Lindsay Gianoukas
Lindsay Gianoukas (Lindsay T. Gianuca) is a movement practitioner, person of theatre, and philosopher of movement. She is an actor, dancer, choreographer, teacher, and researcher. Doctor in Performing Arts (Postgraduate Programme of Performing Arts, Arts Institute, Federal University of Rio Grande do Sul - Porto Alegre, RS, Brazil, 2020), she also holds a Master’s degree in the same field (PPGAC - IA - UFRGS, 2013). Her main work as a performer and creative includes acting onstage and on-screen productions, dance performances, directing rehearsals, choreographing, and movement directing. As a researcher, her studies are grounded on an interdisciplinary approach to human movement, contemporary performers' training, creative processes, authorship, contemporary performance practice, actors' vocal and bodily expression, and pedagogies for performers. Her investigations on the field of Performance Philosophy bring together contemporary philosophy and performance practices. Her work has been published in book chapters and as papers in scientific journals and proceedings of Conferences. Based in London, UK. Detailed academic resume is available at: http://lattes.cnpq.br/3986758138608989
Supervisors: Dr. Silvia Balestreri Nunes
Supervisors: Dr. Silvia Balestreri Nunes
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Papers by Lindsay Gianoukas
TEACHING AS A REHEARSAL TO OPEN THE BODIES: didactics of access through the skin Abstract This paper approaches teaching and rehearsal as labour practices for improving techniques and for exercising thought. Fed by previous studies on these comparative-operative nuances and by one of the author's experience who from performer caught herself as a teacher, it exposes some reaches of the coupling philosophy-teaching and training-creating-learning. Conceptual movements lead the perspective that considers the skin as an access surface and one anthropology as an inspiration. Allied to Deleuze and Guattari's concepts, it takes learning as a displacing exercise and the bodies in their relational aspects. From this perspective, it also thinks about the invention of procedures and the bodies' emancipation through the concept of forces. Considering that each body is a learner in itself and defending that to teach is to open, power increase, reflects on the didactics as a collective project of teaching-learning.
LA ENSEÑANZA COMO ENSAYO PARA ABRIR LOS CUERPOS: una didáctica del acceso por la piel Resumen Este artículo aborda la enseñanza y el ensayo como prácticas laborales para la mejora técnica y el ejercicio del pensamiento. Animada por los estudios de estos matices comparativo-operativos y por la experiencia docente de una de las autoras que, desde performer se cambió en profesora, aproxima filosofía-enseñanza, formación-creación-aprendizaje. La narrativa considera la piel como superficie de acceso y una antropología como inspiración. Aliada a los conceptos de Deleuze y Guattari, piensa el aprendizaje y los cuerpos por sus aspectos relacionales, reflexiona sobre la invención de procedimientos y la emancipación de los cuerpos por el concepto de fuerzas. Considera el cuerpo como un aprendiz y defiende que la enseñanza es la acción de abrir, potencias aumentadas, piensa la didáctica como proyecto colectivo de enseñanzaaprendizaje.
Conference Presentations by Lindsay Gianoukas
ABSTRACT Unfolding a philosophy written by bodies on the scene, the present study looks at the earlier condition of such bodies' scenic exposition: in the classrooms or rehearsals rooms. The core of the investigation is the contemporary performer's work and reflects the perspective of training the skin to live up compositions in the flesh. The research develops the analysis under four concepts: form, forces, flight and the out. The surpassed idea of representation or interpretation has been replaced by the idea of creative bodies, so the preparation of the matter for a poetic-aesthetic-conceptual porosity, from the skin to the flesh. This would allow such bodies to move between the violence that is necessary to promote displacements and the virtuous, technically-expressive heritage inherent to the art of actors or dancers. All these elements are allied to the philosophies of difference, theatrical theories, studies of movement and the pedagogical and compositional practices lived by the author. The study explores expressive traces that lack an identity and that are singularized, as well as animal flows and political forces exposing some possible layers that make up the creation on
Thesis Chapters by Lindsay Gianoukas
TEACHING AS A REHEARSAL TO OPEN THE BODIES: didactics of access through the skin Abstract This paper approaches teaching and rehearsal as labour practices for improving techniques and for exercising thought. Fed by previous studies on these comparative-operative nuances and by one of the author's experience who from performer caught herself as a teacher, it exposes some reaches of the coupling philosophy-teaching and training-creating-learning. Conceptual movements lead the perspective that considers the skin as an access surface and one anthropology as an inspiration. Allied to Deleuze and Guattari's concepts, it takes learning as a displacing exercise and the bodies in their relational aspects. From this perspective, it also thinks about the invention of procedures and the bodies' emancipation through the concept of forces. Considering that each body is a learner in itself and defending that to teach is to open, power increase, reflects on the didactics as a collective project of teaching-learning.
LA ENSEÑANZA COMO ENSAYO PARA ABRIR LOS CUERPOS: una didáctica del acceso por la piel Resumen Este artículo aborda la enseñanza y el ensayo como prácticas laborales para la mejora técnica y el ejercicio del pensamiento. Animada por los estudios de estos matices comparativo-operativos y por la experiencia docente de una de las autoras que, desde performer se cambió en profesora, aproxima filosofía-enseñanza, formación-creación-aprendizaje. La narrativa considera la piel como superficie de acceso y una antropología como inspiración. Aliada a los conceptos de Deleuze y Guattari, piensa el aprendizaje y los cuerpos por sus aspectos relacionales, reflexiona sobre la invención de procedimientos y la emancipación de los cuerpos por el concepto de fuerzas. Considera el cuerpo como un aprendiz y defiende que la enseñanza es la acción de abrir, potencias aumentadas, piensa la didáctica como proyecto colectivo de enseñanzaaprendizaje.
ABSTRACT Unfolding a philosophy written by bodies on the scene, the present study looks at the earlier condition of such bodies' scenic exposition: in the classrooms or rehearsals rooms. The core of the investigation is the contemporary performer's work and reflects the perspective of training the skin to live up compositions in the flesh. The research develops the analysis under four concepts: form, forces, flight and the out. The surpassed idea of representation or interpretation has been replaced by the idea of creative bodies, so the preparation of the matter for a poetic-aesthetic-conceptual porosity, from the skin to the flesh. This would allow such bodies to move between the violence that is necessary to promote displacements and the virtuous, technically-expressive heritage inherent to the art of actors or dancers. All these elements are allied to the philosophies of difference, theatrical theories, studies of movement and the pedagogical and compositional practices lived by the author. The study explores expressive traces that lack an identity and that are singularized, as well as animal flows and political forces exposing some possible layers that make up the creation on