Reflections on the Impact of Creation Research, Practice-based Research, and Practice as Research, and How to Define and Maximize That Impact

In this contribution, I reflect on creation research/practice-based research/practice as research. I mostly explore the notion of the impact of such practices. I underline the fact that impact can mean various things depending on the type of projects: it can be emotional; it can be a way to influence; or it can act more subtly on the subconscious mind. But impact is always about the intention to induce change. I also discuss the difficulty, most of the time, to have a quantitative approach to impact, since it is often difficult to measure. I suggest, instead, to include a reflection on the planning of impact and its maximization before embarking on a project. I illustrate those points with various examples taken from my own practice

Presentation of the Issue on Cuisine & Performance

Gastronomy is an important part of our culture. The way we eat says a lot about who we are, what culture has shaped us, and the choices we have made concerning our food and the way we eat it. Gastronomy is surrounded by many rituals, and we often perform the way we eat. Besides, since we need to eat every day, we are engaged in rituals and performative acts related to gastronomy every day

In Praise of the Artist Researcher

I will start by defining the terms artist, researcher and artist researcher and then give some examples of artist researchers: Leonardo da Vinci, Constantin Stanislavski, Bertolt Brecht and Lee Strasberg. Finally, I will address the issue of artist researcher from my own perspective, as an actor and director in particular. I will thus demonstrate the benefits of linking the practice of art with a more theoretical research of this practice, and how these two aspects – art and research – are mutually reinforcing and help creativity to flourish

The Relationship Between Photo Retouching and Color Grading

This paper deals with photo retouching and color grading. It proposes a simplified workflow for both of them. It also points the commonalities and the differences, and further explore the relationship between the two, including a phenomenological point of view as well as an aesthetic point of view. It also discuss the implications of that relationship in pedagogy

Presentation of the Journal p-e-r-f-o-r-m-a-n-c-e

I am very happy and proud to present the first issue of the journal p-e-r-f-o-r-m-a-n-c-e. This journal, I dreamed it a few years ago. I wanted to create a journal in France that deals with the field of performance studies and the performing arts, that is international and multilingual, with at least French and English as languages, and the desire to extend it progressively to other languages. I also wanted a journal that makes the bridge between artists and researchers, in which artists and researchers could participate, each with their own way of expressing themselves and speaking about their work. I wanted a journal that also makes the bridge between practice and research. Finally, I wanted a journal that makes the bridge between various disciplines (aesthetics, philosophy of art, art history, sociology, anthropology, psychology, psychoanalysis, etc.) and also between various arts (performance, theater, dance, music, cinema, visual arts, etc.). And I finally wanted this journal to be online to make it possible to include in the contributions some photos, and some audio and video files, and to make it entirely free to access

Rituals and Performance in Gastronomy

I would like to explore, in this paper, the performative and ritualistic aspects of gastronomy and sharing meals. Because eating is something we have to do quite often, it is filled with a social function that is very culture dependent. At the same time, in every culture, we find some performative and ritualistic elements associated with eating and sharing a meal. In this paper, I will interrogate the performative and ritualistic aspects of family meals as well as meals that have a function like a meeting or a reunion. In a second part, I will explore how some chefs articulate that performative dimension either by putting themselves on the stage, or by creating art in the plate. In a third part, I will explore some plays and films which are partly or entirely based on eating and its performative and ritualistic dimensions, including my own work, where the dimension of eating is very often present

L’incorporation Animale Chez L’acteur

Dans cet article, je présente en détail l’exercice d’incorporation animale tel qu’il a été proposé par Lee Strasberg et est enseigné aux acteurs qui apprennent la méthode de l’Actors Studio. L’exercice est détaillé de telle sorte qu’une personne lisant cette description puisse le pratiquer elle-même. La première visée de cet article est donc didactique. Cet exercice est ensuite mis en perspective dans le cadre du travail d’un acteur, d’un metteur en scène, ou d’un coach d’acteur. Je montre comment l’utiliser concrètement dans un travail de construction de personnage. Je fais pour finir un lien entre la pratique de l’incorporation animale et certaines pratiques chamaniques, notamment celles des Indiens d’Amérique du Nord, afin de montrer comment cet exercice peut aussi être utilisé dans un contexte de développement de soi

Presentation of the Issue on the Artist Researcher

Ivan Magrin-Chagnolleau : Ludivine, I am delighted to start the adventure of the journal p-e-r-f-o-r-m-a-n-c-e with an issue co-edited with you on one hand, and on the theme of the artist researcher on the other hand. Can you tell me why this theme of the artist researcher is so important to you? Ludivine Allegue: I had the opportunity to work on the Practice as Research in Performance project in UK. This was a fascinating phase in my research: finally the essential role of artistic practice was taken into consideration in the Art research context, with the avowed aim of unlocking the necessary funding for its implementation within research organizations. And all this work has paid off across the Channel. But the concept unfortunately confined the creative process to methodology and it is still extremely difficult to integrate the artist’s discourse in the research because the notion of methodology tends to exclude the speculative and purely poetic nature of artistic creation. The artist thus remains relatively excluded. I think that if we manage to define and establish the status of the artist-researcher, Art research may no longer consist of a theoretical approach that would “inject” artistic practices in the methodology: this status would allow the space that art ought to occupy within universities and research organizations

Futurs Utopiques et Dystopiques : Fiction et Évolution

International audienc

La Méthode de l’Actors Studio : Genèse, Pratique et Phénoménologie

International audienc