Camilla Eeg-Tverbakk

Visiting Professor, PhD, , MA

Research areas and keywords

UKÄ subject classification

  • Humanities



I am interested in the ways practice and theory intertwine in different ways, especially within the scope of philosophy and performance. I am a practicing dramaturg and my research connects to concepts of new dramaturgy, ethics and documentary performance, working cross disciplinary between theatre, choreography, and performance. I am researching how object oriented philosophy and affect theory moves the artistic working methods and influences aesthetics: from dramaturgy to modes of performing or moving in the encounters with audiences and space/time. The research involves exploring strategies of performing memory.

These fields of interest connects to to my engagement in research connected to extended voice practices, where the dichotomy between language (words) and soundsn (singing) is blurred. I research compositional strategies from the field of music and choreography, within the frame work of extended composition in collaboration with composers.

My PhD titled "Theatre-ting, toward a materialist practice of staging documents" (2016) was a Practice-as-Research (PaR) project investigating documentary performance from the perspective of the dramaturg. Through analysing two specific practical approaches to working with documentary material; one with non trained performers related to methods of socially engaged and participatory art practices, and the other with professionally trained performers, I argue for moving away from the perceived dichotomy between the discourse of reality and fiction in documentary work entirely. Introducing object-oriented philosophy and new materialism as an ethical framework, I propose a third way of framing work that use testimonial, tribunal or other materials derived from contemporary lives, arguing that a document is neither real nor fictional – it is a thing. I have explored practical ways for performers and dramaturgs to work with text-things, and a conceptual framework for the theatrical event called theatre-ting. The etymological root of the word ‘ting’ (thing) connects to practices of assemblage and gathering, still found in the Nordic languages. The theatre-ting brings the factual into the spaces of the fictional, which destabilizes both demonstrating how they are equally theatrical, truthful and mystical. It is a space where common questions and issues can be staged and discussed. It is an arena for testing, rehearsing, and practicing ethics. The materialist practice of staging documents questions notions of authorship, subjectivity, relation, and control in performative practices. In dialogue with object-oriented philosophy I have developed a conceptual framework to work from, challenging anthropocentrism and pointing to the ways things (including human bodies) are co-dependent and form each other, and where neither have the power of definition over the other. This demands ways of dealing with listening, time, relation, chance, and uncertainty. It is a matter of moving the attention to a materialist rather than individualist view. 

The PhD research on ethical approaches to staging documentary work, has led me to start investigating methodologies within the area of applied theatre, working with various interest groups.

My MA thesis in Performance Studies (New York University) was an analysis of the conceptual installations by the artist Lars Ø. Ramberg titled “i” – The People’s House - A sensuous experience of performed stories and identities".

My MA thesis in Theatre Science (University of Oslo) was a research of the work of the performance collective Baktruppen, which was concluded with a publication Performance Art by Baktruppen, First Part (Kontur 2009) that I edited in collaboration with Knut Ove Arntzen.