POLITICS OF VIRTUOSITY - Programme
Thursday, 02. 06. 05.
Mårten Spångberg: Powered by Emotions 02.06.2005. 18h, Teatar &td, Savska 25
The Goldberg variations by J.S. Bach interpreted by Glenn Gould, improvised by Steve Paxton, filmed by Valter Werdin, danced by Mårten Spångberg
With and by: Mårten Spångberg
Music: Keith Jarrett: “Köln Concert”, J. S. Bach from “Goldberg Variations” played by Glen Gould, Buena Vista Social Club played by Robert Göber and Jürgen Reichartz.
Light realization: Bruno Pocheron
Co-produced: TanzWerkstatt Berlin. Supported by Arts Grants Committee Sweden, Swedish National Council for Cultural Affairs. Made possible by: Gulbenkian Foundation, P.A.R.T.S., Kaai Theater. Thanks to: Mette Ingvartsen, Pedro Pinto.
Mimicry is not a consequence of space rather of the representation of space. It is with represented space that the drama becomes specific since the living creature, the organism, is no longer the origin of the coordinates, but one point among others; it is dispossessed of its privilege and literally no longer knows where to place itself. It is remarkable that represented spaces are just what is multiplied by contemporary science: Finsley’s spaces, Fermat’s spaces, Riemann-Chrisopffel’s hyper-space (we may add here too the space of virtual realities), abstract, generalized, open and closed spaces, spaces dense in themselves, thinned out and so on. The feeling of personality, considered as organism’s feeling of distinctness from its surroundings, of the connection between consciousness and a particular point in space, cannot fail under these conditions to be seriously undermined. We then have the feeling that we exist a little less, not with less strength, but with less precision, and our identities lose some of their arrogance.
Oliver Frljić: Danton's Death 02.06.2005. , 20h, Teatar &td, Savska 25
BANANA GUERILLA vs ADU
Georg Buchner's Death of Danton
Director: Oliver Frljić
Dramaturge Irena Ćurik
Producer Vanja Sremec
This performance is rather conceived as a machine with the possibility of plugging into another machine (a literary one or a social one, for example) than as a (re)production of stabile entities (presupposed meaning, for example). As a starting point of this work there was the idea of different connections which would be established between this performance and the diverse contexts of its occurring. What concerns us is its quantitative potential, its productive ability and parameters which effect its productiveness.
Regarding Georg Buchner's play Death of Danton and the receptive pressure/dictate which it produces, we took it as a literary machine which works on previously and autonomously produced materials, semantically charging them. In other words, all performative materials were developed independently of Buchner's play, which came a posteriori. Depending on the performing context, Buchner's play can be consider as an additional centripetal force, which endows performance whit consistency, linearity and eventually starts to function as its quasi cause.
The language chosen for the performance is French. This decision came as result of attempt to eject the performers from the representative regime. Namely, six performers participate in this performance. Four of them do not speak French and they are also not able to read it without the help of consultant who speaks French. Rather then interpreting presupposed meaning, they had to deal with memorizing text and correct pronunciation. The idea was to put the performers (especially performers who went through formal institutional actor training) in a situation which reduces the possibilities for operating with the semanticity of used textual material and which forces them to be more concerned with the technology of their performance.
It was abovementioned that this performance is interested in different contexts of its occurrence. Apart from perceptive changes it produces, it is also focused on the decrease and increase of its functionality depending on the spatial quality of given location. Group dynamics is another field of interest and the performance explores changes through which it itself undergoes in this segment. Its special interest is the micropolitics of performance, types of relations between performers produced by the fact of performing in a particular context, a situation in which the performers are not only observed, but are also observers themselves
03.06.2005., 10:00, mama, Preradovićeva 18
Meeting of new dance (and interdisciplinary) initiatives
Station (Belgrade), National Dance Center (Bucharest), Association of Independent Artists (Ljubljana), Stara Elektrarna (Ljubljana), per.art (Novi Sad), Kanuti Gildi (Tallin), EkS-scena (Zagreb), HIPP (Zagreb), Zagreb – Cultural Kapital of Europe 3000 (Zagreb)
Igor Pribac: Productivity of culture
03.06.2005., 17:00, mama, Preradovićeva 18
"If we agree to the idea that culture has no meaningful economic effects – which is not true – we agree to the subordinated role of culture in relation with the profitable sectors of social life. The thesis of Paolo Virno on culture as the «sphere of production of production means» Pribac will argument for the economic significance of culture and point to some consequences of this attitude."
Igor Pribac is a lecturer of social philosophy and philosophy of history at the Facutlty of Philosophy in Ljubljana.
His area of interest is the history of social and political thought and contemporary political theory and social practices.
Alice Chauchat & Alix Eynaudi: Crystalll 03.06.2005., 20h, Istra, ZKM, Teslina 7
Choreography: Alice Chauchat and Alix Eynaudi
Dance: Alix Eynaudi
Light design: Bruno Pocheron
Set design: Alexander Wolff
Manager production: Pauline Roussille
Co-production: Maska ( Ljubljana), Tanzquartier ( Vienna). With the friendly support of Tanzfabrik ( Berlin), Monty ( Antwerp), Künstlerinnenhof Die Höge and Centre National de la Danse (for studio loan); Institut Français Ljubljana
CRYSTALLL problematises the ornamental function of performance.
We call performance's "ornamental function" its formal dimension, its capacity to give visual pleasure in itself, without any other discursive aim than defining aesthetics through its formal properties (ornament then appears as non-useful, freed from representative roles); the ornamental object doesn't represent a
concept other than itself but lets itself be contemplated without a link to an absent object. The "spectacular function" is its backside, the ability to bewitch, through which a performance can absorb its audience. The spectacular ornament, without describing another idea than its own being, then implements an aesthetic experience without object. Crystalll is a spectacular ornament that implements critique, not of the stage object but of its perception.
We want to produce a double movement for the spectator:
- attraction, fascination for spectacularity
- auto-realisation, awareness and wonderment for this state
Both directions are implemented by the same elements, without proposing a critique of the represented object but provoking for the audience to criticize their own gaze. We're interested in a critical relation that doesn't moralise such representations but brings about a doubt between conceptions and experience. Rather than directing all elements in the same direction, CRYSTALLL creates a conflict that doesn’t ask for solutions. CRYSTALLL offers itself to a continuous practice of merging and distancing with/from a spectacular moment.
04.06.2005., 10:00 – 14:00, mama, Preradovićeva 18
04.06.2005., 16:00 – 18:00, mama, Preradovićeva 18
Nikolina Pristaš / BADco.: Fleshdance 04.06.2005., 20h, Gliptoteka HAZU
Authors involved in the project:
choreography: Nikolina Bujas-Pristaš
dancers: Pravdan Devlahović, Ana Kreitmeyer,Nikolina Bujas-Pristašdramaturgy: Ivana Ivković, Goran Sergej Pristaš
music: Helge Hinteregger
light design: Miljenko Bengez
video: Oliver Imfeld
costumes: Silvio Vujičić
visual assistance: Goran Petercol
advisors: Tomislav Medak, Ivana Sajko, Aleksandra Janeva
executive producer: Una Bauer
In the choreography Fleshdance the tactile qualities of the surfacing space of the flesh do not dictate the movement, the movement dictates the appearance of the surfaces and their quality. Flesh is not the border between the body and the outside materiality, it is the surface which defines the movement by its quality to see with the touch, longs without view, falls apart in the moment of feeling and suffering. The desire of the flesh is not directed towards the other, but simply towards the outside. By showing the flesh in the economy of gaze exchange, performers are communicating flesh as the materiality of existence. Animal bodies lose the feet under ground which constantly changes direction. Claws, wings, paws, palms, immobilized body parts, bodies that are touching the borders of the space. The joy of the flesh is not its desire or the possibility of its accomplishment, it exists in the multiplicity of the erogenous zones and the levels of intensity on the surface it makes.
DJ Labosh: Method of Dehumanization 04.06.2005., 21.30, Gliptoteka HAZU
Sound experiment based on the tradition of european «turntableism» and founded on the new and boundless source of loops (a phrase endlessly repeating itself) at the end of the cut of every vinyl disc as the basic unit of electronic music, and its manipulation with basic dj tools. It is the part of the record where there is no musical score and is the exclusive result of the process of its manufacture. Since this part of musical score does not belong to the author's rights that protect the visual side of the vinyl, with this project we are questioning the inflexibility of existing mechanisms of author's rights protection.
Politics of virtuosity takes part within the annual project On labour of CDU – Centre for drama art
Zagreb – Cultural Kapital of Europe 3000 takes place in the framework of relations
relations is a project initiated by Kulturstiftung des Bundes (Federal Cultural Foundation, Germany) www.projekt-relations.de
Kontakt. The Arts and Civil Society Program of Erste Bank Group in Central Europe.
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