Sångaren på den tomma spelplatsen – en poetik Sven Kristersson Sångaren på den tomma spelplatsen – en poetik Att gestalta Gilgamesheposet och sånger av John Dowland och Evert Taube Filosofie doktorsavhandling i musikalisk gestaltning vid Högskolan för scen och musik – Konstnärliga fakulteten, Göteborgs universitet Art Monitor avhandling nr 20 Serien Art Monitor ges ut av Nämnden för konstnärligt utvecklingsarbete vid Konstnärliga fakulteten, Göteborgs universitet. Adress: Art Monitor Göteborgs universitet Konstnärliga fakultetskansliet Box 141 405 30 Göteborg www.konst.gu.se Tryck: ntellecta nfolog AB, Kållered 2010 Layout: Johanna Nicoletti Omslagsbild: Orphée av Raoul Dufy. © Raoul Dufy / BUS 2010 Foto: Paul Jackson (Jag, Jag och bara jag!), Jean Hermanson (Gilgamesh – han som vägrade dö), Lennart Kjörling (Diktaren och Tiden) Språkgranskning: Alan Crozier (summary) © Sven Kristersson 2010 SBN: 978-91-977758-9-2 V ◆ Abstract Title: Sångaren på den tomma spelplatsen – en poetik. Att gestalta Gilgamesheposet och sånger av John Dowland och Evert Taube. English title: The Singer in the Empty Space – a Poetics. Performing the Gilgamesh Epic and Songs of John Dowland and Evert Taube Language: Swedish, with an English summary. Keywords: Orpheus, empty space, performance, song, verse, Evert Taube, Gilgamesh, John Dowland SBN: 978-91-977758-9-2 The aim of this doctoral project is to explore an expanded role of the singer in an artistic field situated between poetry, theatre, music and reflection.The project consists of three parts: Firstly, three performances of songs and poetry: (a) Me, Me and None but Me!, a blank-verse monologue connecting songs of John Dowland, (b) Gilgamesh – The Man Who Refused to Die, a musical version of the Babylonian Gilgamesh Epic, and (c) The Poet and Time, inter- pretations of works by the Swedish chansonier Evert Taube. As artistic methods, use the Shakespearean traditions described in Peter Brook’s The Empty Space. Within these traditions, scenic communication is established using verbal imagery instead of a stage set. Secondly, a thesis, where describe the working process of the performances as a series of problem-solving. also compare my performances to performances by contemporary artists. n the thesis, also apply a method of inquiry in which use the Orpheus myth as a means of understanding the expanded role of the singer. Thirdly, a film by Lars Westman. The DVD contains excerpts from the performances and interviews with me, conducted by Westman and by the Norwegian singer and researcher Astrid Kvalbein. The results of my research are firstly manifest in the performances themselves. Secondly, the written descriptions articulate a synthesis of artistic knowledge which has not previous- ly been collected in one publication. Thirdly, the comparing of the Dowland performance with other performances constitutes a mapping of new forms of presenting lieder on a na- tional level. The comparison with a Palestinian Gilgamesh performance gives new knowl- edge about how Western theatrical traditions are combined with Arabian storytelling tra- dition in an international context. Fourthly, the Taube performance implies new results in literary scholarship. Finally, the inquiries into the use of the Orpheus myth show that the mythic figure can be seen as an embodiment of “knowing-in-action”. Thus, the thesis es- tablishes a link between practice-based research and mythology as embodied knowledge. V ◆ Innehåll Förord ....................................................................................................................................................................................................................................X 1. Inledning .......................................................................................................................................................................................................................... 1 Upptakt ................................................................................................................................................................................................................................... 2 Konstnärliga intentioner och forskningssyften......................................................................................................... 9 Konstnärliga intentioner .................................................................................................................................................................. 10 Forskningssyften .......................................................................................................................................................................................... 12 Film på DVD: dokumentation och reflektion .................................................................................................. 16 Källor och avgränsningar, etik och översättning ............................................................................................... 18 Disposition .................................................................................................................................................................................................................... 19 Konstnärligt utvecklingsläge och skriftligt reflektionsläge................................................................. 22 Konstnärligt utvecklingsläge ...................................................................................................................................................... 22 Skriftligt reflektionsläge ..................................................................................................................................................................... 23 Konst som kunskap och forskning ............................................................................................................................................. 27 Konstskapande som kunskapsbildning ...................................................................................................................... 27 Att artikulera och tillgängliggöra konstnärligt kunnande ............................................................. 29 Kunnande-i-handling ........................................................................................................................................................................... 32 Gestaltande metoder ...................................................................................................................................................................................... 33 Reflekterande metoder ............................................................................................................................................................................... 36 Donald Schöns reflektionsstege – en väg till självförvandling ................................................ 37 Paul Ricœur om tolkning och reflektion ................................................................................................................. 39 Livet som gåva – ett kommunikativt perspektiv ............................................................................................... 40 Produktionsfasernas motsvarighet i Ricœurs Mimesistänkande ................................................. 42 Gestaltad tolkning som förklaring och förståelse ............................................................................................ 43 Myten hos Ricœur .................................................................................................................................................................................. 46 2. Orfevsmyten som självförståelse .................................................................................................................................... 49 Mytbegreppet ............................................................................................................................................................................................................. 50 V Myten hos Karen Armstrong och Peter Brook ....................................................................................................... 53 Orfevs: namnet och berättelserna ............................................................................................................................................. 56 Orfevsmyten som konstnärligt kunskapsverktyg .............................................................................................. 61 Översättaren som Orfevs ........................................................................................................................................................................ 72 Gestaltande metod: ”Att frigöra den inre Orfevs” ........................................................................................... 77 Ur teaterns ”lore”: möten med Ulla Sjöblom ........................................................................................................... 80 Orfevs: förkroppsligat kunnande-i-handling .......................................................................................................... 82 Orfevsmyten som förklaring och förståelse ................................................................................................................ 91 Föreställningar, filosofer och Orfevs: en sammanfattning ............................................................ 92 3. Jag, jag och bara jag! ..............................................................................................................................................................................