Dilbaen Mira. Conn-A.C.T. (Connection of artists, creatives & technologists): The technical innovation in musical theater and its contribution to artistic enrichment and more sustainable musical theatre.
Technical innovation has been on the rise in the musical world for some time and seems irreversible. But technological tours de force seem to be reserved for large production houses with a more commercial character. The question therefore arises as to whether there is room for small production houses to grow along with them, what the need is among the public to steer the theater experience in this direction, and what the added artistic value of this is. The innovation lies not purely in the technical, but rather in a new balance between the scenographic/technical aspect on the one hand and the experience of the director/choreographer/player on the other. How do we guarantee that this is not just a plaything of the scenographer?
Often this evolution is explained from the proposition that one should not be blind to the input of our younger generation. The so-called “click generation” is one of young people who have everything at their fingertips with a few clicks. For them, theater has become an anachronism that is at odds with what concerns them on a daily basis. This project aims to explore the artistic and pedagogical dimensions of this current issue from the researcher’s network and artistic experiences in both the field of work and musical education.
Vanderstappen Cathy. The infinite dialogue of musical creatives: The importance of co-creation in the development of the Flemish musical.
In “devised” theater, the recursive making process is used. This appeals to the artistic input of the actors. In this way the actor, in addition to other co-creators such as the writer, director, composer, choreographer, and others, also becomes a co-creator. Yet it is not certain whether this creative process and the accompanying co-creation can also be an added value for contemporary creations in the genre of musical. Currently, the development of “co-creatorship” of the musical actor could expand his competencies. Thus, he would be able to strengthen not only his performing qualities, but also the creating ones. The Flemish musical market could thus enrich itself with numerous authentic and innovative musical creations.
Since 2009, “devised” building blocks have been part of Vanderstappen’s work process as a theater maker and drama teacher. The research project Zie Mij (2019), with musical students, showed that “devised” methodologies might also support the co-creatorship of musical actors. These experiences provided so much knowledge about the creative potential of actors that the researcher elaborated on them as a pedagogical supervisor at OVSG in a supervision program for DKO teachers. Following interviews and questionnaires with theater companies, creators, and actors, among others, this research focuses on co-creation in musical, both in an educational context and in the professional field itself.
Musical
Within academic artistic research environment of Musical, the following key points will be directional, both for research projects, lecturers, and the master's theses:
- Historical roots and tradition of the musical;
- Scenography & dramaturgy;
- Musical setting/design;
- Innovative and interdisciplinary practices.