I am in charge of doctoral training and artistic research at the Theatre Academy.
Member of the editorial board of RUUKKU, Finnish Journal of Artistic Research: http://ruukku-journal.fi
Member of the editorial board of THEATRE, DANCE AND PERFORMANCE TRAINING, http://www.tandfonline.com/toc/rtdp20/.VBk88ktbtUA
Member of the University Collegium, 2017–2020
Other Academic Communities:
PERFORMANCE & PHILOSOPHY ASSOCIATION, co-convener: http://performancephilosophy.ning.com
INTERNATIONAL PLATFORM FOR PERFORMER TRAINING: https://performertrainingplatform.wordpress.com
Professor of Artistic Research
Performing Arts Research Centre
University of the Arts Helsinki
I am the convenor of the Other Spaces live art collective
Esa Kirkkopelto (born in 1965) is philosopher, artist-researcher, performer, former theatre director and playwright, convenor of Other Spaces live art collective. Since 2007, he has been working at the Theatre Academy (University of Arts Helsinki) as professor of artistic research. His research focuses on the deconstruction of the performing body both in theory and in practice. Since 2008, he has conducted a collective research project “Actor´s Art in Modern Times” on the psychophysical actor training. He is the responsable leader of the “Doctoral Programme of Artistic Research” (Theatre Academy, Academy of Fine Arts, Sibelius Academy & Aalto University), as well as “Asian Art and Performance Consortium” (Theatre Academy Helsinki & Academy of Fine Arts) 2012-2014. He has made his PhD on philosophy in 2002 at the University of Strasbourg. Author of Le théâtre de l´expérience. Contributions à la théorie de la scène (Presses de l´Université Paris-Sorbonne 2008). He is a core-convenor of Performance Philosophy Association, a member of the editorial board of Theatre, Dance and Performance Training and the convenor of the “International Platform for Performer Training” which gathered for the first time in Helsinki in January 2014.
- “The Most Mimetic Animal. Notes on the Philosophy of Acting” in Encounters in Performance and Philosophy, Laura Cull/Alice Lagaay (eds.), Palgrave 2014.
- “The Touch of Mimesis” in Senses of Embodiment: Art, Technics, Media, Mika Elo & Miika Louto (eds), Peter Lang 2014.
– “How does imagination look like? Notes on the Schematism of the Modalities” in Embodied Fantasies. Between Awe and Artifice, Suzanne Anker/Sabine Flach (eds.), Bern, Berlin, London, New York, 2013.
− “Provisional Absolutes. The Second Manifesto for Generalized Anthropomorphism”, Manifesto Now! Instructions for Performance, Philosophy, Politics, Laura Cull & Will Daddario (eds.). Intellect. Bristol, UK / Chicago, USA, 2013, 196-210.
– “Hölderlin, Sophocle et les deux rythmes de la modernité”, Po&sie, n°141, 2012, pp. 100-113.
– “Alles Schwebt. Anton Webern et la structure de la révolution artistique” in Limite–Illimité, Questions au présent, Susanna Lindberg & Gisèle Berkman (eds.), Nantes : Éditions Nouvelles Cécile Defaut 2012.
– “The Question of the Scene: On the Philosophical Foundations of Theatrical Anthropocentrism”, Theatre Research International, vol. 34, nº3, 2009.
– “Les comparatifs de Hölderlin”, Philippe Lacoue-Labarthe, La césure et l´impossible, Jacob Rogonzinski (ed.), Éditions Lignes, 2010.
– “Les jouets de Walter Benjamin”, in Walter Benjamin, les vicissitudes du mythe, Les Cahiers philosophiques de Strasbourg 27, Marion Picker (ed.), 2010.
– “La question de la scène”, in Philosophie de la scène (ed. Denis Guénoun & Nicolas Doutey), Éditions Les Solitaires intempestifs, 2010.
– “On the Structure of the Scenic Encounter”, The Event of Encounter in Art and Philosophy. Continental Perspectives, Kuisma Korhonen & Pajari Räsänen (eds.), Gaudeamus Helsinki University Press, 2010.
– A Manifesto for Generalized Anthropomorphism, 2004, Eurozine (www.eurozine.net).