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Ely Seidman, Karmenlara & Liset, Marte
(2021).
Seminar: How to prioritize work with place, context and identity in contemporary theatre education? .
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Ely Seidman, Karmenlara
(2021).
Difference without separation: sensing through artistic research and ethical relations .
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Ely Seidman, Karmenlara
(2021).
Re-imagining institutions: dreaming change .
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Ely Seidman, Karmenlara
(2021).
Kraken Skool of Finance (final workshop).
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Ely Seidman, Karmenlara
(2020).
BADMAN.
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Ely Seidman, Karmenlara
(2020).
Spectral Collaborations / Kraken Skool of Finance.
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Ely Seidman, Karmenlara
(2020).
Kraken Skool of Finance .
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Seidman, Karmen Lara & Moore, James Ray
(2019).
An Evening with Guillermo Gomez-Pena.
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Seidman, Karmen Lara
(2019).
Spriten .
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Seidman, Karmen Lara
(2019).
Sånafest: Performance lecture / food for thought artist talks.
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Seidman, Karmen Lara
(2019).
Performance lecture: Potential of radicality.
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Ely Seidman, Karmenlara
(2019).
Spectral Collaborations.
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Ely Seidman, Karmenlara
(2019).
Summer Academy of Artistic Research.
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Ely Seidman, Karmenlara
(2019).
Drawing the Lines, Public Seminar
.
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Arx, Serge Patrick von & Ely Seidman, Karmenlara
(2019).
Workshop at Ruhrtriennale “Speculation, Haunting and Wizardry”.
Show summary
Workshop at Ruhrtriennale “Speculation, Haunting and Wizardry”
Internationaler Festivalcampus Ruhrtriennale, Bochum
22. – 25.8.2019
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Ely Seidman, Karmenlara
(2018).
Against Cultural Appropriation.
In Fieldseth, Melanie (Eds.),
Black Box Teater 0.
Black Box Teater.
ISSN 9788299350723.
p. 25–36.
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Ely Seidman, Karmenlara
(2018).
Acts of Love and Octopuses.
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Ely Seidman, Karmenlara
(2018).
Radical Elders: A gathering of artists.
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Ely Seidman, Karmenlara
(2018).
Radical Elders.
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Ely Seidman, Karmenlara
(2017).
”Embodied narrative".
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Ely Seidman, Karmenlara & Lotker, Sodja
(2017).
Indentifying practice.
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Ely Seidman, Karmenlara
(2017).
"Against Cultural Appropriation"
article in Black Box Teater : Fall Catalogue.
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Ely Seidman, Karmenlara & Eeg-Tverbakk, Camilla
(2017).
Childism: Performance Lecture.
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Ely Seidman, Karmenlara
(2017).
Kulturkonferanse Østfold.
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Ely Seidman, Karmenlara
(2017).
Panel Debate: på felles grunn?
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Ely Seidman, Karmenlara
(2017).
SAAR conference.
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Ely Seidman, Karmenlara & Lotker, Sodja
(2017).
Dramaturgy of the Performer.
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Ely Seidman, Karmenlara
(2017).
On Nausea and Hospitality.
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Ely Seidman, Karmenlara
(2017).
Leadership and Collaboration.
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Ely Seidman, Karmenlara
(2016).
That Ain't Mas'.
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Ely Seidman, Karmenlara
(2016).
"Det handler ikke om å bygge seg selv, men om å lære å bygge".
[Business/trade/industry journal].
www.scenekunst.no.
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Ely Seidman, Karmenlara
(2016).
"Østfolds skjulte teaterskatt".
[Business/trade/industry journal].
http://KHRONO.no.
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Ely Seidman, Karmenlara
(2016).
"Jobben took henne fra New York til Fredrikstad".
[Newspaper].
Fredrikstad Blad.
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Ely Seidman, Karmenlara
(2016).
Whats on in Norway.
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Ely Seidman, Karmenlara
(2016).
Rural / Urban Theatre Spaces Part 1.
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Ely Seidman, Karmenlara
(2016).
Conjoined Breathing #2.
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Ely Seidman, Karmenlara
(2016).
Moving against/moving toward - Gestures of imminent delay.
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Ellingsen, Pål & Ely Seidman, Karmenlara
(2016).
Fleksibel læring - Lederseminar HiØ, Fredrikstad.
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Ely Seidman, Karmenlara & Eeg-Tverbakk, Camilla
(2015).
Introduction.
In Ely Seidman, Karmenlara & Eeg-Tverbakk, Camilla (Ed.),
Responsive Listening: Theater Training for Contemporary Spaces.
Brooklyn Arts Press.
ISSN 978-1-936767-36-6.
p. 11–14.
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Schwaegermann, Maria Magdalena; Ely Seidman, Karmenlara & Dreyblatt, Arnold
(2014).
Infinite record: archive, memory, performance.
Show summary
Presentation, actual state of affairs and outlook of the artistic research project
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Ely Seidman, Karmenlara & Schwaegermann, Maria Magdalena
(2014).
INFINITE RECORD: ARCHIVE MEMORY PERFORMANCE , Legacy and Metamorphosis.
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Ely Seidman, Karmenlara
(2014).
Repetition and Co-Affecting / Louise Höjer.
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Ely Seidman, Karmenlara
(2014).
Introduction to Repetition and Co-Affecting.
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Ely Seidman, Karmenlara
(2014).
Feast and Orgy.
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Ely Seidman, Karmenlara
(2014).
Infinite Record: Archive Memory Performance Final Conference.
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Ely Seidman, Karmenlara
(2014).
Continuous and Living Archive.
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Ely Seidman, Karmenlara
(2014).
The Continuous and Living Archive.
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Ely Seidman, Karmenlara
(2014).
Conversations on Indigenous Methodologies and The Doctrine of Discovery.
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Ely Seidman, Karmenlara
(2013).
Performative Reflection in Artistic Research.
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Ely Seidman, Karmenlara
(2013).
Interdisciplinary Practice: Withdrawal of Technique.
Show summary
Actors do not enter the theatrical event with an already formed character or well- trained Self, but rather attend to, form and trash various disruptive selves in the investigation of different topics that generate drama. Theater is made more interesting, perhaps more dangerous, when the actor is trained toward a kind of relational liveness, and, like the contemporary public, is always pursuing the question “how to act” without resolving in a single approach. In fact, one might argue that the actor does not ask the question of him or herself, “who should I be” but is asked this question by the very space of encounter, as a kind of social breakdown that creates culture. The actor is always conducting a kind of live artistic research, with the same openness to failure and fierce curiosity used to test and research new technologies. The practical work of this seminar involves work on the floor with rhythm, improvisation and game structures to heighten the stakes of encounter between two or more people. Some of the research will take place as investigation of architecture and body in site specific tasks. The work is aimed concretely at developing a compelling, magnetic presence while maintaining an “awake” responsive style, capable of taking risks. Suitable for actors of any genre of performance, although focused on the live.
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Ely Seidman, Karmenlara
(2013).
Theory and Practice.
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Ely Seidman, Karmenlara
(2013).
Infinite Record: Archive, Memory, Performance.
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Ely Seidman, Karmenlara
(2013).
Archive and The Body.
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Ely Seidman, Karmenlara
(2013).
Resonance.
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Ely Seidman, Karmenlara
(2013).
On Viscosity.
Show summary
One possible worldview for the live performance archive is as a wild, decentralized, grotesque body. An appreciation for that which sticks, what remains and that which expires. Things gravitate to each other, things collect in patterns, in forms which do not follow the logic of industrial time or space. They follow other patterns of behavior. We can also think about the body of the archive, for performance, in terms of the sticky and the wild, rather than in terms of imagery, data, or files. But that means a shift in our value of what the archive should “do” for us. Is it proof, is it data, is it power? Is it a grave, or place of reckoning? Is it an instigation to continue? Is the body of the archive mortal, can it die? The body of the archive as modeled after wilderness, wildness, challenges our most industrial notions of order in time and space. What would it look like? It would certainly rely on oral histories and unscripted acts, and be subject to the unknown.
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Ely Seidman, Karmenlara
(2013).
Introduction to Resonance.
Show summary
. The absent presence of bodies, voices, places and sonic traces of experience are material in this topic, resonance. Resonance for us is not only about meaning, nostalgia, harmony. It is also a cry, resistance, dissent. The ripples of failure. Material presence. It may be that because of resonance, as Blanchot says “Silence is impossible.” And with that, forgetting. In this 2nd seminar titled Resonance, we find ourselves already deeply within a frame where harmonics, rhythms, expirations and the potential rupture of form describe a starting point for discourse on performance and archive. Haunted as well by a long history of scholarship on Resonance in science, philosophy and musicology: The term evokes romantic notions of a ghostly subject and the material science of waveforms. We will consider the resonance of the wound, the resonance of the map – as well as sonic experiences that offer us direct encounters with what language itself fails to recall.
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Ely Seidman, Karmenlara
(2013).
Presentation of the Project / "The Story of Infinite Record".
Show summary
This performance lecture presents the research project Infinite Record through live large scale painting, storytelling and gesture - rather than through traditional modes of analysis and reporting. In this short performance the celebratory aspects of the project are illuminated to provoke and inspire - in the spirit of the jubileum.
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Ely Seidman, Karmenlara
(2013).
Infinite Record: Archive, Memory, Performance.
Show summary
We question the role of the archive in relation to live art forms – in terms of both documentation strategies and how these performance forms harbor and transmit memory. Our project draws from 3 artistic residencies at NTA in Fredrikstad, and 4 international seminars. By the time of this presentation in Trondheim we have hosted two resident artists and two international seminars - with choreographer Wen Hui of Living Dance Beijing and Berlin- based artist/composer, Arnold Dreyblatt. Both artists realize site-specific works in our campus or within the city of Fredrikstad, dealing with the performative and ephemeral aspects of embodied and spatialized public memory. We begin by tying together the sensations of memory located in the sticky human body, the landscape, in "heaps" and in the performances of elders; and move into the implications of the “heap” as a demand to listen to and even unpack stacks of files, hidden spaces, discarded papers and institutional secrets yet unreadable to the next generation. Something calls out to us to face the unpacking, the secrets: there is a haunting that we follow like a rhythm or a sound towards a new definition of responsibility.
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Ely Seidman, Karmenlara
(2013).
Artistic Research in the Theater.
Show summary
If we look into the Modern history of theater practices we see questioning about the role of theater (as a social and aesthetic experience) marking the changes and movements – usually questions that went against popular culture. Artistic research in theater is most useful and relevant to theater practitioners if it is not afraid of radicality and challenging its own rules and traditions. Scenekunst thrives on brave responsiveness to the moment.
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Ely Seidman, Karmenlara
(2013).
"Disturbance".
Show summary
In this seminar we are concerned with performative acts of unexpected intimacy, interference and friction which change the rhythm of public space. The delicate boundary between pleasure and pain, curiosity and disgust, which is experienced as a distruption of the “normal.” We explore “disturbance” as both the creation and dispersal of performative power through acts of strangeness, unexpected touch, epic beauty, extreme slowness, rhythmic changes and inversions, for example. Actions or spaces that shift, annihilate, change, disturb, erase, re-make and re-write public encounter without relying on destruction interest us. Disturbance indicates a rhythmic shift as chaos and as harmony, both concrete and ephemeral. We are not initially concerned with historically political acts or political theater traditions as such - although politics cannot be avoided in the conversation. Rather we are curious about everyday movements and shifts which can be observed, studied, explored and proposed within the seminar.
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Ely Seidman, Karmenlara
(2013).
Answering Answering Machines.
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Ely Seidman, Karmenlara
(2013).
"The Other Eye" GERMANY VERSUS NORWAY: INTERCHANGING THEATRICAL STRATEGIES.
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Ely Seidman, Karmenlara
(2013).
Encounter: Erotics of Art and Experience.
Show summary
The erotic is not simply a reference to sexuality or nudity, but a radical potential for transition from one state of being to another.
This potential is also a literary and performative one, as it generates expressions and movements in culture. Erotics as a lens through which to study culture explores gestures, acts and scenes that describe the desire to transform, and the state of transition: unknown and ecstatic experiences which cannot be described by sexuality alone. Erotics is also a study of movements that punish, abuse and commodify those desires.
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Ely Seidman, Karmenlara
(2013).
“Self-Determination and the Arts.”.
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Ely Seidman, Karmenlara
(2013).
Woe.
Show summary
The English word 'woe' means trouble, misery. In this performance, three teenagers are located in the auditorium, close to the spectators. Searching for words, in an attempt to tell a story, they guide the members of the audience through memories of their own youth. Images of normal childhood experiences are gradually replaced by images that evoke feelings of powerlessness and loneliness. While the performers alternate the evocation of emotions and the sharing of memories with information about what happens in the body and the brain during various kinds of abuse, the attention slowly shifts to fierce attempts to put the experience of child abuse into words. How closely can you approach the experience of another person? Woe is a particularly intimate performance about the power and limitations of empathy and the courage to look far inwards.
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Ely Seidman, Karmenlara
(2013).
Heaps of Memories.
Show summary
"I want to think about those memories which collect themselves, which “stick together” and cluster to us through the mess of human living. These are memories not deliberately managed in libraries or hard drives or books; this is an ephemeral archive of "too much" - which causes anxiety, excitement and shame. A remainder. Like our garbage, it is the very thing which describes us and yet we cast it away as refuse. The "sticky" archive is proof that something happened. It lives around us, through us, and collects in unwanted or forgotten scenes. It is the closet we cannot face to clean, a path through the woods we are haunted by but never walk again, a barren mountain side of unchanging wind. This presentation, derived from the Norwegian Theater Academy's three year, international artistic research project Infinite Record, Archive Memory and Performance, thinks through alternative notions of the archive, and the notion of archive for rather than archive of. We begin by tying together the sensations of memory located in landscape, in "heaps" and in the performances of elders. New works in progress by artists such as Wen Hui of Living Dance, Beijing and Spiderwoman Theater will be considered."
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Ely Seidman, Karmenlara
(2012).
"Introducing: Infinite Record, Archive Memory and Performance".
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Ely Seidman, Karmenlara
(2012).
Panel Moderator/ Challenges for the New Theater Artist.
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Ely Seidman, Karmenlara
(2012).
Conversations with Native Artists.
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Ely Seidman, Karmenlara
(2012).
Sensory Knowledge/The Somatic Experience of Theater.
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Ely Seidman, Karmenlara
(2012).
"Sonority and Presence", (in Curated Panel titled "What is Here" ).
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Ely Seidman, Karmenlara
(2012).
"Viscosity and Presence".
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Ely Seidman, Karmenlara
(2012).
"Acting as Artistic Research" at Oslo International Acting Festival.
