Engelska

How Little is Enough? Testimony of a Pilgrim by Steinunn Knúts-Önnudóttir is a key component of the artistic PhD thesis How Little is Enough? Sustainable Methods of Performance for Transformative Encounters. The book contains an essay and manuscripts of the four performances of the artistic research; No Show, Island, Strings and Pleased to Meet You. The essay is a testimony of the artist's journey and gives an insight into the artistic research process, while providing an overview of the findings. In the essay Steinunn Knúts-Önnudóttir explores how the performing arts can respond to the current environmental and social challenges, by investigating the affordances of relation specific performances through methods such as performative encounters and porous and embracing dramaturgy through the prism of existential sustainability. How Little is Enough? Testimony of a Pilgrim was presented as part of Dr Steinunn Knúts Önnudóttir's PhD dissertation at Malmö Theatre Academy in September 2024. Steinunn Knúts-Önnudóttir, born in Malmö in 1965, is a performance maker and artistic researcher based in Iceland. She has worked as a director, writer, dramaturge, and performer in Iceland, the UK, Scandinavia, and beyond, with her work playing in Reykjavik, Malmö, New York, Vienna, online, on television, and radio. Steinunn was a dramaturge at the City Theatre in Reykjavik and a lecturer and dean at the Iceland University of the Arts. In her work, she focuses on existentially sustainable, relation-specific performances and performative encounters. Steinunn is also a mother of three, a theologian, life coach, and pottery maker.

Scenography is not an autonomous art form. Its significance and capacity to visualise emerges through interaction with the actors on stage, and is preceded by the collaboration with directors and other artists involved in creating a performance. Therein lies its expressive complexity - and the challenge for the stage designer. In this book one of Swedens most acclaimed scenographers, Lars-Åke Thessman, discusses his profession from six different perspectives. In image and text, he guides us through the creative process, touching on the collaboration with the director and illustrating how sketches, models and drawings are translated into the magic of a full-scale stage design. The ephemeral nature of theatre means that it always stands in relation to time: artists of the stage draw in sand, but fleeting art also has a history that is well worth telling.

<p><b>'Impressive' <i>Financial Times </i></b><br/><b>'Terrific' <i>Guardian</i></b><br/><b>'Elegant' Laura Shepperson</b><br/><br/>By night, Vivian Parry performs the role of Manhattan's sharpest literary critic, immersing herself fully in every show she sees. By day, she uses work, sex and psychotropic drugs to keep her comfortably numb.<br/><br/>Desperate for a promotion and at the urging of her editor, she agrees to an interview with David Adler, an enigmatic graduate student. When he later disappears, Vivian soon learns from his devastated fiancee that she was the last person to have seen him alive. The police refuse to investigate his disappearance and Vivian finds herself obsessed with what happened, assuming the role of amateur investigator.<br/><br/>But as she gets closer to the truth about David Adler, she finds that the boundaries between theatre and reality are more tenuous than even she could have believed.</p>