Hi, i'm camille!
I'm an academic researcher, writing my doctorate on bodily consciousness. For many years I worked as a performing artist and my philosophy is inspired by these experiences.
This website details the services I offer as a philosopher, alongside my research.
This website details the services I offer as a philosopher, alongside my research.
TalksI offer talks of 1-2 hours length, suitable for non-academic audiences, teenagers, sports and arts students, or tailored to a specific field of interest.
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WorkshopsIn collaboration with professional dancer Henriette Slorer, I offer 1-3 days workshops. These workshops are designed to connect theory with direct experience through movements.
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CoursesAs an academic lecturer I give longer courses on embodied cognition, dance philosophy, and the philosophy of the body. I supervise and assist students through examinations and writing assignments.
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FROM DANCE TO PHENOMENOLOGY
DANCE & THEATRE, DRAMA & VOICE WORK
My formal education as a dancer started with the Sri Lankan classical style Udarata Natum. I was trained under the excellent dance masters Ratnapala and Ranasinghe, and held my debut performance at the YMBA by the Kandyan Lake. This was back in 1983-84.
When I moved to India, I conducted theoretical and empirical studies of different classical dance styles there, including kathakali, bharatanatyam, kathak, odissi and manipuri, and also folk stage art such as yakshagana drama, marionette theatre of Rajasthan, and classical shadow puppet theatre.
Two dear friends and colleagues - Malati Jhaveri of the Indian National Theatre of Mumbai and manipuri dancer Lalana Lakhani Lall - then travelled with me to South East Asia. Together we investigated the dance and theatre traditions of Myanmar, Thailand, Malaysia, Singapore, and Indonesia.
Two dear friends and colleagues - Malati Jhaveri of the Indian National Theatre of Mumbai and manipuri dancer Lalana Lakhani Lall - then travelled with me to South East Asia. Together we investigated the dance and theatre traditions of Myanmar, Thailand, Malaysia, Singapore, and Indonesia.
I am originally from Norway, and returning home, I started performing dance and physical, experimental theatre.
I collaborated with several artists and theatres, such as Lisbeth Bodd and Verdensteatret. I participated as a choreographer and dancer in their performance Til Elise, which we took on tour to Bergen, Oslo, and Stockholm.
Alongside this, I took a degree in drama pedagogy at OsloMet.
In Oslo I also met the American theatre legend Charles Marowitz, and did a show with him on Ibsen's Women at the Black Box Theatre. We stayed in touch till his death in 2014, and he played a great part in my investigations of the physical and emotional aspects of the performing arts.
I collaborated with several artists and theatres, such as Lisbeth Bodd and Verdensteatret. I participated as a choreographer and dancer in their performance Til Elise, which we took on tour to Bergen, Oslo, and Stockholm.
Alongside this, I took a degree in drama pedagogy at OsloMet.
In Oslo I also met the American theatre legend Charles Marowitz, and did a show with him on Ibsen's Women at the Black Box Theatre. We stayed in touch till his death in 2014, and he played a great part in my investigations of the physical and emotional aspects of the performing arts.
Today, I live in Copenhagen. I moved here in 1987 to join the theatre group Teaterklanen. Inspired by Peter Brook's multicultural theatre, Teaterklanen seemed to be just the thing for me. We had bodily and vocal training at the theatre during the day, and played performances during the nights - it was a very productive period.
At Teaterklanen I met and worked with Dr. Susana Bloch, a Chilean research psychologist specializing in neurophysiology and psychophysiology. Susana has developed a method useful for actors - Alba Emoting. The method allows one to consciously induce, express, and modulate basic emotions using the body; breathing patterns, postural attitudes, and facial expressions. The "tool box" I got from this practice has been immensely useful.
Later, I joined Rhea Lehman's Teater Tango and took their one year course in modern dance and physical theatre. In the following years I participated in a number of performances at various theatres in Copenhagen - Husets Teater, Kaleidoskop, Teatret Optimis, Ensemblet, just to mention some.
To supplement my physical focus with a more traditional approach, I did a course in Shakespeare acting at The London Academy of Performing Arts in 1992.
In this period I also acted in short films, gave lecture-performances on Sri Lankan dance, started singing Norwegian folk songs in a world-music context and jazz standards in a band, and taught dance and drama to kids, students, business people, and medical doctors.
At Teaterklanen I met and worked with Dr. Susana Bloch, a Chilean research psychologist specializing in neurophysiology and psychophysiology. Susana has developed a method useful for actors - Alba Emoting. The method allows one to consciously induce, express, and modulate basic emotions using the body; breathing patterns, postural attitudes, and facial expressions. The "tool box" I got from this practice has been immensely useful.
Later, I joined Rhea Lehman's Teater Tango and took their one year course in modern dance and physical theatre. In the following years I participated in a number of performances at various theatres in Copenhagen - Husets Teater, Kaleidoskop, Teatret Optimis, Ensemblet, just to mention some.
To supplement my physical focus with a more traditional approach, I did a course in Shakespeare acting at The London Academy of Performing Arts in 1992.
In this period I also acted in short films, gave lecture-performances on Sri Lankan dance, started singing Norwegian folk songs in a world-music context and jazz standards in a band, and taught dance and drama to kids, students, business people, and medical doctors.
I've been working as a Norwegian voice artist since 1995. I dub cartoons, make voice-overs for documentaries and commercials, and speak on games, e-learning, agricultural machines, hospital equipment - wherever a female voice in my mother tongue is needed.
There's more information on my voice work at the Danish Speakers' Association.
There's more information on my voice work at the Danish Speakers' Association.
If you are a producer or caster, you might have a login for my site at the Danish Actors' Association.
FILMMAKING AND PHILOSOPHY
Somewhat accidentally I got into filmmaking. To date I've produced, directed, and written two documentaries: In Denmark (2000) and Danes on Death (2002). Another film, The Color of Clouds, was shot in 2009, but is still not edited. I hope it will be.
Both films were bought by and screened on DR, the Danish Broadcasting Corporation. In Denmark - a music video on a H. C. Andersen song praising the Danish landscape and language, sung by twenty Danes with different ethnic backgrounds - won prizes at film festivals and travelled the world. Danes on Death - with its contemplative debate on what death, and life, amounts to - inspired me to study philosophy.
Both films were bought by and screened on DR, the Danish Broadcasting Corporation. In Denmark - a music video on a H. C. Andersen song praising the Danish landscape and language, sung by twenty Danes with different ethnic backgrounds - won prizes at film festivals and travelled the world. Danes on Death - with its contemplative debate on what death, and life, amounts to - inspired me to study philosophy.
For many years I felt that I had entered a parallel world when I set foot on the university grounds. To me, it was a fascinating study of how "intellectual people" think, speak and behave, as well as a study of the concrete philosophical texts.
It was challenging and it was exciting - especially by the end of the MA, when I discovered that my way of thinking and being in the world might actually be of interest to the academic world.
I wrote a paper and later my master thesis on the states of consciousness artists experience in performing situations. Happily my work found its place in an academic landscape where topics like embodiment, expertise, and skillful activity are passionately debated on an international level.
I feel I've been received with open arms by the larger academic community, especially within the fields I work - phenomenology and the cognitive sciences. My theory on reflective, bodily consciousness has been presented at a number of conferences in Europe and the States, and the work I've done so far has been published.
Now I am working on a doctoral dissertation that in due course will be handed in at the University of Oslo.
For those curious about my theory on bodily reflection: There's more on the philosophy site!
It was challenging and it was exciting - especially by the end of the MA, when I discovered that my way of thinking and being in the world might actually be of interest to the academic world.
I wrote a paper and later my master thesis on the states of consciousness artists experience in performing situations. Happily my work found its place in an academic landscape where topics like embodiment, expertise, and skillful activity are passionately debated on an international level.
I feel I've been received with open arms by the larger academic community, especially within the fields I work - phenomenology and the cognitive sciences. My theory on reflective, bodily consciousness has been presented at a number of conferences in Europe and the States, and the work I've done so far has been published.
Now I am working on a doctoral dissertation that in due course will be handed in at the University of Oslo.
For those curious about my theory on bodily reflection: There's more on the philosophy site!