Matka serkamolaiseen teatteriin : kohti sanatonta kerrontaa

A travelogue to serkamoan theater deals, just like its name implies, with the molding process of one theater opinion. It has been influenced by both Aristotle's poetry and Bertold Brecht's epic theater. Side by side with theater goes dance, whose development the thesis also considers briefly. Of today's theater makers, Päivi Ketonen (playback theater), Juha Hurme and Nigel Charnock (dance theater) have had a definitive impact on the Serkamoan theater view. Their relation to theater and dance is clarified in the interviews conducted by the writer, which can be found in their entirety among the appendices of this thesis. Serkamoan theater has also been influenced by the writer's studies in Portuguese theater school in 2004. In Portugal the writer had a chance to work a theater piece in a new cultural environment where, for example, a novel and paintings were used as inspiration. The strongest legacy from Portugal however was the desire to do theater that can be understood without words. Serkamoan theater considers the combinations of theater and dance in performing arts, agreeing with, among others, Pina Bausch's footsteps. Serkamoan theater ladles its inspiration from theater, dance, human being, human body and movement. It is theater that cannot be understood through intellect but through the heart.

Sanoin kuvaamaton : teatterintekijän pohdintoja intuitiosta

This thesis examines the concept of intuition from different aspects. The basis for this thesis has been the author`s experience about education as a supportive process for intuitive thinking. It studies what taking advantage of intuition means for the author of this thesis and how intuition can be defined as a concept. This thesis shows what intuition means both from the performer`s and the director`s point of view. The author attemps to explain how these two areas of her professional identity either support or prevent intuitive creativity from emerging successfully. The intuition of a performer is examined through playback theatre and the insight associated with playback theatre. Regarding the work of a director, the author describes the making of a walking tour performance called "Sama maa" (2006) that she directed. The author attempted to fully utelize her intuitive creativity while planning the performance. The intuitive choices of the author were the basis for planning and carrying out the performance. This thesis studies a concept that is very challenging to explain in words. There is not a lot of literature about concept of intuition with respect to theater. The author of the thesis has ended up thinging about guestion that is very important to her, a guestion about relationship between controlled and authentic mental processing. The author also engourages others to think about the meaning of intuition and insight to themselves as a part of a daily life and as a part of the artistic creativity.

Kaksoiselämäni teatteritaiteen palveluksessa : ammatti-identiteettini rakennuselementit

In my thesis I discuss the elements of my professional identity from the perspective of an actor, a director and a team. What are acting and directing to me? What are the problems in the symbiosis of acting and directing? What are the difficulties in acting and directing and how important are the issues related to responsibility, power, trust and confidence in my work? I also discuss the consept of self-confidence. Behind all of this, there is also the thought of my ancestry and its dualism, how my roots from my father's and mother's side are struggling against each other or supporting each other, and how they affect my professional identity. The basic idea in the present thesis is the perspective of the traditional theatre and a professional team. Also the childhood influence on my professional identity is being considered. Education is discussed at the end. Moreover, a discussion on the kind of future theatre maker I want to be considered as, is included. I also try to handle all these topics through Harri Virtanen's Kiinteistövälittäjä vastoin tahtoaan (2005), which I directed, and my latest role in Arto Paasilinna's and Kristian Smeds' Jäniksen vuosi (2006). The conclusion of the present thesis is that it is very important for me to be a member of different communities, in which I can express my professional identity. My professional identity is formed by many elements that support each other. Such elements in their own right form an inticate relationship, which at the end, makes me what I am. In conclusion, I am a theatre maker, who in an alternative field of theater has opportunities to form the professional identity, as different situations and projects require.

Niin metsä vastaa : työtapoja koreografian ja tanssiteatterin tekemiseen

Käsittelen työssäni sitä, miten tanssitaustaisena teatteri-ilmaisun ohjaajana toimin koreografina ja tanssiteatterin tekijänä. Pyrin kartoittamaan taiteellisen työni, tanssiteatteriteoksen Niin metsä vastaa, valossa minkälaisen synteesin nuoruusvuosien laajat tanssiopintoni ja nyt päättyvät esittävän taiteen opintoni ovat muodostaneet. Pohdin paikkaani nykyisellä ammattitanssin kentällä verraten omia työtapojani ja ajatuksiani muutamaan nykykoreografiin sekä kahteen tanssin väitöskirjaan. Lähestyn työssä tanssiteatterin tekemistä tanssin ja liikkeen suunnasta, koska se on omin ja vahvin taitoalueeni. Oman teokseni syntyprosessia ja lopputulosta tarkastelemalla olen hahmottanut viisi löytämääni työtapaa tanssiteatterin tekemiseen. Selkeästi koreografian tekemiseen rajautuva väline on oman liikkeen hakeminen. Oman tarinan etsiminen liittyy vastaavasti teoksen käsikirjoituksen ja dramaturgian rakentumiseen. En tiedä -asenne, yhteistyö ja tiladramaturginen ajattelu ovat laajempia, yleisesti näyttämöteoksen tekemiseen liittyviä työtapoja. Useat näistä työtavoista ovat saaneet kimmokkeensa esittävän taiteen opinnoistani Stadiassa. Käyttämieni työtapojen kautta olen oppinut paljon itsestäni niin yksityisenä ihmisenä kuin taiteilijanakin. Toivon voivani jatkaa löytämieni työtapojen ja oman maailmani tutkimista ja syventämistä tulevissa töissäni. Näen itseni tasavertaisena, omanlaisenani taiteilijana muiden tanssin ammattilaisten joukossa. Koen vahvuuksinani monipuoliset työkalut tanssin ja teatterin yhdistämiseen sekä kyvyn ja halun hahmottaa asioita monista näkökulmista. Tanssiteatterin tekijänä totean työskentelyni määrittyvän ja etenevän pitkälti teoksen mukaan eli kovin kiinteitä rakenteita en voi työtavoissani sanoa vielä olevan, enkä sitä toivokaan. Rajattomuus on tanssiteatterini voima.

The Pleasure Dome of Kubla Khan

Äänitetty: 28.10.1954, Rochester, Eastman Theater.

Poem for Orchestra : La bonne chanson

Soitinnus: Ork.

Bacchanale, Op. 6, No. 3

Soitinnus: Ork.

Memories of My Childhood

Soitinnus: Ork.

The White Peacock, Op. 7, No. 1

Soitinnus: Ork.

Clouds, Op. 7, No. 4

Soitinnus: Ork.

The history of Lapland : wherein are shewed the original manners, habits, marriages, conjurations, &c. of that people : written by John Scheffer, professor of law and rhetoric at Upsal in Sweden.

Added engraved title page: The history of Lapland.

Venäjän informaatio-psykologinen sodankäyntitapa terrorismin torjunnassa ja viiden päivän sodassa

This study examines Russia’s Pattern of Information-Psychologic Warfare in Counter-terrorism and in the Five Day War. The first case of this comparative case study research examines an internal national security crisis, namely two of the most notorious terrorist strikes that took place firstly in The Moscow Dubrovka Theater in October 2002 and two years later in Beslan School 2004 in September. In the second case an external national security crisis, the Five Day War conducted in August 2008 between the Russian Federation and the state of Georgia will be analyzed. At the centre of this research report lays an idea: a war of information by using information as the target and as a weapon. Based on a comparative case study setting this study tries to understand how Russian pattern of information warfare manifests itself in the light of these two internal / external national security crises. Three hypotheses that guide this research report are: Russian pattern of information warfare has a long tradition which can be traced back to the Cold War era; it is possible to discern specifically Russian, partially divergent information warfare pattern; and finally by exploring the two recent internal / external national security crises, it becomes possible to sketch specifically Russian systematics. In this research report the main focus of interest is on the information-psychological dimension of the overall information warfare concept as part of the military science tradition. After such theoretical review the two empirical cases will be contextualized and chronologically introduced. Analysis will be sharpened on the parties’ actions especially from the information-psychological perspective. This will be done with the help of the developed Russia’s six action fields-model which has been divided into two main dimensions: political and military with three levels: strategic informa-tion-psychological level, and two tactical levels, namely information-technical and information-PSYOP. This creates six possible actions fields. As the empirical analysis will reveal, many of these six action fields have been used by Russia in its internal / external national security crises, which proves the study’s hypotheses: Russia has its own pattern of information psychologic warfare that is based on its historical tradition and as such it creates a base for Russian systematics.

The strategic use of military contractors : American commercial military service providers in Bosnia and Liberia, 1995-2009

Drawing from strategic theory, this study investigates the strategic roles of commercial companies providing military services, frequently referred to as private military companies. Theoretically, the thesis analyzes how states organize its military capabilities in order to be able to wield power within the international system while empirically, it examines the character and role of commercial companies that provide military training services to the United States Government and partner nations. The reason for this rather instrumental and functional, rather than critical, approach is that this work is written within the discipline known as War Studies. Strategic theory is used first to logically organize the empirical findings in two case studies and then to develop an analytical framework with which the strategic roles of companies providing military services can be investigated. The analysis has been conducted using both new and hitherto unknown sources in the shape of interviews as well as previously classified telegrams, but also draws on previous research and other secondary sources. The main findings are that commercial companies have five typical strategic roles: first, they cloak the state by substituting traditional uniformed troops; second, they act as trailblazers by securing US influence in new regions and by breaking new ground by contributing to the build-up of new partners; third, they act as scene setters by preparing the ground for military exit out of a theater of operations or by facilitating inter-operability between foreign militaries and the US military; fourth, they can be used to infiltrate the security structures of foreign countries; fifth and finally, they can be used to provide offensive capabilities by providing either kinetic or cyber warfare effects. Another finding is that military service contracting is an important part of the US strategic culture.