: mietitty ja perusteltu miksi juuri nämä oli valittu ja yritetty pohtia tai kokeilun kautta valikoitunut oikeaksi - 26.05 hyvin totta, yritetään etsiä aitoa ja oikeata, pois rooleista, esitetään ideoita, filosofioita ja teemoja, jos on rooli niin on vaihtuva rooli, päälle liimattua vältetään, pelätään määrättyyn hahmoon, aikakauteen tai ettei ainakaan tanssivaatteelta näyttäisi, 70-90 arkivaate joka kuitenkin paljasta tanssin liikkeen, erityisesti lantion ja käsivarret, 90-luvulla runollisuuden aalto ja paluu kauniiseen liikkeeseen ja tanssitanssiin, väri ja kangas mietittynä, epäsymmetria, puvun liikkuvuus, luulen että olemme yhä vielä matkalla siitä pois - rumpaleilla oli jotain ihan kummallista (oli hyvä että olivat erilaisia, mutta tämä tapa ei puhutellut), rusetti pyrstön päällä, jotenkin rituaaliin menevää, maskit, otin heidät ritualisoituina katsojina, omituinen se möykky siellä takapuolen päälle, en enää lukenut loppukiitoksia esitykseen, näin rumpalit enemmän alastomina ja läpinäkyvyys toi myös ikään kuin lattiatason rituaaliksi, ei tanssijoille itselleen, vaan heitä katsoville rumpaleille, jotka oli vieraannutettu tapahtumasta, seurasivat kaukaa, kohtalo, toinen kulttuuri - playssa puvuissa arkitaso teki vahvan uskottavuuden, mutta estetiikan taso assosioitui eri kohdissa eri suuntiin - materiaalisuus: pikkusotilaat tilassa, mistä pystyt ottamaan kiinni esim. vaatteissa, kestääkö sen vai ei, koko kroppa reagoi ja näyttää mitä materiaali on, materiaalisuus syntyy suhteesta siihen, miten se otetaan osaksi esitystä - kinestesia: liikeratoja, ihmisen liikkeelle ja liikkumisia fyysisesti mahdollisia ja ominaisia, ihmisen sisätila ja kinesteettinen tila mihin asti ulotun kehostani, kinesfääri - peilisoluteoria: kun havainnoit liikettä koet itsekin liikkuvasi

30 - 14.50 käytetään arkisia tanssijavaatteita, jotka liittyvät tanssin harjoituksiin, sellaisia mihin tanssijat arkena pukeutuvat, on ihan oma tyyli miten tanssi-ihmiset pukeutuvat, trikoot ja lenkkarit - playssa ei ollut tanssija-arkisia vaatteita, siitä pois, alusvaatteet olivat tässä kohottavia ja mahdollistivat assosiaatiot monella tavalla - 31.00 kyllä, jopa treenivaatteita, tämä on ihan trendi, siirrytty tanssin ja liikkeen pohdiskelusta, ihmisen ja tanssijan olemisen, näyttämöllä olemisen pohdiskeluun, haetaan tiettyä naturaa, ettei esitettäisi vahingossakaan mitään, yritetään riisua tanssija kaikesta mikä ehdottaisi jotakin muuta kuin siviiliä, tämä tuli 2000-luvulla, Euroopasta, mutta jäi jotenkin päälle, kenkien käyttö on hyvä esimerkki, tulee mieleen tämä voi olla ihan kuka ja mistä vaan, näytetään ihminen sellaisenaan, esitys on ihmisen maailmaa tuotuna näyttämölle, vaatteet ovat yhtä tanssijan kanssa, omia, ei pelkästään budjettikysymys, voi näissä farkuissakin tanssia, ei tarvi edes olla joustoa, liike rupesi samalla olemaan myös vähemmän kiinnostava elementti koreografeille, rupesivat pohtimaan muita asioita - tää oli selkeästi puvustettu, vaikka olo oli että näissä olosuhteissa niillä on tollasta päällä, lisäksi se että puvut olivat samat, ulkoisesti sama voi joko korostaa samanlaisuutta mutta myös paljastaa eroja, kuten tässä, samuus sitoo pojat samaan alkuperään, tulevat persooniksi omien tekojensa kautta - rumpalit staattisia eivät persoonia ollenkaan, kaikki näyttivät täsmälleen samoilta - 28.25 kyllä, Zodiak kuosivaatteita vähän niin kuin trash, helppo tapa kommentoida mediaa tai youtube- todellisuutta, pukeutumiskulttuuria, hipsterimeininkiä, helppo tapa tuoda nopeasti mielikuva, välillä tämä voi toimia ja välillä ei, kontakti-impro esitykset enemmän pellavavaatteita, natura, maaläheiset värit, joita ihmiset käyttävät oikeasti itsekin - itse pidin että puku ei jäänyt pelkästään visuaaliseksi vaan sitä myös käytettiin - 24.50 kyllä olen nähnyt esityksiä, mutta en itse ole ollut mukana, Meg Stuartin pantteritrikoot, esityksen teeman mukaan ajateltu ja valittu arkivaate ei enää minulle ole arkivaate, miksi: Judson Dance, Tricia Brown, tiputettu keho, esittämisen tapa, toisaalta myös raha, suhde nykytanssiliikemateriaaliin, onko ennakkosuunnittelua, miten esitys saadaan esille, mahdollisesti puvut minimalisoituvat prosessissa, kontakti-improvisaation ajattelutapana yhteisöllisyys, ollaan rennosti, ei tehdä asioita valmiiksi, ekologisuus, tanssimetodit Nykistä, Steve Paxton - playssa selkeästi oltiin yhteydessä esityksen teemaan kanssa, henkilöt eivät ole nykytanssikansaa, vaan esityksen teemojen kautta syntyneitä hahmollisempia, on ajateltu jolloin vie pois arkivaatteista - missä puku muuttuu roolivaatteeksi, playssa oli roolin vivahdetta, keitä nämä olivat henkilöinä ei oltu rajattu täysin - samuus ja tanssijan subjekti: paljaana olo näyttämöllä salli kehojen erilaisuuden - 35.00 kyllä niitä näkee, mutta ei aina, johtuu siitä että ei pukusuunnittelijayhteyttä, omakohtaisesti puku on visuaalisesti merkityksiä luova, arjessakin jos emme tunne jotain ihmistä, arvioimme häntä ulkoisen perusteella, verkkarit ovat mukamas neutraaliratkaisu, johon helposti päädytään, ajatus, että vaate on kulkenut treeneissä mukana ja tanssija on tottunut vaatteen tuomaan keholliseen, myös tiedostamattaan - playssa: mulle mielenkiinnon piti yllä erilaiset polvisuojat ja sneakerit, jolloin en lukenut ihan samaksi, jo tämän kysymyksen herääminen oli riittävää minulle - muusikot prikulleen samassa vaatetuksessa, missä menee raja että määrittää yksilöllisyyttä puvussa - 25.15 kyllä näkee, joku semmonen kuviteltu nollatila tiettyjen merkitysten tasolla, luodaan ikään kuin neutraali tausta, josta liike voi piirtyä ja määritellä merkitysmaailman (Cunninghamille trikoot), myös verkkariosaston käyttö on trendi, mikä näkyy muussakin teoksissa, koreografiassa ja teoksen rakentumisessa, cool, hipsteribiisit, karkeana yleistyksenä mutta myös trendi - 27.05 tanssija subjektina: on tuotu jo aika pitkään (Judson Church) tuodaan arkipäiväinen lavalle, tanssijan subjektius lavalla mahdollistuu (score-tapa tehdä koreografiaa, Deborah Hay, jossa ei ehdottomasti ole rooleja, vaan subjekti joka rakentaa nimen omaan hetkessä esteettisen komposition kautta sitä maailmaa, jolloin ihmistä ei voi pukea muuksi kuin hän on, ei dinosaurukseksi) - heitin ajatuksen: pukeudumme näin, koska olemme tanssijaheimoa - voidaan olla alttiita sille mitä on nähty muualla, jolloin tällaiseen impulssiin on helppo tarttua, toisaalta on ihan fine tarttua kulloinkin ajassa oleviin asioihin (neonvärit), maasto mitä minulle on tarjottu on ollut yksioikoista ja sitä ei välttämättä osaa kyseenalaistaa - 34.30 playssa: videopelimaailma-ajatuksen kautta ajattelin, että tanssijat eivät itse olleet siinä sellaisina, vaan että he ajattelivat itsensä siihen, eivät itse oikeasti olleet siinä, heidän fantasiansa heidän olemisestaan (tavallaan rooliasuissa) - missä on raja abstraktin, oman itsen, roolin välillä? Ei abstrakti, olivat yhtä ja puhuivat samaa koreografian kanssa, jos nämä puvut olisi laitettu meidän piisiin siitä olisi tullut abstrakti (täysin asiaan/yhteyteen kuulumattomat), liian yhtä kuvaava rooliasu ei välttämättä olisi toiminut, alusvaatteina olivat ajattomat, mahdollistivat vapaamman assosiaation - 22.35 aika monestikin, aika paljon vielä suunnitellaan pukuja, mutta myös on niitä jotka valitsevat puvut tanssijoiden komerosta, jos olen halunnut pelkistää ilmaisua vain tanssiin, tanssijoihin ja esiintymistilaan, ei valoja, ei pukuja, tietoinen ja poliittinen valinta, vastustetaan estetisoimista, että tanssiteoksen pitäisi näyttää tietynlaiselta

31 tuotteelta, arkipäiväisyys on tuotteistamisen vastaista toimintaa, usein rahoituksen vähyyden takia täytyy tehdä valintoja, mielestäni hyvä pukusuunnittelija voi tuoda teokseen uuden tason, selkeästi tiivisti kokonaisuutta: yksinkertaisella ratkaisulla tanssijoiden ja surrealistisemmalla muusikoiden osalta - puku voi olla aika monenlainen, mutta vaatii aikaa jotta siitä voi tulla osa teosta ja ilmaisua - ei kuitenkaan rooliasu, valjaat veivät pois siitä - samanlaisuus: olit halunnut esittää heidät massana, klooneina, kaksi siitä suuresta massasta, fyysisyys toi esille persoonallisuuden - 48.40 se on yksi suuntaus/trendi, osa tietoisesti puvustajan/tekijän valintoja, halutaan pukusuunnittelu joka ei näytä pukusuunnittelulta, olen kuullut, että Berliinissä paljon harjoitusasuissa tanssitaan, ehkä se siirtää fokuksen pois siitä miltä näyttää siihen mitä tehdään, häivyttää tunnetta esityksestä, jossa on isot visuaaliset elementit - 50.50 playssa vaatteita oli aika vähän arkiseksi tilanteeksi, kiva että olivat aika funktionaaliset, pukusuunnittelu ei ole kauhean läheinen, yleensä se tuntuu pakolliselta pahalta, kokeillaan vaan pukuja ja voiko niissä liikkua, tanssiteatterissa kun on narraatio ja puvuilla selkeästi merkataan jotakin ja hahmoa - roolivaatteita: kyllä niiden täytyi olla, koska ne johtivat johonkin toiseen kuin olisi ollut vaan treenivaatteissa ja tekisi treenihommia - rumpalien vaatteet viittasivat erilaiseen rooliin ja olivat tavallisuudesta poikkeavia, eivät olleet enemmän tai vähemmän roolivaatteita - 42.35 kinestesia: kinesteettinen empatia, katsotaan kinesteettisen empatian kautta, omaa kykyä suhtautua jonkun toisen kinestesiaan, liittyy paitsi liikkumiseen ja kokemiseen liikkumisesta, myös henkilökohtainen kokemus, sisältää niin paljon asioita, liikkuminen ladattuna monilla kerroksilla, spesifisesti tanssin sanastoa, lataa paljon, liike ehkä myös jonakin muuna kuin pelkkänä liikkeenä - 25.30 kyllä, olen lukenut, että näytetään nykytanssijan uskottava ulkoasu, miltä nykytanssijan kuuluu näyttää, pieni budjetti, toisaalta pelätään merkitysmaailmojen määrittelemistä, treenivaatteista kaikki tietävät niiden olevan sitä jolloin luullaan että ne ovat neutraaleja ja puhuvat itsestään, mielestäni ei ole niin jos on treenivaatteissa tai esim. omissa farkuissa vaikuttaa tosi paljon identiteettiin, on eri tavalla tietoinen olemisestaan - (tanssija subjektina) mukavuusalueella, olen lavalla tanssijaminänä - (onko nykytanssijahabitus rooli) kyllä, siitä on kaikki mielikuvitus poissa, jos kerran liikkeessä ollaan auki ja luovia, miksi vaatteessa ei voisi olla - playssa: puvustettu, molemmilla melkein samanlaiset, ei voi olla sattumaa, ei ole kuitenkaan normaalia kävellä alusvaatteissa, omana itsenäänkin lavalla on roolissa, tässä oli avoimuutta tulkintaan assosioida

- kyllä, budjetti, ei ole varaa teettää tai pukusuunnittelijaan, puvustus on tosi herkkä paikka, toisin kuin teatterissa, jossa teksti puskee päälle, hienovarainen lähellä ihmistä, tanssissa ollaan ihmiseltä ihmiselle ajattelussa, siksi ajatus jotkut verkkarit vaan, Eurooppa (Berliini, Bryssel) on täynnä tätä joku logo t-paidassa (Shell) ja sitten verkkarit, on ehkä tietty värimaailma valittuna hauskasti, se on vaan jonkun berliiniläisen kundin asu, jolloin juttu on action eikä se mitä on päällä, asia pääsee sisältä, helposti on liian puvustettu, rupeaa lyömään päälle liikaa merkityksiä, esiintyjän herkkyys ei pääse läpi, mahdollisesti myös subjekti peittyy, puvustus tekee liian kiiltokuvamaisen, vaatteet on liian juhlakunnossa, silitettyinä pestyinä laitettuina, tulee juhlatunnelma, vaikka teos puhuisi jotain muuta - vaikka olisikin verkkariylöspano lopputulokseen on päädytty mietinnän kautta - toki osa-alueet rikastavat toisiaan, jos yhteys löytyy ja kemiat kohtaavat - 32.40 hyvässä balanssissa, ei kuvittanut liikaa, ei ollut liikaa rooli, paradoksi: jos ei kiinnitä huomiota niin on hyvä, ei jää problematisoimaan - rumpalit olisivat voineet pysyä roolissaan ja kiittää ylhäältä

performatiivisuus/puvussa - 12.50 functional, object perform, costume malfunction, something unexpected happens, the functional use of the harness together with the framing of the genitals, the material or structure itself - 15.50 when you put thing on the stage, the combination matters, when seeing the toy soldiers immediately glues a message or meaning, you also see the dancers carrying military gear with them, the harnesses carried a very direct message - 21.45 en tiedä, ihoon kirjoitettu play, tuli oli että oli raaputettu ihoon, (voiko puku olla performatiivinen) red dress, puku ulottuisi yleisön kokemuksen piiriin, en tiedä, kaikki pukeutuivat ja se loi sen maailman - 20.50 liittyykö pukuun, oli, puvut itsessään jo esittivät jotakin - vaate ei jää irrallisesti ja koristeelliseksi, siitä tulisi erottamaton osa, puvulla voi olla erityinen tehtävä (Jerome Bel, missä riisuu t-paitoja) tässä paidat ja paitojen riisuminen ja paitojen määrä, superlinkittynyt esitykseen, ikään kuin nousee esiintyjän ohi, puku on usein alisteinen liikkeelle - 21.10 niillä olisi joku oma? Puku on esitys itsessään tulee eniten mieleen, rumpalien puvut ei pelkän funktion mukaan valittu, tehtiin hahmoa, puku muutti toiseksi, loi roolia voimakkaasti

32 - tavalliset tanssijat muuttuvat shamanistisiksi hahmoiksi (Maija Hirvanen) - Raisa Kilpeläinen, neljä muotokuvaa, puvut ja maskeeraus suoraan näyttelijässä kiinni olevina luovat hahmot - 16.45 suorittaa jotakin esityksen osana, vahvasti kerronnallisia, kuljettivat minut katsojana jonnekin, rumpalit, hämärää miksi olivat sellaisia kuin olivat on minulle positiivista, mun ei tarvi ymmärtää kaikkea, sekin voi olla sitä - rajoittaa liikettä tai vaikuttaa siihen miten liikutaan, paperipuvussa täytyy liikkua varovasti jottei se hajoa, luo materiaalin kautta jännitteet ja potentiaalin jollekin - mitä välitetään tekijältä katsojalle, se on juuri performatiivista, joten sen voi hyvin liittää pukuun esim. tunnistettavuuden kautta - 19.05 ei vain esityksellisyyttä, vaan performanssitraditioon liittyvää tuoden mukanaan kehollisuuden, kalsarihommat eivät olleet esiintymisasuja vaan existeerasivat, rumpalien puvut olivat taas esityspukuja, joita ei kenen tahansa vaatekaapissa ole, esiintymispuvuiksi tehtyjä, joissa hakama-muoto on toteutettu toisenlaisesta materiaalista - 18.40 kyllä olivat, varsinkin muusikoiden puvut, jos performatiivisuus on kytkettävissä esittämiseen, myös tanssijoiden puvut olivat, tulivat selkeästi esille, ei pyritty tietoisesti häivyttämään kehojen muotoa, puettuja kohtia jää katsomaan koska ne valkoisina tulevat selvästi esille, myös peitetyt kohdat rumpaleilla korostuivat - 16.45 - 14.10 kyllä kai sen voi liittää myös pukuun, esittivät osaa esityksessä, toisaalta valjaat olivat välttämättömyys - 24.40 esityksellisyys, arkipukuisuus vie pois performatiivisuudesta, mutta alusvaatteet eivät tätä halunneet vai olivat tosi performatiivisia, sitten ne valjaat ottivat ison roolin puvustuksessa, ilman niitä alusvaatteet olisivat olleet ihan toista - butoh, peniksen ympärille kiedottu liina, valkoinen iho, toisesta ääripäästä paljon vaatemassaa, jolloin puku on myös osa lavastusta - 17.25 paita ja housut, joita voisi käyttää kuka tahansa arkivaatteena, mutta valjaat tuovat siihen täysin erilaisen ulottavuuden, se on ehkä performatiivista - performatiivinen rooli: La Ribot, vaatteita teipattuna seinällä, joita puki päälleen yhdistyen liikkeeseen, puku aiheutti liikkeen tai puku oli liikkeen motiivina - omassa jutussa kokeiltiin pitkän laahuksen aiheuttamaa liikettä - 19.00 potentiaalia performatiivisuudelle, pukujen dramaturgiselle roolille, miten se saattaisi vaikuttaa yleisöön, mutta ei toteutunut - totta kai performatiivisuus liittyy pukuihin - hupparit eivät assosioidu vain arkikäyttöönsä vaan myös esim. pankkirosvoihin ja huppujen sisässä piilotteleviin ihmisiin, jolloin tähän liittyvä pelko ja jännite samalla, tekee niiden kantajista vieraita ja outoja, tulee mileen se huppariin pukeutunut poika joka tapettiin - jokaisella vaatekappaleella on oma monimutkainen historiansa, jossa se esiintyy ja tulee esiin aina kun sitä käytetään muissakin yhteyksissä - alusvaatteet ovat hyvin performatiivisia, koska ne liittyvät intiimiyteen, paljastamiseen, haavoittuvuuteen… - on eroa kenet esität alushousuisillaan lavalla, tanssijan vai keski-ikäisen miehen, molemmat vaikuttavat katsojaan eri tavalla, puku esittää ja esiintyy aina suhteessa muihin esityksen elementteihin - 15.35 nämä eivät olleet, performatiiviset eivät ole niin suunniteltuja, toisaalta kaikki puvut ovat suunniteltuja - ehkä rumpaleiden puvuissa voisi olla tämän määritelmäni mukaan performatiivisuutta, niistä oli tavallaan ihminen hävitetty pois - tanssilyhäri: puvulla oli tavallaan oma elämänsä, vaikutti kokonaisvisuaalisuuteen, näen ikään kuin puvun itsenäisenä, voimakkaana visuaalisen elementtejä - 26.20 esityksessä performatiivisuus on ei-representoitu merkitys, vaan itse toiminnalle immanentti väistämättömyys joka synnyttää katsojassa reaktion, tapahtuman ja esim. affektin (en voi olla tämän äärellä, on niin kauheata tai pelottavaa), totta kai vaate voi tehdä saman (maskit tai susi-karhupuvut peijaisissa), jo pelkkä vaatteen olemus saa reaktion aikaiseksi, yksinkertaisimmillaan lakana päälle ja pelästyttää aaveena, kulttuurista kerrosta lähemmäs mikä on performatiivisuuden hienompi asti, selkeä shokkivaate ja sitten jokin liukuma, näemme kaikessa myös symbolisen, mahdollisesti metaforinen taso, samalla performatiivinen taso, ne eivät ole toisiaan poissulkevia, valjailla laskeutumisen funktionaalisuus ei ole performatiivista, mutta valjaiden käyttäminen tarttumiseen taas on - 21.40 mitäs se tarkoittaa, esittäviä? toiminnallisia?, nykyään kaikkea käsitellään performatiivisena (esim. ulkoiluvaate), aa niin kuljetettiinko sillä, viedään jotain asiaa jonnekin, puku aukaisee jonkin toisen asian, sen muutoksella viedään asiaan jonnekin, puku on valittu, joten väistämättä jollain tapaa tämä on aina läsnä - rumpalit on vahvoja semmoisenaan, kuka tahansa siellä onkaan alla (voisiko se olla performatiivista?) - 27.20 performatiivisuus liittyy millaisesta representaation tasosta puhutaan: esitetäänkö tekoja vai onko lavalla tekoja, representaatio on aina läsnä esityksessä, vaikka kuinka pyrittäisiin hetkessä tapahtumiseen, joku on kuitenkin aina tehnyt ne päätökset, esiintyjä, koreografi tai ohjaaja - puku: puku representoi jotakin (univormu kertoo kuka sinä olet), puvulla voi olla joku täysin oma tasonsa joka ei liity esiintyjään (teksti t-paidassa, isä tai sanon olen isä), oikeasti vaikuttaa esiintyjän olemiseen ja tekemiseen

33 olematta pelkästään visuaalinen (raskaus, liukkaus) vaikuttaa esiintyjän fyysisyyteen - tanssijoilla valjaat omalla tavallaan, voiko käyttöesine olla performatiivinen? - 22.50 joo, kyse oli performanssista esityksestä, painikohtauksessa oli erityisyyttä, jota toi ihoon kirjoitettu teksti ja ihon voimakas läsnäolo - ei, ei ollut erityisyyttä, koska puvut olivat tavallisia alusvaatteita, meidän kulttuurissamme alusvaatteissa olo ei ole erityisyyttä - 23.00 voiko puku/objekti olla performatiivinen? Esittävää? Performanssitaidetta? Ihminen voi teoissaan olla performaatiivinen, joku esittää jotakin ei että joku on jotakin, itsessään ei ole performatiivinen, kun rupean käyttäytymään jollain tavalla minusta tulee performatiivinen, jos se menis näin? voiko vaate esittää jotain itsensä ulkopuolista asiaa? Voi, jos se on asetettu johonkin kontekstiin, jossa sen voi lukea niin, jos paidan pukee housuiksi, niin se performoi housuja, mutta playssa esittikö vaatteet jotain: yksinään ne eivät esittäneet mitään, mutta noilla kehoilla ja toiminnoilla ne alkavat luoda sitä kuvastoa, mitä koen, ihminen luo muutoksen - onko kyseessä katsoja reflektio - 17.50 teko, sano, rituaali, tuo esille jotakin, voisko valjaista ajatella, että ne ohjaavat tekemään jotakin, tehty jotain toimintaa varten - red dress (puku oli lavastus ja tila ja kaikkea) - 29.30 puvun kautta esitetään, valintojen kautta, tuodaan esiin tietynlaisia rooleja, vaikka sukupuolen esittämisen tapoja, nämä alusvaatteet eivät itsessään olleet maskuliinisia, vaan sukupuolineutraaleja, hahmot ovat esityksia todellisuudesta, pukujen avulla on mahdollista korostaa, estetisoida, tuoda esille kirkkaampana jokin tapa esittää tiettyä roolia yhteiskunnassa - Maija Hirvanen: minkälaisia assosiaatioita puvut muodostavat, meille yhteisiä, toisaalta estetisoituja käsityksiä - puvut ovat oleellisesti performatiivinen asia, kantaa tiettyä taustaa ja esteettisiä valintoja mukanaan - 18.20 puvut olivat erittäin performatiivisia olivat minulle kertovia ja ilmaisevia, jos puvut olisivat olleet toiset, esitys olisi ollut toinen - hahmot sillalla herättivät eniten kysymyksiä, tähtien sota, fantasia, loppukiitoksissa illuusio paljastui, aineeton, ei tätä maailmaa, erityisesti se vekki takana - valo, ääni ja rumpalit olivat immateriaalista, ulkopuolella, ja tanssijat olivat lihaa ja verta - 42.20 performatiivisia elementtejä: kielestä, sanat tekevät tekoja, kehollisuuden kautta miettien ajatellen: esitysmuoto oli perinteinen, ei niin tapahtumallinen (joka olisi enemmän performatiivista) niin paljon - puvussa en osaa vastata: teorian kanssa, kysymys miten siirtää se käytännön tasolla - materiaalisuus: representoiko pikkusotilaat itseään, vaan onko se enemmän materiaalia tai tekstuuria ikään kuin, lopulta oli aika vähän, minulla materiaalisuus liittyy enemmän abstraktin puolella, siinä voi silti olla jotain pieniä representatiivisia vilahduksia, (esim. pikkusotilaiden kaatuilu toiminnan alla oli tätä, kaikissahan, ääni, valo, liike, puku, tila, se on osittain läsnä, miten ne rakennetaan ajassa tilassa paikassa, rajana on juuri se pelataanko enemmän materian vai merkitysmaailmojen ehdoilla, me ehkä enemmän merkitysten ehdoilla kuitenkin), tämäkin tosin muuntui välillä mielenkiintoisesti - rooli tai abstraktimpi olemus puvun kannalta: lopputulemassa kaikki puvut voi myös lukea rooliasuiksi, eivät asettaneet mihinkään tiettyyn rooliin, voi heijailla siellä täällä, olivat assosiatiivisempia, jotkut vaatteet naulaavat tiettyyn ehkä juuri ne miesten puvut - subjektiudun läsnäolo: puvun ambivalenttius mahdollisti persoonan esiintulon, toki se johtuu myös tekemisestä, tanssijoilta tämä ei poistunut, toki rumpaleilla kasvottomuus oli tarkoituksellista, muuttuivat materiaalisemmiksi - 37.40 puku on vahva viesti, tavallisessakaan arkielämässäkään ei voi välttyä siltä, että pukeutuminen kertoo ihmisestä, koetut kerrokset välittyvät, mikä kertoo minusta tietämättäni ja mitä välitän tietoisesti - 20.55 playssa Johaneksen paita suojasi tekstin, mutta toisaalta tahriutui, jolloin se sai peittämisen lisäksi toisen toiminnan, perfomatiivinen/performanssi?, esiintyjän läsnäolo oli performatiivista, esittävää, yleisön mukaan ottaminen - 37.20 ei selkeätä, nostettu ylös, ei vai esitetty sellaisenaan, kohotettu tavallisesta olemisesti tietoisemmalle ja rakennetummalle tasolle, vieraannutetaan, poissulkeva - playssa ei - 32.15 olen kuullut, kielen performatiivisuuden ymmärrän, sana itsessään toteuttaa jonkun tilanteen, liikkeen performatiivisuus, esim. paini jollain lailla tuotti mielikuvia, tunnetiloja, mielipiteitä, ajatusta - materiaalisuus: ruumiin materialistaminen, ruumis suojakeinona eli materiaalina, passiivisena, lihana, pikkusotilaiden käyttäminen jonain muuna kuin itsenään, joku muu asia kuin mitä tunnistaa vain näöltä, miltä joku kuulostaa tai tuntuu, puvuissakin - 34.20 esityksen ei tarvitse noudattaa tiettyä kaavaa, vapaa mediumi tekemään mitä haluaa - 56.35 xxx toivat performatiivisuutta, siihen tavallaan liittyy idean kautta toteutettu visuaalisuus, visuaalisuus on ajatusten esille tuomista ei pelkkää esityksellisyyttä, jota yritetään loksauttaa esitykseen, performatiivisuus assosiotuu vahvasti kuvataiteeseen ja irti perinteistä -ajatteluun - 54.20 pukujen materiaalisuus välittyi, mutta xxx ja xxx materiaalisuuden potentiaali ei välittynyt - 59.00 kinestesia: materiaalisuus tuo esiin kinestesian, objektin kautta kinestia, peilisolujen kautta yhteys,

34 empatiaa liiketasolla, fenomenologia, vahva sanomaton tietotaito - 1.15.35 playssa esimerkiksi esityksenä näyttämölle tuomisena rajaamista, käsittelyä, näkökulman ottoa, jonkun määrätyn asian käsittelyä näyttämötapahtumana - 1.13.05 takobiiseissä teimme kokonaistaideteosta en koe voivani erottaa jotain aluetta omana esityksenään, joutuu palastelemaan kokonaisuus - performatiivisuus ihan mitä tahansa mulle tietoisena ja tajunnallisena ihmisenä tässä maailmassa olemista, näen ja koen ympäristöäni ja jäsennän sitä - meillä kaikilla toki erilaista, koska olemme eri ihmisiä, mutta toisaalta tässä vaiheessa koulutuksen muokkaamaa - 1.09.00 playssa: Johannes ottaa kontaktin yleisöön, flirttailee, irtautuu esityksestä osittain, miten paljon antaa näkyä, että esiintyjä tiedostaa esiintyvänsä - 1.05.35 esittävyys onko se suomeksi sitä? Nämä astiat ovat iittalaa, marimekkoa, ei ole kolhuja, mikä elintaso, arvomaailma, historia - omassa esityksessä: halusin leikkiä asioilla, jotka eivät ole esittäviä tai tunnistettavia esityksenä, xxx-xxx leikki tällä, pyrittiin aitoon ihmisen kosketukseen ja tervehdykseen, xxx xxx kävely on vähemmän performatiivinen esitystä esittävä, puhe taas halua tulla kuulluksi - 33.40 ihminen on olemukseltaan performatiivinen, kaikki kohtaamiset ovat sitä, eri rooleissa ja konteksteissa tuomme eri asioita esille, esitän itsestäni erilaisessa tilanteessa erilaisia puolia, sosiaalisuuteen liittyvää ilmentymää, tanssijat esiintyessään fokusoivat tiettyyn ajatteluun liittyviä asioita - 55.35 janan toisessa päässä performatiivisuus ja toisessa päässä klassinen baletti ja voimistelu, joku hyvin konkreettinen ja kuvittava ja esim. kuolema esitetään kuolemalla tai perustavanlaatuinen symboliikka, playssa: tutkitaan kaikkea mitä tehdään performatiivisena, ajaudun helposti ajattelemaan arkiliikettä ja arkisia asioita, kaikki voi olla performanssia, kaikki teot on samalla symbolisia, viittaa johonkin kokemusmaailmaan, siinä on jotain mikä erottaa sen virtuositeetista, eivät ehkä kuitenkaan sulje pois toisiaan, urheilukilpailua voi katsoa performatiivisena - pukuihin: jonkin asian toteuttaminen, viitataan suorittamiseen, valjaat suorittivat jotakin tehtävää, ajautuisin ajattelemaan puvun käytännöllisyyttä ja liikettä, pukua toimivana tai toimijana, jos se liehuu tuulessa tulis ehkä enemmän mieleen performatiivisuus kuin jos se olis paikallaan - 1.00.33 materiaalisuus: (sanoin liike on materiaalia, milloin liikkeestä tulee materiaalia) miten minä materialisoidun, kaikki tulee olevaksi, kaikki ovat jo, mutta tulevat olevaksi, päästetään esiin (Monni), playssa: maskuliinisena tekemisenä, se on koko ajan mussa, sen sijaan että yrittäisi tehdä, voisi päästää itsestään irti ja antaa sen tapahtua, kaikki materiaali odottaa poimimista ja tarttumista, pikkusotilaat: esityksessä olivat osa lavastusta ja sinänsä performatiivista materiaalia, niille tapahtuu jotakin kun niiden päältä kävelee, menevät rikki, kuuluu äänet, satuttavat, teimme sotilasmateriaalista liikemateriaalia, itessään olivat materiaalia ja sodan materialisoitumista, ehkä puvuistakin tuli performatiivisia kun niille tapahtui jotakin - 31.35 asia itsessään riittää, merkityksiä tulee ilman, että niitä pitäisi kovasti alleviivata, liittyen materiaalisuuteen ja ajallisuuteen ja tilallisuuteen, pukuunkin sen voi todellakin liittää: miten pukua käytetään tai miten se vaan on, tyhjä pukukin tilassa on paljon ja kertoo paljon - 50.40 puvut olivat jo itsessään, lopun kohtaus xxx –kohtaus, joka itsessään voi herättää assosiaatioita monesta, ilman että sitä kerrottiin ulos - rooliasu: kokeiluja roolin ja hahmon kanssa, tosi varhaisessa vaiheessa valitut puvut saattavat luoda tilanteen, että on pakko täyttää puvun visuaalisuus, voi jäädä kuvitukseksi tai imitaatioksi, kokeilimme treenivaatteita, olen iloinen että siihen ei päädytty - 29.40 mikä on sen vastapooli, koska se on aina läsnä esityksessä

35 Elena Trencheva, Phd Postdoctoral Researcher in Costume Design Department of Film, TV and Scenography Aalto University E: [email protected] M: 050 4488459 The lecture is held on 24.04. 2013 at ELO, Helsinki

The Costume as a Sign System, Incorporated in the General Film Code

Before we start our talk on “costume as a sign system incorporated in the general film code”, I would like to introduce some concepts that we are going to work with. What is a sign? The sign is a sensory perception, which refers to something else or presents another object or phenomenon. The signs are everywhere around us. Some of them are found in nature itself, while others are the result of human activity. The dark clouds in the sky are a sign for an approaching storm. The red traffic lights tell us that crossing is forbidden, the primitive drawings on cave walls are signs, and of course the words we communicate with everyday are signs. But each of them is different in its substance. According to their origin some of them are natural, others are artificially produced by an arrangement (convention), i.e. they are conventional. The sign is a structure composed of a signifier and a signified. The signifier is the material side of the sign, and the signified is the concept the sign refers to. The signifier is the pronounced or legible combination of the letters r, o, s, e. The signified is namely the idea or the concept, which pops in the mind, provoked by the signifier, i.e. the idea of a specific kind of flower - a rose. “The linguistic sign unites, not a thing and a name, but a concept and a sound-image. The latter is not the material sound, a purely physical thing, but the psychological imprint of the sound, the impression that it makes on our senses” (20/66). The sign characterizes with arbitrariness, the connection between the signifier (material sound-image) and the signified (the concept) is not motivated. So the sounds r, o, s, e compose the word rose, which is a sign for a flower that looks in a specific way, but there is not any natural, inherited connection between the sign and the flower. The latter can be presented by any string of letters or characters; it will be enough for it to represent a collective habit. Compared to their relation to the presented object some of the signs can be bound to a certain extent to what they refer to by a resemblance, while others are completely arbitrary. The image is a sign which reflects reality by different levels of isomorphism between the image and the object. The image-sign differs from natural language conventional signs because it preserves the connection with the natural object. A writer may use the word “tree” to present an abstract concept, an idea of a “tree”, while a picture, a photograph or a movie frame can present a tree with the image of an exact specific tree. The similar signs (the signs with identical material side connected to their common function) compose sign systems or the so called languages. And the languages are means of communication. Since the dawn of mankind, people interact with images. The long continuous evolution began in antiquity with man's idea to preserve the passing image of things in the world, with his unquenchable thirst for recreating movement, with his overwhelming desire to communicate through images, the first known to us being the primitive cave drawings. Drawings with which the unpracticed human hands reproduced reality that had impressed man, were a reproduction of his own life. Drawings recreating real objects, events, animals and people in concrete images, which reveal what was seen and experienced, the hope for magic influence over nature, the striving to live the events in a specific way. Images which turn into means of communication, in signs, bearing specific information, denoting concrete objects from nature – animate and inanimate, obtain educational, informational, socializing and aesthetic functions. “The images seen from a perspective for potential communication, are “analogous to words” from the natural language – i.e. they can transform into signs denoting specific objects and phenomena to be used in the communication process, turning into a basis for an original language” (7/147). Cinema does not possess its own “language” in the strict linguistic sense, built on strict grammatical and linguistic rules. We can speak about the language of cinema only conditionally. Despite that, it speaks – and not only because of the invention of sound movies. It tells stories through an exhaustive copy of reality, fixed (photographed) on film. The screen establishes a “general” non-unified code, which is built on combinations of different and often opposing or denying each other texts or codes – from images as iconic signs, to spoken language, from ultimate real to extreme illusion. “The language of communication between the systems turns out to be not a crossing, but an unification of their private codes” (9/350). Cinema is a complex organized heterogeneous totality (combination) built on different social and cultural codes – a kind of “borrowed” languages or languages inherited from the cultural traditions of societies. In “Language and Cinema” Christian Metz treats cinema and its texts as fields of meaning in which heterogeneous codes exist, some of them specific to cinema and others not so. The film text forms a structured net through the interweaving of specific cinematographic codes, namely codes which are seen only in cinema and non-specific codes or codes which take part in other languages as well (21/49). He distinguishes codes of montage, of camera movement, of lighting among the specific codes, while non-specific codes involve costume, gesture, dialogue, typification and mimic expression. Admittedly each of these codes interacts with the others and often it is hard to determine its exact place in the hierarchy of the means of expression. The costume as sign system, involved in the general film code Following Saussure’s idea of language/speech dichotomy, the cinema costume as part of the design and the film’s broader context may be treated as speech because on one hand, “the speech of garments comprises all cases of unorganized production of clothes […] or cases of individual clothing” (10/51), and on the other hand, the same elements of the clothing system may be used in different film context obtaining different meaning. Naturally the “speech” of costume is like the language of cinema. We can speak of them only conditionally. In his first ample study called “The Fashion System”, Roland Barthes finds that three types of clothing exist – image-clothing or a garment expressed through photographic means; written clothing described or turned into language; and real clothing. However, they are not of the same structure. “The units of image-clothing are located on the level of forms, those of written clothing on the level of words” (13/4). The first one is flexible and consists of forms, surfaces, colors interrelated in space. The combination of different units as described above will result into the establishment of a specific type of sign – whether indicating an era, geographic location, specific weather conditions. It depends on the choice of combined units. The study of written-garment allows a completely linguistic analysis, because its image is constructed by the discreet units of natural language (the written-clothing ultimately is a word description and its structure is verbal; the meaning is found in the correlation between the memory component (signifier), which is a given syntagma, built from the signs of natural language, and the projected idea (signified), which is the image of the garment, popping up in the mind). The image clothing then is considered a separate unit itself, which might be decomposed to smaller structural figures, but cannot be analyzed by means of a method similar to a linguistic one, because “The photograph presents a garment no part of which is privileged and which is consumed as an immediate whole” (13/14). If the meaning found in the written-clothing is based on the relations and the structural differences between the parts of natural language, then “within photographic communication, it forms a specific language which, no doubt, has its own lexis and syntax, its own banned or approved “turns of phrase” (13/4). The image-clothing is naturally disposed to become a sign, because its reproduction on the screen gives it such status. “Conforming to Saussure's nomenclature, we can call that correlation of two terms, the vestimentary signifier and the worldly signified or the signified of Fashion, a sign” (13/25). Several levels could be observed, which have encoded different meanings, in the relation between the signifier and the signified of the iconic image of the clothing. Beyond the pure level of denotation, the one which the portrayed garment actually reveals to us and the one seen as an ensemble of different elements of the clothing system, there is one more level – the one of concealed meanings. “In other words, another semantic system almost inevitably builds itself on the instructor's speech, i.e. the system of connotation. Ultimately we are dealing here with a ternary system, consisting of a real code, terminological or denotative system, and rhetorical or connotative system.” (13/31). Connotations in costume are coded in reality itself, or rather, in the cultural traditions of a society, in history etc. So the memory component (signifier), which is the photographed garment, makes a reference to the projected idea (signified) - a specific empiric circumstance in the world, i.e. it will function as an indicator of the political, economic, social and aesthetic life of characters within a movie. In order to create a movie as Martin Scorsese’s Kundun, for example, everyone who is responsible for the development of the movie’s wardrobe should have broad knowledge of cultural traditions not only in the Tibetan historic traditional clothing, they should rather be familiar with the life style itself, as it determines the sign meanings of clothing in the real world. And “namely by stepping on reality itself, cinema creates its signs” (6/234). On the other hand, costume designers should note that it is possible that the audience may fail to read the meaning of signs in costumes shown in the movie, due to the lack of sufficient information. Because “the sign is not only a thing that substitutes another thing. It is also a thing that might and should be interpreted” (16/57). Each sign must be read at several levels: on one hand, it is determined by the movie context, and on the other hand, by general culture, i.e. by real life. If a viewer does not know how a beggar looks in reality, he could hardly decipher his clothing on the screen as a sign of his disqualified status. The viewer also may decide that in the movie context, in which all are dressed “normally”, the beggar has donned avant-garde clothes. This makes a reference to another issue – the issue of creating conventions in spectacles and their inherent elements. In order to have a communication, several terms and conditions are needed: there has to be information, coded in a certain message; someone to transmit the message; a transmitting channel; someone to receive and decipher it. If any of these conditions is not present, the communication will not be successful. Naturally the code must be known by both sides – the one transmitting the message and the one receiving it. In his study named The Greek Theater, Roland Barthes notes: “The realism of an art cannot be defined apart from the degree of credulity of its spectators: it inevitably refers to the mental structures which receive it. Certain allusive techniques combined with a powerful credulity produce what we might call a “dialectical realism” in which the theatrical illusion follows an incessant oscillation between an intense symbolism and an immediate reality; it is said that the spectators of the Oresteia fled in terror at the entrance of the Erinyes, because Aeschylus, breaking with the tradition of the parodos, had made them appear one by one; this movement rather closely recalls, as has been noted, the recoil of the first cinema audiences at the arrival of the locomotive at the station; in the first case as in the second, what the spectator consumes is neither reality nor its copy; it is, one might say, a “surreality”, the world made double by its signs” (14/85-86). Every innovation, on the theater stage or on the movie screen, risks ending in failure, if it is not built to a certain degree on things already known. As the “cinema language” evolves, so the consciousness of the spectator does in its ability to perceive and understand the message. “The capability for perception, beyond doubt, is a matter of one's gift and attitude, but in this case the degree of preparation to meet with a spectacle and its conventions is of decisive importance” (7/178). In movies which represent a particular historical age for example, what the spectator sees on the screen is not an exact replica (precise copy) of the costume, associated with the depicted period. The costume is subject to a number of conventions, inherited, to a certain extent, from the theater. On one hand it proves to be a “hybrid” between historically accurate details and contemporary aesthetics and on the other hand it combines two of its conflict functions: one of them being characterized by its sumptuousness and not subject to the act (the theatrical one), and the other one developing the character, regardless of its personal appearance (the dramatic one). We have to open a bracket to clarify some issues not mentioned so far about these functions of costume, which in the long run combine to create a kind of feeling of recogniseability. From the rigid conventions of antique theatre to the emergence of Commedia dell'Arte in Europe, the interest in costumes, which support the action and develop the character as well as interest in historically correct apparel presented on stage (actually, an interest in historical accuracy lacked at that time) is marked by a passion for sumptuousness. “Dress in court theater had developed traditions of its own, which continued to shift in shape along current fashion but which lost some of its dynamic relation to literary and visual art” (16/248). One couldn't tell the difference between the costumes for kings and queens and those worn by a Japanese or a shepherd. The stage costume for court entertainment developed a system of rigid rules, which mirrored the hierarchy of the actors in real life. The appearance of the Sun King on the stage when he participated in the ballet required the most exquisite and splendid, the most impressive and dazzling costumes for him, regardless of the role he played. Instead of softly draping folds the characters of classic antique literature, performed during 17th century, were costumed in stiff corsets, massive crinolines and heavy feathers. „As early as 1711, Addison had observed in The Spectator that though an actor pretends anxiety for “his mistress, his country or his friends, one may sees by his action that his greatest concern is to keep the plume of feathers from falling off his head” (IV.13)” (16/277). In this way the old dramatic function of costume, typical for the antique theatre, which subordinates the dress to the needs of production, gives way to a more theatrical functionality, which focuses the attention on the actor and embellishes him, emphasizing his individual qualities. It characterizes with sumptuousness and splendor, even when the spectacle doesn't need them. At the same time the emergence of Commedia dell'Arte1 in Italy gave new life to the long forgotten conventions of the ancient theater in which both the costume and the mask were entirely subjected to the dramatic situation and resembled a kind of a guide-book for recognizing a character (character's recognition) at a glimpse. Actors portrayed constant unchanging characters identified by their masks and costumes. When the names of the stock characters are mentioned the image of Arlechinno pops up dressed in motley costume of multicolored triangular patches; Pantalone – the archetype of a dotard always donned in tight-fitting long red trousers, a short, tight-fitting jacket, a loose long black cloak with plain sleeves, red-woolen skull-cap and yellow Turkish slippers; Dottore in black academic dress satirizing Bolognese scholars, Pedrolino (Pierrot) in his baggy white clothes etc. This “dramatic” costume stresses the clothing's ability to signify in order to establish the character. In other words “a theatrical costume is an expansion of the performer's own self, whereas a dramatic costume transforms him completely into a character” (16/250). In the middle of 18th century after the discovery of Pompeii and Herculaneum and the Winckelmann's works beccoming popular, the “theatrical” costume with all its court edicts became a victim to a new fad: the concept of historical correctness to the last detail. In theater a tendency for realism and naturalism was born. In 1823 James Robinson Planche, an a London antiquarian, designed authentic historical costumes for the play “King John”. For the first time an entire cast, not just the leads, appeared in medieval costume, designed specifically for that production and based on most painstaking research of historic sources. “Londoners saw their city papered with playbills announcing: The Publick is respectfully informed that

1 Form of thater characterized by masked “types” which began in Italy in the 16th century. Shakespeare's Tragedy of King John is in a forward state of revival at this Theatre, and will shortly be produced with attention to Costume which has never been equaled on the English Stage. Every Character will appear in the precise habit of the Period – the whole of the Dresses and Decorations being executed from copies of indisputable authorities, such as, Monuments, Sels, illuminated Manuscripts, painted Glass, etc. The Proprietors request permission likewise to state, that should their exertions in this instance obtain the patronage of the Publick, it is their intention to produce, in succession the rest of Shakespeare's Plays in the same splendid, novel, and interesting style”(15/108). After the success of the play all theater effects adorned themselves by the term “historically authentic”, and every production boasted a program list with descriptions of the accuracy of details. But this “accuracy” soon proved to be questionable without a participating specialist, without knowledge of history, the more so as the stories played on the stage appeared strange in the pursuit of absolute authenticity, which is far off the aesthetic norms familiar to the audience. Each style in the clothing's history has its own aesthetics, and when introduced in a different period it may be seen as opposing the paragon of beauty by the spectator and produce unwanted comic effect. In quest of authenticity, historical accuracy and truth to nature, the idea of bringing harmony between sets, props, lighting and costumes and at the same time the desire to satisfy the audience's thirst for glitter and glamor, which could be seen only on the stage, far from the everyday drudgery, led to the invention of a new type of costume: the theatrical and dramatic polarities were combined to produce a conventional world, which was neither historic, nor contemporary, but a mixture revealing specific meanings in costumes. “History, in all stage clothes, has always been and still is primarily a matter of signals – correct in every surface detail but cut and fitted to please the contemporary eye” (16/295). The cinema will follow in the steps of the theatre in the creation of its own costume conventions. “The spectacle's artistic arrangement is an inseparable organic part of the production but at the same time in a number of cases it can be examined as an independent fact with symptoms of a separate context” (9/264). The design of sets, costumes, lighting and props as part of the creative process is just one area of the cinematic language, which may play an essential part in the production development. They may reflect and support the theme, mood, style and emotions of the text, as well as to point out the historic and geographic context of the movie. The design of a production may be of crucial importance for the director' concept and vice-versa, the initial idea for the production may lead the design process in a certain direction. The design perception may be a crucial factor in the director's choice of visual elements so that it would be a major emotional component for the audience. The set, props, costumes, lighting, color range, space layout, camera position and editing establish the visual language of a movie. Each one of these components represents in itself a system of signs, which are linked and combined together, thus transmitting information to us. In order to analyze this complex system, we have to study the auxiliary systems, since the combination of different means of expression results into different content and plays a crucial role for the message. “In cinema, television and advertising the meanings are dependent on the combination of pictures, sounds and graphic signs” (10/50). The filmmakers use the specific and non-specific cinematic codes as means of expression to develop the film meaning and its unique vision. The idea of unified look of the different expressive elements of cinema is not evident in its infant days. In the early years of its existence the cinematographic apparatus (the Cinematograph as invented by the Lumiere brothers) and the illusion of motion it presented were seen as attraction bigger than any single movie. The first spectators as well as the movie makers find endless fascination in the simple fixing and reproduction of movement. They are interested in cinema more as a visual pleasure, than as a phenomenon which tells stories. Initially seen at fun fairs, carnivals and shows, the first movies presented common and ordinary life, gags, shots of exotic places, horse races and so on. Made up of only one scene, filmed by a static camera, they “...were so short: part of the pleasure of these gags lies in the tension of wondering whether the film will run out before the joke has been completed” (19/24)2. At the start of cinema history when movies “are learning” their own “language”, the design (sets, costume, props) does not play a sufficient role in the creation of appropriate atmosphere to conform with the narrated story. Lumiere shoots life as it is – people are wearing their everyday clothes, and the sets are real places. Méliès creates dummy sets

2 The film stock was 17 meters long. It was possible to make a film long only one minute. observing the theatrical practices, and dresses the actresses for his movies in sailor’s costumes, without paying any attention to their appropriateness. In these early years the actors are often those, who take care of their own movie wardrobe. A part of it they sewed in their homes, another – rented from costume agencies and theater shops, a third borrowed from friends and relatives or they just used their own clothing with the idea to impress the audiences with the impact of extremely fashionable dresses, produced by famous couture houses. As a comic example for extreme poorness in organization of costumes is the note for the feverish preparation for shooting the Bulgarian movie “Love is Folly” (1917), left by Vasil Gendov in his diary: I. Zhana will need a nice evening gown, her taffeta striped hat, one for every day, and when she comes to my house, she will wear something else (Gisela purse). II. For me – check trousers and silver handle walking stick. A white coat for the change of clothes, which will be used later by Manol. Garsonette and a pair of black leather gloves. III. Black clothes for Manol. IV. For Toromanova – an old fashioned hat and mummy’s cape. The bone handle umbrella from Bonka. Tasseled purse like Elena’s. Letter with an elegant envelope for me. For the fifth scene, Toromanka should not forget her knitting kit and daddy’s glasses. I should not forget a telegram for scene four.” (4/35). Ever since the early years of cinema filmmakers produced movies based on history, on known and famous classical works or related to the present or future. In general, regardless of the intention to depict the historic past, to present contemporary events or to reveal a possible future, the movie costume is tightly related to the period the production is created in, with the aesthetic tastes of its contemporaries. Because on one hand, “our work will be significant, convincing and true to life, if we talk with our contemporaries in a language, which is understandable and needed today, in a modern artistic language”, says the famous theatre artist N. A. Shifrin (3/6), and on the other hand, “the creators of a spectacle and the spectators are all people from the same historical and cultural age and are inevitably involved in the common social, cultural and psychological codes” (9/266). One of the first movies to use historical costumes and monumental sets in order to create a sense of distant historical period is Giovanni Pastrone’s Cabiria (1914), followed by The Birth of a Nation (1915) and Intolerance (1916) directed by David Griffith (their historical preciseness is another issue). Italian epics created before World War One show styles which are typical for Ancient Rome and Egypt and which audiences, familiar with the famous paintings and stage works on these ancient topics, started to expect. For Intolerance, Griffith used an impressive number of lavish costumes to recreate the time of Babylon. Many of these costumes are hardly related to Babylon, but use exotic and extreme variations of styles typical for 1916, borrowing the fashionable silhouette and decorations. “Historical details were recognizable in their modern form, not as exact replicas of anything but as standing for something historic. They did not have to look historically authentic, only conventionally so” (16/297). After the first attempts of the filmmakers to create a sense of authenticity in their screen works by the use of special costumes and sets, what started a real revolution in the principles of film design, was the emergence of the designer in cinema, with the commonly accepted first representative of German Expressionism – the movie “The Cabinet of Doctor Caligary” (1920). The movie invents a world of fantasy and horror, filled up with people threatened by ghostly figures – a movie, in which the designer's work itself is of decisive importance for the first time in film history. Walter Reimann, Walter Röhrig and Hermann Warm paint a ““contorted world which is ready to crumble or to explode and fly away, without verticals and horizontals to give it a sense of a heavy or steady base” (12/36). The distorted and crooked lines of the buildings with chimneys to fall any moment, the grim shadows on the painted walls, the same style costumes, make-up and props, help on one hand to establish the characters' appearance and on the other to determine the exceptional atmosphere of the film, which does not by any means resemble reality. The three designers of the film are those who definitely changed the idea of the designer's role and participation in the overall concept of a movie production. With “Caligari” the cinema presented itself as “an independent art, liberated from theater devices and techniques and using means of expression inherent only to it”(18/10), thanks to employing a group of designers “for its cause”.

1. Айзенщайн, С. Избрани Съчинения в три тома; Том първи; Издателство “Наука и Изкуство”; София 1977; Eisenstein, S. Selected writings, Vol. 1; Nauka i izkustvo Pub. Sofia, 1977 2. Айзенщайн, С. Избрани Съчинения в три тома; Том трети Неравнодушната природа; Издателство “Наука и Изкуство”; София 1977; Eisenstein, S. Selected writings, Vol. 3; Nauka i izkustvo Pub. Sofia, 1977 3. Градова, К.; Гутина, Е. Театральный костюм; Книга 1-я; Женский костюм; Всероссийское театральное общество, Москва 1976; Gardova, K.; Gutina, E. The Theatre Costume; Volume 1; Woman’s costume; Vserosiiskoe teatralnoe obshtestvo, Moscow, 1976 4. Грозев, А. Началото, из историята на българското кино 1895-1956; Издателство на БАН, София, 1985; Grozev, A. The Beginning – history of Bulgarian Cinema 1895-1956; BAN Publishing, Sofia, 1985; 5. Еко, У. Семиотика и философия на езика, Наука и изкуство, София 1993; Eco, Umberto. Semiotics and Philosophy of Language, Nauka i Izkustvo Pub., Sofia 1993; 6. Знеполски, И. Из историята на филмовата мисъл; Антология, том II, Издателство “Наука и Изкуство”София 1988; Znapolski, I. History of Film Thought; Anthology, Vol. 2, Nauka i Izkustvo Pub., Sofia 1988 7. Игнатовски, Вл. Електронната Геновева; Колибри, София 2001; Ignatovski, Vl. The Electronic Genoveva; Colibry, Sofia 2001; 8. Кулешов, Л. Статьи. Материалы; Искусство, Москва, 1979; Kuleshov, L. Articles, Materials, Art; Moscow, 1979; 9. Лотман, Ю. Култура и информация; Наука и изкуство, София 1992, Lotman, Jury. Culture and Information, Nauka i Izkustvo Pub., Sofia 1992; 10. Младенов, И. Семиотика; Между нещата и думите, Наука и изкуство, Фондация “Отворено общество”, София 1991; Mladenov, I. Semiotics; Between Things and Words, Open Society Fund, Sofia 1991 11. Balázs, Béla: Early Film Theory: Visible Man and The Spirit of Film, Berghahn Books, 2010 12. Barlow, J. German Expressionist Film, Indiana University, Indianapolis, Boston, Twayne Publishers, 1982 13. Barthes, Roland; The Fashion System; 14. Barthes, Roland; The Responsibility of Forms: Critical Essays on Music, Art, and Representation; University of California Press; Reprint edition (March 1, 1991); 15. Finkel, Alicia; Romantic Stages: Set and Costume Design in Victorian England; McFarland & Company, April 1, 1996 16. Hollander, Annе; Seeing Through Clothes, University of California Press, ltd, London, England, 1993 17. Maeder, E.; Annas, A.; La Valley, S. Jenssen, E. Hollywood and History: Costume design in film; Thames&Hudson, Los Angelis County Museum of Art, 1987 18. Muller, Joseph-Emile; Lexicon Des Expressionismus; Hrsg. Von Lionel Richard Koln, Nottbeck 1985 19. Rhode, E. A History of the Cinema from Its Origins to 1970; Pelican Book Ltd. 1978 20. Saussure, Ferdinand De. Course in General Linguistics; Open Court Publishing Company, 1972; 21. Stam, R.; Flitterman-Lewis, S. New Vocabularies in Film Semiotics: Structuralism, Poststructuralism and Beyond; Routledge, UK 1992

Illustrations

Cover Pate Pesonius, 2014. PLAY, Johannes. [photograph] (Helsinki, Janne Renvall).

1.1 Timo Wright, 2013. Colour, colour. [photograph] (Helsinki, Janne Renvall). p. 5 1.2 Jean Barbier, 1988. Janne Renvall’s unique qowns. [photograph] (Helsinki, Janne Renvall). p. 9 1.3 Lauri Eriksson, 1997. Janne Renvall’s designer collection. [photograph] (Helsinki, Janne Renvall). p. 10 1.4 Erkki Lampen, 2014. They shoot horses, don’t they. [photograph] (Helsinki, Janne Renvall). p. 11 1.5 Jaakko Kahilaniemi, 2014. PLAY, the guys. [photograph] (Helsinki, Janne Renvall). p. 12

2.1 Janne Renvall, 2015. Sources. [graphic] (Helsinki, Janne Renvall). p. 23 2.2 Janne Renvall, 2015. Methods. [graphic] (Helsinki, Janne Renvall). p. 29 2.3 Jaakko Kahilaniemi , 2014. PLAY, the big picture. [photograph] (Helsinki, Janne Renvall). p. 31

3.1 Erika Fischer-Lichte, 1992, p. 15. The Semiotics of Theatre. [diagram] (Bloomington, Indiana University Press). p. 43 3.2 Richard Schechner, 2013, p. 251. The Z-path. [drawing] (New York, Routledge). p. 50 3.3 Richard Schechner, 2013, p. 252. The director configuration. [drawing] (New York, Routledge.). p. 50 3.4 Richard Schechner, 2013, p. 253. The auteur configuration. [drawing] (New York, Routledge). p. 50 3.5 Janne Renvall, 2015. Contemporary dance. [graphic] (Helsinki, Janne Renvall). p. 70 3.6 Jaakko Kahilaniemi, 2014. PLAY, the wrestlers. [photograph] (Helsinki, Janne Renvall). p. 78

4.1 Janne Renvall, 2015. Associations. [graphic] (Helsinki, Janne Renvall). p. 85 4.2 Richard Schechner, 2013, p. 251. The performance quadriloque. [drawing] (New York, Routledge). p. 92 4.3 Janne Renvall, 2014. PLAY, Tyvek overalls. [collage] (Helsinki, Janne Renvall). p. 95 4.4 Janne Renvall, 2014. PLAY, t-shirts. [collage] (Helsinki, Janne Renvall). p. 99 4.5 Jyrki Oksaharju, 2014. PLAY, curtain call. [print screen picture] (Helsinki, Janne Renvall). p. 106

5.1 Janne Renvall, 2015. Reality. [graphic] (Helsinki, Janne Renvall). p. 111 Bibliography

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