Everyday Theatre Foverskov, Maria
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Architecture, Design and Conservation Danish Portal for Artistic and Scientific Research Aarhus School of Architecture // Design School Kolding // Royal Danish Academy Design as Everyday Theatre Foverskov, Maria Publication date: 2020 Document Version: Publisher's PDF, also known as Version of record Link to publication Citation for pulished version (APA): Foverskov, M. (2020). Design as Everyday Theatre: Towards a performative praxis of social design. Det Kongelige Danske Kunstakademis Skoler for Arkitektur, Design og Konservering. 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Sep. 2021 Design as Everyday Theatre Design as Everyday Theatre ii Design as Everyday Theatre Towards a performative praxis of social design Maria Foverskov PhD Dissertation Supervisor Thomas Binder, Professor Funded by the Danish Enterprise and Construction Authority (EBST) under the program for user-driven innovation, Danish Centre for Design Research (DCDR) & KADK. _______________________________ © Maria Foverskov Illustrations and photos: Maria Foverskov (if not stated differently) Layout: Maria Foverskov, Henrik Hetz Proofreading: Helle Raheem Typeface: Din 2014 / Garamond Published in Denmark in 2019 by the Royal Danish Academy of Fine Arts, Schools of Architecture, Design and Conservation (KADK) _______________________________ iii Design as Everyday Theatre Design as Everyday Theatre Towards a performative praxis of social design Maria Foverskov iv To the women in my past, present and future my grandmothers, my mother, my daughter “Theatre is action! (…), it is a rehearsal of revolution!” (Augusto Boal 1979) “The dialectics of tradition and transcendence - that is what design is about” (Pelle Ehn 1988) “Acting in the face of uncertainty” (Jamer Hunt 2012) v Design as Everyday Theatre Table of content: Abstract: ................................................................................................................................ x 1. Introduction: Design in transition towards the Social ............................................... 12 1.1 From industrial production and beyond – Where is design heading? ................................ 13 1.2 How do social design practices at design educations engage publics? ............................. 21 1.2.1 Swamp-diving between Malmö and Copenhagen ................................................................ 21 1.2.2 Touring through Chicago, Seattle and New York ................................................................. 22 1.2.3 Rambling through the Salone Satellites at the fringes of Milano ..................................... 27 1.2.4 Social Design; from Transformation Design to Transition Design? .................................. 31 1.3 Empirical foundation and related peers: From sustainability to well-being ....................... 34 1.3.1 Design Anthropological Innovation Model (DAIM) 2008-2010 ........................................... 35 1.3.2 Senior Interaction (SI) 2009-2012 .......................................................................................... 41 1.3.3 Give&Take (G&T) 2014-2017 ................................................................................................... 47 1.3.4 Accountability and trails between the research projects and the thesis program ......... 49 1.4 Program: Towards methodologies of Everyday Theatres ................................................. 54 1.4.1 Research focus; drama, performance and intervention ..................................................... 56 1.5 Reading guide and thesis structure ................................................................................. 59 Prologue 2. Theoretical Foundation: Homo Performans & Performance .................................... 63 2.1 Social dramas ................................................................................................................ 64 2.1.1 Drama and the performative turn .......................................................................................... 64 2.1.2 Victor Turner between Burke, Goffman and Geertz ............................................................ 65 2.2 Extra-daily theatre ......................................................................................................... 81 2.2.1 Richard Schechner between Turner, Brecht and Grotowski .............................................. 83 2.2.2 Erika Fischer-Lichte and the autopoietic feedback loop .................................................. 109 2.3 Coda: A caravan in-between drama & theatre ................................................................ 122 2.3.1 Dwight Conquergood; Performance Studies on the move .............................................. 123 3. A Performative Methodology: Constructive Design Research ................................. 128 3.1 Constructive Design Research ...................................................................................... 131 3.1.1 The Lab, Field and Showroom within constructive design research ............................. 135 3.1.2 Programmatic approach; Program-experiment dialectics .............................................. 137 3.2 Methodological program-experiment dialectics within SI .............................................. 141 3.2.1 Concept Phase; mobilizing partners through experimenting field-visits ...................... 142 3.2.2 Design Lab; rehearsing through workshops ..................................................................... 145 vi 3.2.3. Living Lab; experiments of how to gather, sustain and disperse .................................. 149 3.2.4 Drifts of partner roles caused by an experimental collaboration set-up ....................... 153 3.3 Performative worldmaking through globe, sphere and dome views ............................... 158 Prologue 3.3.1 Multiple worldviews; world versions in-between globes and spheres .......................... 160 3.3.2 Correspondence of lifeworlds as ’growing older together’ ............................................. 166 3.3.3 From dialectic to dialogical design roles – caused by multiple ways of knowing ........ 168 4. Rehearsing ........................................................................................................... 178 4.1 Experiencing Tage Larsen evoking the life of props ...................................................... 179 4.1.1 Introduction to Rehearsing ................................................................................................... 182 4.1.2 Turner’s and Schechner’s dramatic rehearsals ................................................................ 184 4.2 Reflexive devices; probing, staging and re-framing ....................................................... 191 4.2.1 Rehearsing as probing with props and probes ................................................................. 192 4.2.2 Staging an in-between tradition and transcendence ........................................................ 196 4.2.3 (Re-)framing design as everyday theatre ........................................................................... 199 4.3 Probing rehearse-ability of communities and social media ............................................ 204 4.3.1 Leaflet & Leisure club; Municipal dramas of ‘growing older together’ .......................... 205 4.3.2 Leaving mourning nightgowns & resisting dancing; senior commons .......................... 210 4.3.3 Designing the Super Dots for Ketty; Trickstering worldviews ........................................ 213 Act I Act 4.4 Ketty goes shopping .................................................................................................... 220 4.4.1 Ketty probes: Shall we go shopping, Lilly? ........................................................................ 220 4.4.2 Probing a space for rehearsal; between as if and is ......................................................... 223 4.5 A yellow community; from Robert’s sailboat club to a trip to the park ........................... 226 4.5.1 Staging a yellow community: Could we be Bendt and Kirsten? ...................................... 227 4.5.2 What if… we join your trip to the park? May ‘the blue’ partake? .................................... 231 4.5.3 Robert’s landscape evokes a ‘third space’ of a future what-if ........................................ 234 4.6 Amy’s morning call; re-framed ..................................................................................... 236 4.6.1 I could use the screen to record the morning message? ................................................. 236 4.6.2 From ‘Bendt and Kirsten’ and ‘the Blue’ to Amy´s morning call .................................... 237 4.7 Making tangible props for gathering social dramas ....................................................... 239