Theatre director and doctoral candidate
REACCLIMATING THE STAGE
Artistic Research – Doctoral project (2015 – 2020)
Performing Arts Research Centre – Tutke
The research is supported by CIMO Fellowship Programme (2015-2016) and KONE Foundation (2016-2020)
Vincent Roumagnac is a French-Basque artist and researcher, born in 1973, based in Finland and France. His work materializes through multiple forms such as installations, performances, and videoscenic acts. Roumagnac is interested in the way the notion and the practice of the “stage” evolve according to the change of climatic and techno-ecological conditions. His work obliquely plays with memories of theatrical representation, architecture, and history, displaced in a movement of transition of scenic thinking and imaginary. He is also involved in investigative and transdisciplinary processes that implement the connections between art and research. Since 2010 he collaborates with Finnish choreographer Simo Kellokumpu and since 2012 with French visual artist Aurélie Pétrel. His solo and collaborative projects have been featured in different European and international venues in France, Spain, Portugal, Italy, Germany, Finland, Iceland, Argentina, Japan and Canada. From 2016 to 2018 he co-directs, as part of his doctorate, the weSANK research platform in collaboration with the architect, curator and researcher Emmanuelle Chiappone-Piriou. In 2019 he launches with Outi Condit and Simo Kellokumpu the artistic research cluster Q̶͈̬̿͝l̴̛̬̝̒o̵̰̍̔ǘ̴̼ḓ̷̟̓̅s̷̻̦̆Q̸̠̿͒u̷͓͚͊̽A̸̛̘͝r̷̖͈̀͝ṭ̶̏͘z̶̩̩͛. He is currently conducting a doctorate in artistic research at the Performing Arts Research Centre of the University of the Arts of Helsinki on theatre and time ecology under the working title Reacclimating the Stage (2015 – 2020).
Research and publications
The Reacclimating the Stage (Skenomorphoses) artistic research doctoral project examines the actual transformations of the (notion of) stage, and therefore of scenic practices, in the face of climatic and anthropo-technological mutations of the 21st century. Through the art, the research looks into scenic thinking, time ecology and queer-ed temporalities of the transforming (notion of) stage. The artworks thus operate within the research framework as experiments on the following questions: How to re -design/-direct/-perform/-imagine a stage on the brink of environmental collapse and in the age of an algorithm-conditioned society? How to re-consider and give dramaturgical and performative hospitality to more-than-human beings (plants, animals, minerals, meteorological phenomena, but also computational, algorithmic, artificial ones) as our contemporary stage co-(f)actors? How to review and ecologically renegotiate the human aesthetic control of the stage taking into consideration other-than-human temporalities? What can deepening and retemporizing the stage be? What is at stake, at work and at play when shifting from directing to redirecting? What kind of stage forms after the internalized dramaturgies of the postdramatic, in this radical movement towards the techno-eco-dramaturgies of a hyperdramatic theatre?