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Tuesday lectures open to public at NTA

  • Kobberslagerstredet 5, 1671 Fredrikstad (map)

Welcome to NTA's open Tuesday lectures with visiting artists and researchers this fall. All six lectures takes place on Tuesdays from 18:00 to 20:00 at NTA in Fredrikstad. Free entrance! Please send an e-mail to if you want to join.

October 2 - Tatjana Schneider: On Spatial Agency

October 9 - Ida Müller: Scenography and Costume in the Works of Vinge/Müller

October 16 - Kari Holtan & Boya Bøckman: Works by De Utvalgte

October 30 - Konstantinos Thomaidis: A VOICE IS. A VOICE HAS. A VOICE DOES.

November 6 - Lars Petter Hagen: The composer as curator, the curator as composer

November 27 - Nicolas Herzog: Narration and the daily legal work

narrate (verb) - to tell a story from your own point of view
narration (noun) - the act, action or process or an instance of narrating

The word narration is often paired with the word grand and evokes images of monumental gestures and birth of nations. Related to literary studies, it narrows down to a set of techniques (narrative point of view, narrative voice and narrative time) through which a creator presents not a, but her story: It always involves both the HOW and the WHO-WHAT. In the performing arts field, narration is still closely linked to epic drama, storytelling and collective myths. As an alternative, we propose to understand performing arts narration as a particular procedural skill of the individual artist (or group of artists) that encompasses literacy understood as capacity to read the world, agency understood as capacity to act on behalf of oneself or others, and finally capacity to situate utterance understood as visions, opinions and arguments in public space. The literacy-agency-utterance trajectory at the same time widens and narrows the focus of attention: The widening involves letting go of our obsession with stories and dramaturgy understood as autonomous organisation of aesthetic means tucked away behind closed doors, and instead question our beloved art object´s relation to work procedures and contexts widely defined. The narrowing involves not, as one might believe favouring content over form, but rather question how form and content as a unity is orchestrated as and by utterance. Brutally characterized, the concept outlined is a "cut the crap"-approach that conceptualises narration as paired with the word survival and visualized as written in blood. Like extended blood vessels connecting a heart to public space. In this Tuesday Lectures Series, narration will be approached by strong voiced guests from different fields, explored from different angles and positions, and loosely organized around the themes the spatial, the aesthetic concept and the aural. By ending the Series with a practicing attorney, we recognize and embrace the fact that theatre and performance is just as much part of real life as of the performing arts field, and that narration is equally present in both. - Sidsel Graffer and Serge von Arx

October 2
Tatjana Schneider: On Spatial Agency

Spatial Agency started life as a project that was interested in exploring possibilities beyond architecture as object beautiful and began by challenging what it means to do architecture: it investigated practices that approached space from a political perspective, compiled projects that were concerned with the right to the city and looked at ways of doing that were more about process and people than form. The lecture will give an overview of Spatial Agency and its initial premises and tenets but will also put into question how such approaches can continue to be relevant in today’s context.

Tatjana Schneider is Professor for History and Theory of Architecture and the City at the Technical University of Braunschweig, Germany. Current work focuses on global challenges and the changing role of architects and architecture in contemporary society, (architectural) pedagogy and spatial agency. Schneider is interested in employing and implementing theoretical, methodological and practical approaches that expand the scope of contemporary debates and discourses by integrating political and economic frameworks that question normative ways of thinking, producing and consuming space. Publications include Spatial Agency. Other Ways of Doing Architecture and Agency: Working with Uncertain Architectures. Schneider was founder member of the workers cooperative G.L.A.S. (Glasgow Letters on Architecture and Space), which aimed to construct both a theoretical and practical critique of the capitalist production and use of the built environment.

October 9
Ida Müller: Scenography and Costume in the Works of Vinge/Müller

In her lecture, Ida Müller will present her work. She will focus on scenography and costume in the works by Vinge/Müller.

Ida Müller is a German stage designer and costume designer. Since 2004, she collaborated with Vegard Vinge on theatre, performance, opera and visual arts projects. Vinge/Müller have won international accalim for their uncompromising versions of Henrik Ibsen´s plays staged mainly in Norway and Germany in co-operation with among others Black Box Theatre, Bergen International Festival, Volksbühne (Berlin) and Berliner Festspiele. Ida Müller was nominated twice for The Hedda Award; in 2007 in the category Best visual design and in 2018 in the category Best stage design/costume design, and was in 2008 awarded the Norwegian Critic´s Award.

October 16
Kari Holtan & Boya Bøckman: Works by De Utvalgte

In their lecture, Kari Holtan and Boya Bøckman will present the works by De Utvalgte.

De Utvalgte, founded 1994, (Kari Holtan, Boya Bøckman, Torbjørn Davidsen, Anne Holtan, Morten Kippe), move in the borderland between theater, visual art and performance, play with roles and identities, authenticity and theatricality and mixes the comic and the tragic in bold ridicule of their own and others’ inadequacies. The company has developed new technology that uses 3D film scenography and narratives. De Utvalgte was awarded the Norwegian Critic´s Award in 2012 and The Hedda Award in 2012 (Boya Bøckman , the category Best Visual Design) and in 2013 (the category Special artistic achievement). Their work is presented internationally.

October 30
Konstantinos Thomaidis: A VOICE IS. A VOICE HAS. A VOICE DOES.

How does it feel to have a voice from the inside? This performative lecture takes cue from the observation that much of the discourse in the emergent field of interdisciplinary voice studies is premised on methodologies that do little to disclose how voice is experienced by the voicer. There is a developing body of such data in physiological analyses of voice (which perhaps unavoidably are concerned with voice as a measurable and scientifically defined bodily function) and some scarce theoretical propositions that bridge phenomenological writing and processes of artistic development, be they creative or training/technical. But how often does a voicer get to interrogate voice as part of their personal history? And how often do they get to disseminate this lived knowledge from a joint theoretical and artistic perspective? Or, to invite audiences to think about their own voices in such terms? This experiment in practice-as-research explores the performative potentials of the nascent methodology of vocal autobiography. The solo layers DIY intermedia, academic discourse and physiovocal praxis with subtle dramaturgies of audience participation to think through the potential of a shift from voice to voicing.

Dr Konstantinos Thomaidis is Lecturer in Drama, Theatre & Performance at the University of Exeter. He is founding co-editor of the Journal of Interdisciplinary Voice Studies and the Routledge Voice Studies book series as well as co-founder of the Centre for Interdisciplinary Voice Studies and the 'Sound, Voice & Music' working group at TaPRA. His publications include the collection Voice Studies: Critical Approaches to Process, Performance and Experience (Routledge 2015, with Ben Macpherson), the special issue 'Voicing Belonging: Traditional Singing in a Globalized World' (Intellect 2017, with Virginie Magnat), and the monograph Theatre & Voice (Macmillan/Springer 2017). He is currently editing the special issue 'What is New in Voice Training?' for Theatre, Dance and Performance Training journal and the collection Time and Performer Training (Routledge, with Mark Evans and Libby Worth). He is the Artistic Director of Adrift Performance Makers and Head of Movement for Opera in Space.

November 6
Lars Petter Hagen: The composer as curator, the curator as composer

In this lecture, Lars Petter Hagen will present some of his projects that explores curatorial strategies in artistic practise, music in interdisciplinary work and archival composition.

Lars Petter Hagen is a Norwegian composer and curator. Hagen has served as artistic director for Ny Musikk and festivals Happy Days Sound Festival, Nordic Music Days and the Ultima Oslo Contemporary Music Festival. He is currently artistic advisor for the Oslo-Philharmonic. In addition to orchestral works as well as vocal- and instrumental pieces, Hagen also works with sound installations and music for stage and film productions.

November 27
Nicolas Herzog: Narration and the daily legal work

Fueled by a tenacious interest in literature and philosophy, Nicolas Herzog sees reading as one of the obvious ways to be immersed in and enjoy narration. The notion of narration, however, is much broader than to be limited only to literature, such as fiction, and performing arts and movies. In perhaps less obvious ways the art and technique of narration – or better yet framing – plays a critical role also in the legal system, politics and law-making. In his presentation, Nicolas Herzog will aim to explore, from a litigator's perspective, the general foundations of the narration theory, its application in literature and politics, and its hidden significance in the daily legal work.

Nicolas Herzog, admitted to the Zurich bar, is an attorney practicing in Switzerland. He is specialized in commercial dispute resolution and represents an international clientele from various industries before Swiss state courts and international arbitral tribunals. Nicolas studied law at the University of Zurich and obtained a PhD in contract law. He completed his academic studies with a graduate degree from New York University School of Law in 2004. According to the industry guide Who’s Who Legal he is perceived as a "a superb litigator and wins praise among sources" and comes "highly recommended". Nicolas publishes in his field of work and has recently submitted an article on the nuts and bolts of drafting statement of claims – which in essence are a narration of the claimant's case brought before a court of law.

Earlier Event: November 6
Langbordet - Gamle Glemmen menighet
Later Event: November 6
Kafétreff på Verdensspeilet