•, Mimesis Heidi Dahlsveen Oslo Metropolitan University, Norway
  • Anne Bryhn Oslo Metropolitan University, Norway
  • Randi Veiteberg Kvellestad Oslo Metropolitan University, Norway



performance, dialogue, listening, artistic research


This article is based on three performance papers, which started as a cocreated performance project based on a Greek myth in the autumn of 2021 and continued in 2022. A transdisciplinary artistic collective consisting of an oral storyteller, a choreographer/director, and a textile artist take a closer look at our experiences and what we named as “the extended artistic dialogue”. With the research question: what can recognize an extended artistic dialogue? the article discusses what is needed in an extended artistic dialogue. The collaboration created a togetherness at the same time embracing the specialty from each artform. The artistic process was vibrant and dynamic as it continuously changed along the way, developing the scenarios in the performance and one’s own poetic. Listening opens the participatory process and was an experiencing for new knowledge and interpreting the experience. Our experience is that the extended artistic dialogue through the artistic processes creates relational places where the artforms flourish through respectful, inclusive, and equitable treatment of others sharing professional information, knowledge, and ideas.


Download data is not yet available.


Anderson, H. (2012). Collaborative relationship and dialogic conversations: Ideas for relationally responsive practice. Family Process Vol. 51 Issue 1, 8–24.

Åsvoll, H. (2006). Hvordan fortolke Bakhtins dialog? – Om to mulige fortolkninger. Norsk Pedagogisk Tidsskrift Årgang 90, pp. 445–455.

Bakhtin, M. M. (1981). The dialogic imagination Four Essays by M. M. Bakhtin. Austin and London: the University of Texas Press.

Bourriaud, N. (2009). Precarious Constructions Answer to Jacques Rancière on Art and Politics. Retrieved from OnlineOpen:

Boyd, B. (2017). The evolution of stories: from mimesis to language, from fact to fiction. WIREs Cogn Sci.

Buber, M. (2002). Between man and man. Taylor & Francis Group.

Dahlsveen, M. H. (26 November 2021). Broderi og fortelling. (M. Dahlsveen, A. Bryhn, & R. V. Kvellestad, Performers) Oslomet.

Dahlsveen, M. H., Kvellestad, R. V., & Bryhn, A. (26 November 2021). Broderi og fortelling. (M. Dahlsveen, A. Bryhn, & R. V. Kvellestad, Performers) Oslomet.

Dahlsveen, M., Bryhn, A., & Kvellestad, R. V. (2022). The temporary creative mythological collective – rearticulating the artistic process in moving from physical to virtual reality – a performance paper/paper session. Orlando.

Dysthe, O. (2006). Bakhtin og pedagogikken Kva ein tidlegare ukjend artikkel fortel om Bakhtins pedagogiske praksis. Norsk Pedagogisk Tidsskrift Årgang 90, pp. 456–469.

Gjerlevsen, S. Z. (3 April 2016). Fictionality. Retrieved from the living handbook of narratology:

Grehan, H. (2020). Slow Listening The ethics and politics of paying attention, or shut up and listen. PERFORMANCE RESEARCH 24·8, pp. 53–58.

Halliwell, S. (2012). Mimesis. In: S. Cushman, C. Cavanagh, J. Ramazani, & P. Rouzer. The princeton encyclopedia of poetry and poetics: Fourth edition. New Jersey: Princeton University Press.

Hayes, A. (19 September 2018). Finding your Ikigai in Craftsmanship. Retrieved from The Craftmanship Initiative:

Härkönen, E., & Stöckell, A. (2019). Cultural Sustainability in Art-Based Interdisciplinary Dialogue. International Journal of Art & Design Education 38 3, pp. 639–648.

Hodne, Ø. (1990). Våre folkeeventyr. Prismet 2, pp. 51–59.

Ivanov, V. (2000). Heteroglossia. Journal of Linguistic Anthropology 9 (1–2), pp. 100–102.

Kvellestad, R. (2018). Designs Processes and Co-Activity in Design Education. DRS2018. Limerick: DOI: 10.21606/drs.2018.574.

Leeker, M., Schipper, I., & Beyes, T. (2017). Performativity, performance studies and digital cultures. In: M. Leeker, I. Schipper, & T. Beyes. Performing the Digital (pp. 9–18). Transcript.

Lehman, H. T. (2021). Postdramatic Theatre. In: R. Fensham. Theory for theatre studies Movement. London: Bloomsbury.

Lehman, H.-T., & Primavesi, P. (2009). Dramaturgy on Shifting Grounds. Performance Research, 14:3, 3–6.

Leirvåg, S. (2016). Teatral dans i Norge – en historisk skisse. In: S. Ø. Svendal. Bevegelser – Norsk dansekunst i 20 år. Oslo: Skald forlag.

McCaw, D. (2018). Training the Actor’s Body. London: Bloomsbury Methuen Drama.

Mørch, A. J. (2003). M. M Bakhtin. In: M. Bakhtin. Latter og Dialog Utvalgte Skrifter. Oslo: J. W. Cappelens Forlag, pp. 5–28.

Newlove, J., & Dalby, J. (2004). Laban for all. London: Nick Hern Books Limited.

Robach, C. (2013). The Slowart. Stockholm: Nationalmuseum.

Roe, A., & Hertzberg, F. (1999). Muntlig norsk. Oslo: Universitetsforlaget.

Sennett, R. (2008). The Craftsman. United States: Yale University Press.

Wills, D. (2015). Positive Feedback Listening behind Hearing. In: S. V. Maas. Thresholds of listening: Sound, technics, space. Fordham University Press, pp. 70–88.