Stories of Bodies

Stories of bodies as a category: 

  • more than what is traditionally counted as body-language or non-verbal communication within communication studies 
     

  • a material-discursive apparatus and the story mode of this apparatus encompasses the full multimodal participatory framework (Goodwin 2000), including dress-codes
     

  • the ‘weight’ of the congealed action (marks on bodied) of the iterative enactment of specific material-discursive life practices as they articulate through body postures, body movements and voiced, language practices are understood as part of this story mode
     

  • the tactile and kinesthetic body-movements as knowledge-making practices, where the lived practice generates knowing through the immediate participation/enactment of various material-discursive practices
     

  • the body understood as an affective site of engagement 

Performance Scenography

 

The idea behind this concept is to convey an understanding of  the various modalities entailed as parts of performances  as co-configurative agencies, which are ’showing in action’ as a supplement to the ’telling in words’.  Further the performer is regarded as a unique storyteller with a unique history, identity and performance praxis and therefore there is no ’right way’ to do a performance – no ‘uniform’. Instead the performance training is about configuring a performance in a balance between the situational context (the audience and the purpose) and the unique qualities of the performer. Authenticity then is regarded as a local phenomenon that emerges ’of’ the situation, where the performance is taking place and as something that can be recognized as the ability of the performer to practice a professional presence in the situation.

 

Relevant publications: The Story of Grandmas’ Dress(code). Practices diffracted through the Apparatus of Material Storytelling

 

The concept is employed as a course at the Master Program of Communication Studies at Aalborg University