Dr Veronica Shimanovskaya

Harvard University, Dramatic Arts, Alumna

University of East London, School of Arts and Digital Industries, Alumna

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Address: San Francisco Bay Area, CA USA

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Papers by Dr Veronica Shimanovskaya

Staging the Moment: Play and Fictional Reality

While reflecting on the main topic of my interest, I realized that it is the moment of pure exper... more While reflecting on the main topic of my interest, I realized that it is the moment of pure experience of the visible world before its transition into individual and subjectively perceived reality. Playing as a means of staying in that moment is a main strategy of my practice. As we can perceive very little of the true workings of the world by a momentary experience, the only impression we can gauge from it will add to the fictional nature of our understanding of it. “’Reality’ is the word that belongs in quotation marks” (Nabokov, 1995). My goal was to trace this process from the very first moment of actual sensory experience, and the resonance it creates in the mind and body, to the second when it becomes a driving force of art production and manifests itself in the art form. It is a very slim sliver of time and space in which this transformation actually happens. The work I create aims to capture my own experience and create experiences for my audience. The means by which I creat...

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One Hundred Years of Habitude: Russian Comedy on the British and American Stage

Staging the Moment: Play and Fictional Reality

This paper is a thesis for a professional doctorate in fine art degree, a supplement to art pract... more This paper is a thesis for a professional doctorate in fine art degree, a supplement to art practice. Inspired by Mikhail Bahktin, Maurice Merleau-Ponty and Martin Heidegger, I focus on art as act, in my case the act of playing, and play as a means of engaging with the momentary existence. Establishing the rules, and contextualizing my practice led me to multiple questions on the nature of art as one of the method of cognition in the context of the concepts of cognitive closure (Nagel, McGinn), and visual fiction (Walton). Just as, according to Umberto Eco, one should see the difference between story and discourse, my aim is to understand the difference between the moment of experience (story), the moment of perception (discourse) and their manifestation in artificial form. The desire to further explore these topics in the future led me to enumerate and summarize all the thousands of the last three years’ moments that yielded the story entitled Staging the Moment: Play and Fictional Reality.

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