HOUSE ON FIRE
2012–2017
House on Fire is supported by the Culture Programme of the European Union.
The European Commission support for the production of this publication does not constitute an endorsement of the contents which reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
House on Fire are: Archa Theatre (Prague), BIT Teatergarasjen (Bergen), brut Wien (Vienna), Frascati Theater (Amsterdam), HAU Hebbel am Ufer (Berlin), Kaaitheater (Brussels), LIFT (London), Malta Festival Poznań, Maria Matos Teatro Municipal / EGEAC (Lisbon) and Théâtre Garonne (Toulouse).
HOUSE ON FIRE
2012–2017 6 ENTERING THE BURNING HOUSE 8
Who set the house on fire? Curating a European network Self-evaluation And now the house really is on fire
BLAZING NUMBERS & FIERY FACTS 16
Mobility Performing arts productions & presentations Organisation of thematic programmes Publication of the book series
PERFORMING BURNING ISSUES 22
Performances: Jumping into the flames Thematic programmes: Fuel for thought Books: Heated discourse and growing exposure Exits?
AUDIENCE RESPONSES 32
LISTING OF HOUSE ON FIRE ACTIVITIES 36
Co-Productions & Presentations Thematic Programmes Book Series
Contributors 45 LONNEKE VAN HEUGHTEN ENTERING THE BURNING HOUSE
A REVIEW
8 During the House on Fire project, which Poznań (Poland) and Théâtre Garonne in ran from 2012 to 2017, Europe found itself Toulouse (France). in an increasing state of turmoil. There was The HoF partners shared common an ever greater need for transnational and ground in either having an interest or play- cross-regional affiliations and cooperation ing a role in the development of the so-called as advocates of nationalist sentiments and ‘Reality Trend’ in contemporary performing isolationist politics invoked a nostalgia for arts. Artists had been playing an active part the past as a different country where the in the public debate on our current social, difficult questions of how to live together environmental and political challenges, most were seemingly less urgent. Currently, with notably through politically engaged and docu- right-wing populism spreading like wildfire mentary theatre. This meant not just signalling throughout European countries and with and presenting artists or artworks that were Brexit looming large, the founding values of already part of the trend, but also contributing the EU are under threat. The report that you to the visibility of internationally lesser known are reading begins its narrative at a time artists, as well as artists who were develop- when there seemed to be a broader agreement ing new areas in their work, and providing an about urgent economic and environmental impetus for the development of new collabo- crises needing a concerted effort and common rations and creations. Moreover, HoF aimed at solutions that do not stop at national borders. providing long-term support for artists. The In this sense, as one programmer reflected, the goal of the project was thus twofold: on the one title of HoF turned out to be ‘prophetic’. hand, it was to investigate the critical potential of the theatre as a site for knowledge produc- WHO SET THE HOUSE ON FIRE? tion and encounters, while, on the other hand, House on Fire (henceforth abbreviated as HoF) it would develop an international program- was a European collaboration that received ming and transnational co-production policy. project funding from the European Union’s In the name of the project, ‘House’ stands for Culture Programme 2007–2013. The project was sustainability in supporting arts and artists, as considered to fit in with the programme’s aim well as the world we live in. ‘Fire’ stands for to ‘encourage and support cultural cooperation the urgency and passion that drives artistic within Europe in order to bring the European creation, as well as the pressing need to tackle common cultural heritage to the fore [...] worldwide issues together. Urgency calls for with a view to encouraging the emergence of sustainability and vice versa. The theatre, European citizenship.’ In 2012, HoF was one of as both a house where artists can do their 14 out of 54 Multi-Annual Cooperation Project work and a space where diverse people can proposals that were selected by the Education, share experiences and do things together, can Audiovisual and Culture Executive Agency incorporate this double movement. The name (EACEA). The 5-year project was awarded is also reminiscent of the potential of theatre 88 out of 100 points by the two anonymous to instigate revolution. A prime historical expert evaluators and €2,467,500, or 44.37%, in example — which is also referred to by authors European co-financing. Its ten partner organ- in the HoF books — occurred on 25 August isations were Maria Matos Teatro Municipal/ 1830 when Daniel Auber’s opera ‘La muette de EGEAC in Lisbon (Portugal), Archa Theatre in portici’ aroused nationalist sentiments among Prague (Czech Republic), BIT Teatergarasjen its Brussels audience, leading them to riot and in Bergen (Norway), brut Wien (Austria), helping to accomplish Belgian independence Frascati Theater in Amsterdam (Netherlands), from the Netherlands. Of course, political HAU Hebbel am Ufer in Berlin (Germany), agency does not have to imply such a direct Kaaitheater in Brussels (Belgium), LIFT in influence or change in political systems. Each London (United Kingdom), Malta Festival artist or collective and each performance may 9 69 Positions, Mette Ingvartsen (2014)
have a politics of their own, responding to project both as an insider and an outsider. In different issues in society, imagining unknown the HoF spirit of constructive criticism and alternatives, or sparking debate. the search for alliances with other disci- The central aim of the project was to plines, she was given access to the curatorial further the development and critical potential process, observing an aspect of performing arts of the performing arts in a European context. networks that tends to remain hidden from In order to achieve this, HoF would generate sight. Entering the burning house from multi- three types of activities. First of all, the inter- ple directions for her PhD research into the national co-production and presentation of relationship between European cultural policy issue-based creations in the performing arts and theatre practices, she attended HoF meet- — an approach that was guided by the artists. ings, performances and events, visited Malta Secondly, the co-organisation of multidiscipli- Festival Poznań and LIFT, and participated in nary thematic events dedicated to urgent topics Edit Kaldor’s ‘Inventory of Powerlessness’. The and issues — an approach guided by curators. parts of the report that were written by her Thirdly, the publication of a series of books reflect both on the curatorial processes and on about art and society, based on the activities the outcomes of the project in terms of perfor- of the network and the work of the artists and mances, thematic events and books. In the thinkers involved — an approach guided by middle of the report, HoF presents the ‘Blazing theoreticians. Based upon this organisational Numbers & Fiery Facts’ about what was framework, the HoF project developed into an achieved in the course of the project. Finally, organic conglomerate of dispersed experiences, the report ends with the results of a sample with diverse events and discourses taking place survey on audiences’ perceptions about HoF simultaneously. activities at the Maria Matos Teatro Municipal/ This report was written by Lonneke EGEAC, conducted by the association Acesso van Heugten, a researcher at the University Cultura. The addendum provides a listing of all of Amsterdam, who was involved in the HoF the HoF activities. 10 Now, let’s not be blinded by the smoke, programmers, sometimes colleagues from their and let’s enter the house. organisations, would gather together for two days at a time at one of the partner’s venues. CURATING A EUROPEAN NETWORK HoF thus travelled to all of the partners’ The performing arts have agency in their local contexts, allowing them to experience social being. They happen through collective the organisation and the environment within efforts and communicate directly to their audi- which these operated. Often, meetings would ence. Therefore they require different kinds be planned around HoF events or international of curation to the visual arts, which are more performing arts festivals so that the program- dependent on the care of institutions for their mers could get to know different artists and survival and need someone to mediate their their work. encounter with their audience. At the same The days were filled with intense work, time, their vulnerability lies in their effer- as all activities — co-productions, thematic vescence: they require time, space and other events, books, budgets and internal func- investments from their artists (director, creator, tioning — had to be discussed and preferably collective, critics), as well as audiences and decided on during these hours spent together. many other actors, in order to come into being There were also time slots for ‘artists’ presenta- again and again. Institutions such as theatres, tions’, which meant that an artist (or a repre- festivals and networks can provide support, sentative from a group) would present their temporary shelter and the right conditions work in person to the curators at the table. In for artists to enter into a specific art world. this way, the curators could get to know both Performing arts curators — as lovers of art, the artist and their work, especially if they as experts in their local contexts and in the hadn’t been acquainted before. The program- histories of the national performing arts, and as mers would engage in conversation with them representatives of their institutions — thus play about their work, discussing anything from an important role in facilitating artists’ work. pragmatic aspects to dramaturgical issues The HoF curators are the following and ideas. Sometimes a part of the work or programmers, who have often been accompa- work-in-progress would be shown in a theatre nied by another member of their organisation’s space. When possible, the partner hosting the staff: Sven Birkeland and Karoline Skuseth of meeting would introduce and promote local BIT Teatergarasjen, Thomas Frank and later artists, with whom they already had an ongo- Kira Kirsch of brut Wien, Mark Ball, Jon Davis ing relationship. For artists, the network offers and Jonathan May of LIFT, Ondrej Hrab and potential access to the European performing Jan Veselý of Archa Theater, Mark Timmer of arts scene. In this sense, the house is literally Frascati, Mark Deputter and Laura Lopes of a durable space with people who support and Maria Matos Teatro Municipal/EGEAC, Kasia encourage the development of artists and the Tórz of Malta Festival Poznań, Guy Gypens of local environment and aesthetics, and the Kaaitheater, Jacky Ohayon and Stéphane Boitel building of relationships with audiences. of Théâtre Garonne, Annemie Vanackere, The criterion for choosing whether a Ricardo Carmona and Aenne Quiñones of performance should become a HoF produc- HAU Hebbel am Ufer. Each of the ten organi- tion was that it should reach beyond its local sations had their own profiles and operated in parameters, thus enabling more than two their own contexts and environments; ranging partners to share in a co-production. This aim from a theatre without a house of its own (BIT led to the European added value of intensive Teatergarasjen in Bergen) to a biannual festival exchanges and an expansion of curatorial (LIFT in London). practices. As one partner mentioned, the first The central challenge was finding a meetings were quite pragmatic and became common sense of what could be a ‘House on more specific as the contents were discussed. Fire’ production. This called for an attitude of The curators took many elements into account curiosity towards the unknown, based on a when choosing what should be highlighted shared idea that had to be made concrete in the in a programme, basing their decision on the process of curation. Three times a year, the ten artists’ previous work, how it was received
11 at different venues, how the proposed work encountering other artists and works, explor- addressed a certain target audience, and how ing other social and cultural contexts and it responded to current issues. The rest was collaborating with experts. a leap of faith. The most important thing for This points to an essential part of the most curators is seeing the work performed: curator’s role that is rarely discussed. The while video recordings and the experiences concept of care. The Latin verb ‘curare’ derives of trusted colleagues can be valuable, curators from the noun ‘cura’ meaning concern, worry, feel a responsibility towards other artists, their anxiety, task or responsibility. While all these institutions and their audiences, as well as for words can be applied to the curatorial process, protecting their own integrity and credibility ‘curare’ translates as ‘to care for’. The philoso- for the work they commit to. pher Harry Frankfurt calls caring a ‘volitional Many of the partners knew each other necessity’: our will urges us to do it. Acts of from previous co-productions — the modus caring have a dual effect: on the one hand, they operandi of international cooperation through are instigated by and attribute worthiness to festivals and networks. The HoF partners often the things we care about; on the other hand, take part in interconnected webs of interna- they give coherence to our own lives. Thus the tional bilateral collaborations and European individual care that the HoF curators display networks, such as Imagine 2020 and APAP. for performing artists and artworks that deal However, not all theatres in EU countries are with urgent social and political issues not only used to this modus operandi of ‘European’ inspires others to start to care for these artists co-productions. It is a model that the newer EU and issues as well, but also gives coherence to countries have had to adapt to. Co-production the existence of the network. After all, Guy involves a lot of bureaucratic collaboration, Gypens of Kaaitheater, calls HoF’s artistic staff and practices, as well as being accountable coherence an ‘exceptional achievement’. to the municipal, regional or national subsidis- House on Fire 2012–2017 invested their ers, whose policies may not have established collective care in promoting the transform- protocols for co-productions and for matching ative power of the performing arts and the European funding. Moreover, performances development of new aesthetics and energies travel more smoothly on established circuits. in a constellation of performances, discourses At the HoF meetings, the programmers were and events. They had to deal with the inherent aware of their local and collective roles and tension between simultaneously legitimising responsibilities, knowing what and who they and challenging the practices of their own could allow to become part of their project institutes. These activities share a common and thus gain greater visibility through their belief in performativity, in the sense that the promotion on the international scene. At the Reality Trend in the performing arts can bring same time, they had to negotiate the conditions new realities into the world. of the art worlds that they are part of, and take into account the framing of their own propos- SELF-EVALUATION als. Certain artists and aesthetics are recurrent Besides its commitment to the artists and their presences on this European stage of intercon- artworks, the HoF network helped its member nected international venues and festivals. At organisations to realise certain ambitions in the HoF meetings, there was a critical aware- their respective cities. Notably, it helped the ness of the predominance of certain artists on coordinator Maria Matos Teatro Municipal/ this European stage, and care was also taken to EGEAC to become ‘the most international promote lesser known artists who could bring theatre in Portugal’. For organisations such as new aesthetics to the expanding constellation HAU Hebbel am Ufer or Kaaitheater, the inter- of the performing arts in terms of their effi- nationalising power of the network was less cacy and agency in regard to urgent issues. The drastic as their co-productions were already an artists would promote their work by touring extension of their existing international profile. these European stages, reaching a wider audi- For Kaaitheater, it enabled them to put the ence and engaging with different program- new idea into practice and to let the ‘exterior mers. The network also provided opportunities world contaminate directly what was happen- for artists to develop their artistic politics by ing inside the theatre in order to better define 12 Home Visit Europe, Rimini Protokoll at an apartment, in Prague (2015)
the political position of the institution itself’. the practical aspects of summarising the meet- The general consensus is that HoF inspired ings, adapting the schedules of all the activities, individual curatorial practices to think about asking for input from the co-organisers for the what political performances can be and about interim evaluations, explaining and asking for what artists, institutions and audiences may the translation of all the different costs into the need to see or experience in their local field. appropriate earmarked categories as supplied What alliances can be developed beyond the by the EU, and many other tasks that make art world as a result of these artworks? HoF a network ‘work’. The amount of time, effort tried to promote research into the existential and coordination that goes into a European layer of the performing arts, thus also calling project and is required from all the co-organ- into question their own existence, namely isers should not be underestimated. their political role in society. The co-organisers Theprogrammers felt that HoF lived up generally agree that the network succeeded to, or even exceeded, their expectations in that in expanding and adding credibility to their it provided inspiration and a space for sharing organisations’ roles in civil society. programming practices, discussing ideas, refin- They perceived the internal dynamics ing their impressions of what political theatre and functioning of the collaboration as being might mean, developing thematic programmes smooth and efficient, with realistic ambi- and presenting more and different international tions and a good balance between rigour and artists to their local audiences. Moreover, the informality. Credit is due to the coordinator network was a way of strengthening old ties Mark Deputter, who chaired the meetings in and forging new ones, and explicitly working a calm, open and structured manner, keeping in an EU context. Friendship and trust were the co-organisers on their toes whilst leav- important factors in the success of the network. ing room for self-reflective discussions on Some challenges that the network faced the functioning of the network. His assistant, included adapting the project framework to Laura Lopes, was relentless in dealing with local settings and conditions. Archa Theatre’s 13 programmer said that they ‘found it difficult to the risk of failure means accepting uncomforta- adapt’ to the central European co-production ble confrontations and recognising the difficul- scheme and to generate real interest in local ties in changing established ways. In a time of artists from the Czech Republic. Moreover, shrinking territories, the public should be made not all HoF creations worked equally well aware of the radical potential of transnational in each country. A European collaboration collaboration in facing global challenges that means constantly negotiating ways of work- impact on the local environment. ing and bringing together different histories House on Fire encouraged each of and artistic legacies for programmers, artists the curators to take more risks and to allow and audiences. There is not just one aesthetic performing arts practices, performances, consideration or content that speaks in the events and debates to set their own houses on same way to different places and people. fire. In the end, they performed a collective Another criticism can be that the theatres that curation, not just as a facilitation of artists and had more means and resources were, in fact, in their work or as a way of providing them with a position to present more works. This is not a platform in an international art world, but only a question of the financial resources and also as a way of demonstrating urgent roles the number and size of the venue’s spaces, but and issues for the performing arts and society also of their being used to a specific way of at large. working. It would be ideal if this unevenness could be alleviated in future collaborations, AND NOW THE HOUSE REALLY IS ON FIRE bringing European, local and national cultural As has been said, the HoF proposal had a policies in line with one another. prophetic element. Over the course of the Another challenge was the visibility of project’s implementation, the theatre itself the network. Given that the curatorial process increasingly became a focal point for the anxi- takes place behind closed doors, it is often the eties and struggles taking place in European case that, in the whole process that brings societies. At times, the sparks generated by the productions, the artists, the event and the the frictions within the artistic works spread audience together, the only things that are like wildfire into the public domain. In 2014, physically visible are the logo of the network at least three such cases happened. In London, and the credits to the European Culture the live installation Exhibit B by South African Programme. Some co-organisers succeeded in artist Brett Bailey did not open at the Barbican finding ways of making the network visible, Centre after petitions were signed and protests both within their own organisations, as well made against its perceived racism. In Berlin, as within their local context. The challenge to HAU Hebbel am Ufer presented the live instal- make the network visible requires the produc- lation Wanna Play? (Love in times of Grindr) tion of a collective profile that can give the by Dutch artist Dries Verhoeven. Its display collaboration greater credibility among poten- in a square was stopped after uproar was tial partners and artists. More importantly, the generated over its approach to questions of visibility of a European network that strives privacy and the consent of access to online to genuinely research its own capacities and profiles and conversations. Malta Festival politics in relation to societal changes and Poznań was faced with a Catholic petition with urgent common issues, as far as the perform- over 40,000 signatures and perceived threats ing arts world is concerned, may promote the of potentially violent riots over the planned need to work together and to find alliances showing of Golgota Picnic by Argentinean across different sectors. The network can be a director Rodrigo García. Here, HoF proved modest example of a ‘community of risk’ that to be an unexpected space for support. Malta can counter the current surge of identity poli- Festival Poznań programmer Kasia Torz was tics in many European countries. Instead of able to talk with the colleagues of Théâtre shielding the local from the international, such Garonne about how they had handled similar projects fire the imagination, encouraging the protests against the play in Toulouse in 2011. taking of shared risks and illustrating the bene- The network also signed and shared a letter in fits of taking them together, without defining solidarity with Malta Festival Poznań. When in advance who is in and who is out. Admitting the festival decided to cancel the play, it was 14 15th Extraordinary Congress, Vlatka Horvat at LIFT Festival, in London (2014)
replaced by debates, alternative readings and of anything that is foreign: who is allowed to showings, and a nationwide discussion about show what, when and under what conditions? theatre, religion and freedom of expression. In this sense, the transnational character of The fact that the performing arts can HoF itself has become an increasingly urgent provoke such incendiary reactions in some sign in times of growing Euro-scepticism. places and not in others means that they Besides the obvious financial support that is can bring to light sensitivities and unre- being provided to some of its partners in times solved issues that are bubbling beneath the of budget restraint, HoF has also demonstrated surface of society. This might apply more to a sense of solidarity with artists and organisa- those artists involved in the ‘Reality Trend’. tions facing increasing pressure. While theatres usually manage to contain the public firestorm breaking out in their houses in the form of heated debates and alternative showings, much also depends on the political support for artistic freedoms and protection from the potential violence directed against the venues, artists and audiences. Theatre is a risky business, but it is not fireproof. Practices of transnational curation take on the challenge of embedding performances in local contexts and translating and framing contents and aesthetics across cultures. It may similarly not have been a coincidence that it was the works presented by non-local artists that aroused such indignation. There is growing suspicion
15 BLAZING NUMBERS & FIERY FACTS
AN OVERVIEW
16 Between 2012 and 2017, House on Fire exceeded ORGANISATION OF THEMATIC its own expectations in terms of the number PROGRAMMES of projects and productions that it realised. In the ten HoF cities, 93 small and large-scale Moreover, the outcomes of HoF’s activity events were held, consisting of various activ- are not limited to this time period; through ities, ranging from post-performance discus- the transnational connections that have been sions to lectures and symposia. The thematic established, the mobility of many of the artists programmes facilitated encounters between and other professionals, as well as the lives of those working in the field of the arts, cultural the performances and books, will continue to agents, philosophers, economists, writers, expand. academics and politicians, etc., and the various audiences operating within the context of the MOBILITY ten thematic programmes: In total, the HoF co-productions, presenta- tions and thematic events have had a direct 1 — Art & Politics impact on the international mobility of around (in Lisbon, Vienna, Brussels, Prague, 3,000 professionals from the worlds of the arts, Bergen, Toulouse and Berlin) education and civil society, thereby creating an 2 — Biopolitics, Gender & Transhumanism important exchange and promotion of dialogue (in Poznań, Lisbon, Berlin, Amsterdam, between multiple visions and cultural charac- Brussels and Bergen) teristics across several countries — see map 3 — Cultural Diversity at a Crossroads pags. 18/19. (in Poznań, Berlin, Amsterdam, Brussels and Prague) PERFORMING ARTS PRODUCTIONS & 4 — Government, Conflict & War PRESENTATIONS (in London, Prague, Berlin, Toulouse, House on Fire presented and co-produced Bergen and Brussels) 87 international performing arts creations, 5 — Migration / Refugees amounting to 630 presentations within the (in Lisbon, Vienna, Brussels, Prague network and around 1,300 presentations in and London) other European and non-European cities. These 6 — Shared Knowledge / Learning artistic works were seen by audiences around (in Bergen, Amsterdam, Toulouse, Prague, 1,900 times, equivalent to over 31 presenta- Brussels and Poznań) tions per month in the following countries, 7 — The Individual and the Common amongst others: Argentina, Austria, Belgium, (in Brussels, Lisbon, Vienna, Amsterdam, Brazil, Chile, Croatia, Czech Republic, Estonia, Toulouse, Prague, Poznań and Berlin) France, Georgia, Germany, Greece, Hungary, 8 — The Politics of Economy Japan, Netherlands, Norway, Poland, Portugal, (in Lisbon, Amsterdam, Vienna, Brussels, Rwanda, Spain, Sweden, Switzerland, United Toulouse, Berlin and London) Kingdom, United States of America (this list is 9 — The United States of Europe not complete and the works still remain open (in Toulouse, Lisbon, London, Brussels for further tours). and Vienna) 10 — Utopia (in Poznań, Toulouse, London, Prague, Brussels, Vienna, Amsterdam, Bergen and Lisbon)
17 Citizens from the following 48 countries travelled to at least one of the 10 European countries represented in HoF, in order to actively participate in its projects: Argentina, Austria, Belgium, Brazil, Bulgaria, Burkina Faso, Cambodia, Chile, Croatia, Czech Republic, Denmark, Egypt, Ethiopia, Estonia, France, Gambia, Georgia, Germany, Greece, Hungary, Italy, Ivory Coast, Japan, Lebanon, Morocco, Mozambique, Netherlands, New Zealand, Nigeria, Norway, Palestine, Poland, Portugal, Romania, Russia, Rwanda, Senegal, Serbia, Slovakia, Slovenia, South Africa, Spain, Sweden, Switzerland, The Democratic Republic of the Congo, Turkey, United Kingdom, United States of America.
18 19 The Extra People, Ant Hampton (2016)
ASSOCIATED PARTNERS · Centro de Estudos Sociais (CES) Throughout the project, the following78 insti- da Universidade de Coimbra tutions and organisations actively collaborated · Centro em Rede de Investigação em in the thematic programmes: Antropologia – CRIA/ISCTE-IUL (Lisbon) · Centrum Kultury Zamek (Poznań) · 11.11.11 (Brussels) · Centrum Sztuki Dziecka (Poznań) · 14–18 Now (London) · CinéMaximiliaan (Brussels) · agora42 Verlagsgesellschaft mbH (Stuttgart) · COC (Amsterdam) · Arab film days (Bergen) · DasArts (Amsterdam) · Art Stations Foundation (Poznań) · De Brouwerij (Amsterdam) · Associação de Refugiados em Portugal · De Correspondent (Amsterdam) (Lisbon) · De Theaterschool (Amsterdam) · Barbican Centre (London) · Estrada Poznańska (Poznań) · Battersea Arts Centre (London) · Flux FM – Plattform für regionale · Biovilla / BVLL – Cooperativa para o Musikwirtschaft GmbH (Berlin) Desenvolvimento Sustentável C.R.L. · Foundation for National Scientific (Palmela) Computing (Lisbon) · Bits of Freedom (Amsterdam) · Galeria Miejska Arsenal (Poznań) · British Council (Lisbon and Warsaw) · Goethe Institut (Lisbon, Warsaw · Bühnenwatch, Bündnis kritischer and Brussels) Kulturpraktiker_innen (Berlin) · Haus Bartleby e.V. with The Club of Rome · Bundeszentrale für Politische Bildung (Berlin) (Berlin) · Hyperion (Amsterdam) · Bureau Cassiopée/Cassiopée Office – · IHC – Instituto de História Contemporânea, Paris/Bergen FCSH-UNL (Lisbon) Bureau &MAES (Amsterdam) 20 · Initiative Schwarze Menschen Bund e.V., No Humboldt 21 (Berlin) · Instituto Italiano di Cultura (Brussels) · Instytut Adama Mickiewicza (Warsaw) · Instytut Ksiazki (Krakow) · Instytut Muzyki i Tańca (Warsaw) · Instytut Teatralny im. Zbigniewa Raszewskiego (Warsaw) · Kamers met kansen (Amsterdam) · Khib – Bergen Academy of Art and Design (Bergen) · Kunstraum Kreuzberg/Bethanien (Berlin) · KW Institute for Contemporary Art (Berlin) · Livraria Marcel (Lisbon) · Missy Magazine (Berlin) · Moneylab (Amsterdam) · Narodowy Centrum Kultury (Warsaw) Thematic ProgrammeInternacional Summer Schoolat Archa Theatre, · NRC Handelsblad (Amsterdam) in Prague (2016) · Oikos (Brussels) · Ombres Blanches (Toulouse) · P2P Foundation (Brussels) · VUB Crosstalks – Vrije Universiteit · Passagen Verlag Wien Ges. m.b.H. (Vienna) Brussels (Brussels) · PERDA – Projecto de Estudo e Reflexão · Watermans Art Centre (London) sobre Desperdício Alimentar (Lisbon) · We are here (Amsterdam) · Polski Instytut Sztuki Filmowej PISF · Wyższa Szkoła Nauk Humanistycznych (Warsaw) I Dziennikarstwa (Poznań) · Quercus (Lisbon) · Yard Theatre (London) · Royal Court Theatre (London) · Savvy Contemporary (Berlin) PUBLICATION OF THE BOOK SERIES · School of Form (Poznań) House on Fire published a series of 4 · Somerset House (London) books entitled ‘Performing Urgency’, for · SOMO – Centre for Research on which Florian Malzacher was the editorial Multinational Corporations (Amsterdam) coordinator. · Southbank Centre/Centenary The ‘Performing Urgency’ series is · Art Commissions (London) published by Alexander Verlag in Berlin and · Stadtkino Filmverleih und co-published by the Live Art Development Kinobetriebsgesellschaft m.b.H. (Vienna) Agency in London. · Tertium (Amsterdam) In total, 95 AUTHORS from the following 29 · Tilburg University (Tilburg) countries collaborated in the series: Algeria, · Tinta da China (Lisbon) Austria, Belgium, Bosnia-Herzegovina, Brazil, · Unipop – Universidade Popular (Lisbon) Croatia, France, Germany, Greece, Hungary, · Universidade de Lisboa/SUSTAIN (Lisbon) Israel, Italy, Ivory Coast, Lebanon, Netherlands, · Universidade Nova de Lisboa/CENSE – Norway, Palestine, Poland, Portugal, Rwanda, Centre for Environmental and Sustainability Serbia, Slovenia, Spain, Switzerland, Tunisia, Research (Lisbon) Turkey, United Kingdom, United States of · Universiteit van Amsterdam (Amsterdam) America and Zimbabwe. · University of Bergen (Theatre Studies) · Uniwersytet Artystyczny w Poznańiu (Poznań) · Uniwersytet Im. Adama Mickiewicza (Poznań) · USF Verftet (Bergen)
21 LONNEKE VAN HEUGHTEN PERFORMING BURNING ISSUES
A REFLECTION
22 What happens when you move beyond the those actions should be — what changes should facts and figures and venture closer to the happen in our thinking — is not prescribed by flames? What did the resulting HoF perfor- these performances: it is not about what action mances, thematic events and books offer to should be taken and how, but about having the burning issues? What added value do they both the space and the time needed to engage have for Europe and what windows do they with issues through an aesthetic experience. open to the future? The theatre can incorporate different forms of politics: it can embody knowledge, social and PERFORMANCES: JUMPING INTO cultural norms, and all kinds of other media. It THE FLAMES places people themselves at the heart of these issues, in the centre of the burning house. ‘Art is like fire. Born from what it burns’ In each case, there are multiple layers of (Jean-Luc Godard) politics going on: there is a difference between the politics of the artist, the process of crea- Art is like fire: it consumes something else, tion and the performance. If individual artists transforming it into radiant creative energy or a group of artists position themselves as and light, but with a risk. Performances in the ‘political’ or ‘engaged’, this does not mean that Reality Trend find their flammable materi- the outcomes of their work need necessarily als in political and social realities crying out be so, too. Similarly, the mere fact of dealing for collective action, and they address the with urgent matters may not be political in risks head on. It is HoF’s conviction that the the sense that it attacks something, or that it performing arts can contribute to the debates shows a different way of being, of thinking taking place on urgent global issues. The about, or of seeing the realities we experience network felt a need to support the production on a day-to-day basis. of new works and provide international recog- There is not one way of characterising nition for established and emerging artists who the performances co-produced by HoF. They engage in public debates. While remaining vary in size and were made by diverse artists, close to social and political activism, this trend ranging from experienced and well-known is not antithetical to ‘art for art’s sake’, as new ones to new emerging talents. Their creations aesthetics arise from it. cover all the registers of the contemporary The added value that theatre and the performing arts: from theatre to dance, perfor- performing arts bring to activism, political mance art, live art, happenings, installations efforts and theory may be found in the fact and performance lectures. While differing that they deal with how we see and how we in its approach, aesthetics and contents, the perform the realities in which we live. They Reality Trend that the HoF productions are allow us to examine and experience our own part of highlights new ways of engaging and agency and complicity in the urgent issues dealing with social and political issues. This that the world is facing. In addition, the involves a renewal of the social and political strength of the performing arts is that they roles of theatre as an aesthetic form, draw- make it appealing for us to get together and ing inspiration from Ancient Greece, Brecht, imagine change individually and collectively. Schiller, postdramatic theatre, Paolo Freire, While activism requires a commitment that Augusto Boal and The Living Theatre — to not everyone can (yet) afford, the theatre as a name just a few. public space acts through the responses of the Many performances borrow systems audience, through the knowledge that they and rules from other institutions and put them gain, via the social media, by word of mouth, to the test, transforming them. Sometimes, the through reviews and blogs, and perhaps even audience is actively involved in these systems through initiatives or actions. But exactly what as spect-actors or performers. For example, 23 Anonymous P, Chris Kondek & Christiane Kuhl (2014)
Tiago Rodrigues’ (PT) By Heart leads the audi- Yugoslavia, a country that has ceased to exist, ence to participate — 10 of them on stage, the as well as having sought refuge in another others in the safety of their own seats — in country. Issues where history and personal memorising a poem. The creative power of memory intertwine with, and diverge from, collective remembering is continuously needed one another are examined, touching on the to balance the destructive force of collective landmines that lie hidden beneath the surface forgetting. In another performance, Rimini of social landscapes. Such a specific approach Protokoll’s (DE) Home Visit Europe, there means that each performance exhibits the are no performers except for the audience. transnational aspects in the local context. Sitting at a table in someone’s home, a game This performance lasts for 4 hours and the unfolds, in which discussion is prompted by a audience can come and go as they please. The small machine (is it a time-machine or a time- HoF productions show that, at times, urgency bomb?). The performance thus reduces the requires a slowing down: freeing up time from abstract bureaucratic machine of the EU to a the ordinary flow of life in order to examine, game of direct participation. investigate, experiment with, and connect to Urgency and sustainability require an lived and imagined realities of pasts, presents emphasis on process. Many of the HoF artists and futures in relation to our own lives. worked as a collective or in collaboration with Duration is also a question that arises artists from different disciplines or contexts. in the ongoing artistic processes of artists and Others focused on research and collaborations collectives. Many of the productions empha- with social actors, institutions, researchers sise research as part of the creative process. In and audiences. In each performance of Vlatka some cases, this leads to collaborations with Horvat’s (UK) 15th Extraordinary Congress, six experts and scientists. For Some Use for Your women, artists from the country where the Broken Clay Pots, Christophe Meierhans (CH/ performance is happening, all come together. BE) worked with political experts from Belgian They share a history of having grown up in universities to devise a new constitution, an 24 alternative democracy. The theatre is the how we want to be perceived. HoF produc- ideal forum to test this, the agon, where the tions engage with the relationships between audience participates in the debate on a new the individual and the collective, the intimate democratic constitution. In other cases, the and the mass, the personal and the cultural. research consists of a commitment to work- Many performances dealt explicitly or implic- ing with non-theatrical professionals. Edit itly with cultural norms and the performativity Kaldor’s (HU/NL) Inventory of Powerlessness of gender and race, which are complicit with engaged ‘ordinary’ people in each place in political, economic and media interests. As order to recount and connect experiences of some projects involved the need to find collab- powerlessness. orators, non-professional performers, alterna- Theatre is situated somewhere between tive venues and spaces, and specific audiences, the immunity offered by the art world that curators had to invest their creative energies contains it and the precariousness of its being and time in new ways of curating and rethink- a social art form; producing work depends ing the theatre as an institution in society. on the efforts of many people, as well as on The European added value that the the conditions of flexibility, mobility and the HoF creations bring lies, first of all, in their uncertainties of project-based work. Some circulation among the network partners and of the HoF productions dealt explicitly with beyond. In these performances, which travel these tensions and self-critically investigated internationally, exchanges of views, aesthet- the connections and complicities between the ics, experiences and knowledge are inevita- art world and societal issues. The theme of the ble. Each time a different audience engages privilege of birth and being able to produce with a work, its meanings and emotional art for a living is addressed, for example, in effects change. The artists originated from De Warme Winkel’s (NL) We Are Your Friends. different parts of the world and were often Sarah Vanhee’s (BE) Lecture for Everyone aban- to be found living and working in Europe or dons the theatre and seeks out spaces where collaborating with European artists. Thus, the people are already assembled, such as a choir works show the often complex intertwining rehearsal, a city council, a football training of Europe and the world. Added value also session, or a board meeting. The artist as an derives from the specific realisations of the outsider intrudes and presents a 15-minute artists’ ambitions to engage in heated issues proposition on how to live together in a co-cre- and debates about global challenges in local ated society. This unexpected insertion opens situations, as well as in the cultural exchanges a door for thinking about and reviewing the involved in their creative and performance purpose of their gathering together and their processes, which are often extensively artistic relationship with each other. Theatricality and social in nature. The high quality of the briefly becomes part of this everyday space performances also led to critical reviews in and then leaves it up to the individuals to deal the different countries. Moreover, the embed- with their own thoughts and emotions, and to ding of the performances in contextual events, decide, if anything, what to do with them. such as the HoF Thematic Programmes, linked These are just a few of the issues that them to other forms of civil engagement. The were opened up by the HoF productions. HoF network has undoubtedly fostered the Recurrent themes include: the shared postco- visibility and exchange of the Reality Trend lonial situation that binds the ex-coloniser and throughout the full range of its diversity of the ex-colonised together in complex power approaches, aesthetics and contents. Not only dynamics; wars, dictatorships and revolu- will most of the performances continue to tions around the world; post-industrial soci- tour beyond 2017, some will also be perpetu- eties and the role of technology; the politics ated in an online form (e.g. Home Visit Europe) of the aesthetic conventions, institutions and or in the form of a book published as part systems of the theatre. Beyond representation, of the performance (e.g. Some Use for Your there is agency in challenging how everyday Broken Clay Pots). Finally, some of the authors contexts, norms and rules are bound up with in the HoF book series ‘Performing Urgency’ our own acts, which enact who we are and discussed the performances in relation to
25 Lecture For Every One, Sarah Vanhee at Obra Social Irmãs Oblatas Santísssimo Redentor, in Lisbon (2013)
others, thus generating a wider discourse on THEMATIC PROGRAMMES: FUEL FOR the role of the performing arts in urgent social THOUGHT and political issues. The HoF thematic programmes were led by The HoF performances leave smoul- curators and aimed at finding alliances with dering embers of ideas, questions and experi- which to put out the political, economic and ences in relation to urgent social and political environmental fires that are currently raging issues that may kindle new forms of under- throughout the world and fuelling the debate standing and new ways of being in the world. about the role of the arts and aesthetics. The They urge us to find solutions together, to find hybrid programmes, centred around ten agency in the individual and the collective. The specific themes, could range from just one performances are not just about an attitude evening’s event to a series of activities extend- of engagement on the part of the artists, but ing over a period of months. They consisted of about a radically different practice and way of a variety of formats, combining, for example, thinking about their artwork, participation and lectures, film screenings, performances, work- representation, and the relationship with pres- shops, debates, lecture performances, forums, ent and future crises. This leads to new kinds art installations, seminars, conferences, of aesthetics that incorporate and — at least book presentations and small exhibitions. imaginatively — transform ways of ‘doing’ Occasionally, the events were programmed to democracy, political events, personal and coincide with HoF co-productions, creating or collective histories and memories, and theo- emphasising the links between the performing ries. Play, humour and seriousness alternate as arts world and other areas of culture, activism reality and theatricality intertwine and diverge. and education. The audience are seen as active partners and The thematic events addressed some players, who may decide to join in the public of the urgent issues that the world is facing, debate, taking or leaving the proposals offered by inviting experts from different countries for their communal and/or individual lives. to talk about potential common issues and 26 solutions. Sometimes, audience participation would move out of the theatre and take the form of workshops, bicycle tours through the city, or a free open-air banquet. Other events, such as Frascati on Money, focused more on performances and debates in the theatre. HoF’s festival partners produced elaborate thematic programmes within the concentrated time span of the festivals. Malta Festival Poznań expanded their Idiom programme, which is curated by an artist from abroad every year to present perspectives on the relationship between the arts scene and society in different parts of the world. It also provided a Forum for discussing parallels, such as the mirrored history of left-wing movements in Poland and Latin America’s right-wing dictatorships. LIFT By Heart, Tiago Rodrigues/TNDMII (2014) transformed all the spaces of the Battersea Arts Centre for a three-day After the War programme during the centenary of the First World War, with installations, publications, in a future European economy. Many of the talks and performances from around the world, HoF thematic programmes are interconnected exploring what it means to be living in the war and express this long-term engagement with or after it, dealing with its legacies. A space transnational issues. filled with history because, in 1916, it housed Maria Matos Teatro Municipal/EGEAC the trials of many conscientious objectors. came up with Gender Trouble, a two-month Some of the programmes looked crit- programme of performances, meetings and ically at the politics being enacted within a workshops revisiting the connections between European performing arts world itself. For gender and performance, even offering a example, HAU Hebbel am Ufer proposed a lecture by Judith Butler, who had established counterpoint to the Berlin Conference of 1884, this theory in the 1990s. With performances which paved the way for the political and on queer politics, sexuality, sex, the body, economic devastation of the African conti- feminism, the programme placed artists nent by European powers, inviting six artists centrally as experts in contemporary gender to examine the foreign-dominated history of politics and the intermingling of performa- their home countries and the resulting conse- tivity, theory, performance and everyday life. quences. The artists co-curated the programme, BIT Teatergarasjen curated a workshop for inviting an artist from their country to take artists and producers to enhance and critically part in the festival and reflecting on the poli- consider the contextualisation of an artistic tics of the theatre world itself, examining creation within aesthetic, political, sociolog- how these artists experienced working with ical and cultural frameworks as a key factor European partners. Brut Wien addressed the for developing their work at local, national concept of failure as a social phenomenon, and international levels. Here, again, there is failure as chance (a term coined by Christoph a dual shift towards education and the need Schlingensief to herald a permanent revolution to develop tools, but also towards the need of making mistakes), failure against the back- to be critical of the politics of the mecha- drop of the global financial crisis, and, last but nisms of international art worlds. Archa not least, failure as part of experimentation Theatre’s Akcent Festival organised a confer- in the art field, or even as an artistic practice ence with artists from quite different coun- itself. In a later thematic programme, brut tries, discussing their diverse principles of Wien was transformed into a Tribunal against artistic practices that deal with social issues, Capitalism, collecting charges and investigat- such as devised theatre and community art, ing what it is that must never happen again in addition to interactive installations and an 27 programmes were mostly an exercise in how global issues affect lives and can be addressed locally. The theatre was put forward as a public space for the convergence of allies with different approaches and knowledge but with a common aim, and for connecting different kinds of audiences. Moreover, the knowledge generated at the events would often spread outside the theatre, reaching a wider audience in the form of the online streaming of lectures, or even the translation of a book. What the thematic programmes show is how guest cura- tors from different fields, practices and coun- tries can open up other ways of seeing, and expand the theatre or festival to include other artists, partners and audiences. All in all, both Judith Butler, Thematic ProgrammeGender Trouble at Teatro Maria commitments to theory and commitments to Matos, in Lisbon (2015) action were made by the theatres. Some left the participation of allies and audiences to the traditional form of discussions after talks or exhibition of Peter Schumann’s statues and lectures, while others engaged them in diverse paintings. Kaaitheater curated Me, Myself and activities, exploring alternative ways of being We, a series of performances dealing with the together and the possibilities of generating tension between individual desires and the collective action. collective cause. This programme spanned a The European added value of the whole season with a series of lectures, as, for thematic programmes lies in their creation of example, the one given by the political theo- multiple interdisciplinary formats and ways rist Benjamin Barber, interwoven with talks of staging encounters and exchanges, exper- and debates. The overarching question that imenting with co-curations with foreign or the series addressed was: how to replace the non-theatre curators, confronting global neoliberal utopia with new social engineer- aspects with the different local contexts and the ing practices that can better address the crises realities experienced both within and outside of our societies? Théâtre Garonne focused on the theatre, the precariousness and strength lectures on the histories of concepts and exem- of art in relation to the themes, the oppor- plary practices, inviting experts and artists to tunity to focus on Europe-in-the-world and talk about topics such as the common features the worlds-in-Europe at a time when national in the arts and censorship in France from then cultural policies are often directed towards the until now, and offering audiences the chance national heritage. to publicly discuss with the writer and artist There are also challenges for the future Camille de Toledo questions relating to the sustainability and further expansion of the roots of Europe in war and conflict and how network’s impact. First of all, a more explicit those origins may destroy it in the near future. involvement could be sought on the part of Through these thematic programmes, the future generations of artists, i.e. students the HoF partners connected with civil soci- who will have to deal with the environmental, ety actors and promoted a more pronounced political, cultural and artistic legacies that are position for the performing arts. As can be being produced now. Secondly, an even more seen in the Blazing Numbers & Fiery Facts conscious effort needs to be made to diversify section, the ten themes are related to each the range of guest curators in order to gain new other in many respects. They are all pieces in perspectives both on the process of curation a puzzle of burning issues that our societies and on artists and possible alliances, topics and face globally. However, each global issue has a audiences. The network can become a ground specific history, impact and potential solution for testing, understanding and challenging the in each local context. Therefore the thematic politics of transnational curation. Some of the 28 themes addressed can be critically examined The above quote, which has been attributed to by the events themselves. For example, how to both Bertolt Brecht and Vladimir Mayakovsky, make the interest in sexual politics and gender functioned as the motto for the first edition compatible with the fact that men are overrep- of the HoF book series ‘Performing Urgency’. resented as (co)curators of the thematic events? With this series, HoF wished to develop a Also, the problem of the dominance of ‘Europe’ discourse around the new forms of polit- in the performing arts world could be better ical and interventionist theatre, viewed integrated into the programmes. These are from the perspective that ‘Experimentation just a few of the avenues that were opened up needs thought’. Florian Malzacher (AT) — by the thematic events and which can inspire a writer, curator and dramaturge and the future network activities. Artistic Director of Impulse Theater Festival As a whole, the thematic events repre- in Germany — was invited to act as an inde- sented an ambitious attempt to exchange the pendent editor for ‘Performing Urgency’. The expertise and visions of the HoF curators and questions that the series wished to engage find partners to (co-)curate events beyond the with were: ‘how can theatre engage in contem- performing arts. Connections had to be found porary social and political issues without between cities and public spheres. Not only compromising art or politics? What kind of were specific HoF productions shared, the knowledge or impact can art generate that collaborations between partners meant that activism and theory alone cannot? What are exemplary performances, speakers, civil soci- the processes and methodologies of political ety actors and topical books were repeated at theatre nowadays?’ The authors include artists, some of the events. The challenges in realising journalists and academic writers from different shared programmes were numerous: finding fields, as well as curators and dramaturges. suitable slots in the partner organisations’ Abstract reflections are positioned alongside programmes (which are normally drawn up concrete analyses of artistic work, interviews years in advance), imagining what kind of and statements, as well as concrete propos- encounters would be interesting not only for als for artistic, curatorial and dramaturgical the different local audiences, but also for the methodologies. In the following section, an civil society actors to collaborate in. In the idea is given of the breadth of the books, their future, this emerging practice of collective European added value and possible challenges curation can be built upon to include even and questions that may arise in the future. more of the network’s partners in a common The ‘Performing Urgency’ series does transnational event. The alignment of curators, not attempt to offer a faithful representation artists, art, civil society actors and research- of contemporary political theatre, but instead ers has the critical potential to both expand shows it as a broken mirror, with all kinds of the agency of the performing arts in regard to shimmering reflections and refractions of the urgent issues and to inspire new roles for the past and present politics of theatre-making, respective institutions. Last but not least: for aesthetics and dramaturgies that combine artists, the thematic strand of HoF meant their personal energy and collective struggles with becoming engaged in an expansive discourse political agency and power. Theatre can turn on politics and the performing arts, co-curat- an innocent ray of sunshine into a beam that ing and taking part in different programmatic burns holes in our perception of the realities formats, connecting with other artists and and the imagined worlds that we inhabit. organisations with similar interests, being seen However temporary this sudden blaze may by new audiences and exchanging thoughts be, the burn marks remain to remind us that with experts from different fields. we cannot return to the way things were. The HoF books interpret and translate BOOKS: HEATED DISCOURSE AND smoke signals that linger after the events. They GROWING EXPOSURE embed the performances and the discourses around them in the concrete material of paper, ‘Art is not a mirror held up to reality, but a to be consumed by the eyes and imagined by hammer with which to shape it.’ the brain. The writers and those they write about are brought into conversation with each 29 Haus Bartleby e.V., together with brut Wien and Werk X, Thematic ProgrammeThe Capitalism Tribunal at brut Wien, in Vienna (2016)
other, and with readers. Moreover, the series a wider range of different approaches, views, shows how the HoF project, the performances, visions and questions relating to old, new and events and books, are all interconnected. The future political theatres. The European added book series provides fuel for thought through value of the book series is, on the one hand, the synergies and frictions between the artists, that it shows a certain ‘European canon’ of the their works, their performers, audiences or contemporary political performing arts and ‘spect-actors’, and the theatre institutions, curation in the making. Well-known figures in as well as between critics and scholars. The art, curation and theory are a recurrent feature first book has enjoyed a favourable reception, of the books. This lends credibility and gener- and surely the more recent books will receive ates a readership that benefits those who are similar attention as well, since the theme of less well-known. It also gives momentum to the the political efficacy of theatre is a hot topic in developments in thinking about the role of the itself. The strength of the series lies in its diver- performing arts in urgent societal issues. They sity — in keeping with the European adage of also show that the performing arts are transna- unity in diversity — literally binding together, tional in their histories and discourses. And that in paper form, the thoughts and energies of artists may be labelled by nationality, but that questioning, investigating and describing, and they and their work continuously go beyond combining these with the disappointment that boundaries. The ‘trans’ part of the word reflects is felt, as well as the needs and difficulties aris- on the contingency of our worlds, as territories ing from this situation. can transform through time from one political The conciseness of the essays is simul- entity to another, through changing ideologies, taneously a strength and a weakness. They migration or war. Another aspect of European sacrifice depth for greater accessibility by a added value is that the series opens up a canon- wider public and can spark interest both in the in-the-making with thinking and practices from performing arts and urgent issues. The book other parts of the world. It places Europe — as a also presents a multitude of artists, providing cultural project — in the world, and select bits 30 of the world into Europe. This engagement can be expanded upon. The artists presented in the series are mostly non-HoF, which leads to an over- representation of more well-known and politically engaged artists. There is also an overrepresentation of German authors, espe- cially in the first and third book (7 Germans out of 20 contributions in the first book, and 7 Germans out of 14 in the third book). As such, the series still represents a vision of performing art worlds that are seen more from the inside out, and less from the outside in. In future, the urgent issue of provincialising Europe can be addressed in the performances, thematic events and books. There is also the issue of English as a lingua franca. The fact that English was A Hundred Wars to World Peace, Christophe Meierhans (2015) the language of choice for the books was crit- icised in Germany and France. Dealing with the diversity of languages is an issue for the theatre and relates to the question of how best EXITS? to disseminate knowledge that requires contin- In the darkened auditorium, there’s always that uous rethinking. green exit sign above the doorway that betrays Contemporary political theatre is not the fiction that you could be somewhere else just the search for a new kind of engagement than in the theatre. In this case, it has become with topics or an aesthetic form, but a way of enveloped in the smoke. This report has led you countering disengagement — recharging the part of the way into the HoF project, but it is theatre’s potential to be a space for claiming not clear if there is a way out. Before you sigh the power of the people. The urgent risks that in relief that the theatrical fire cannot be real, we collectively face need imagining. Showing maybe while we were inside the world was artists and theorists as active citizens, these burning and the smoke has seeped through the books are operating within (and enforcing) cracks, maybe it is smog wafting in through the a critical European public sphere. This begs windows, the smoke machine of those manip- multiple questions: how, as scholars, artists ulative artists, or perhaps it is just an innocent and curators, can we escape the Eurocentrism campfire that we can all gather round? of ‘political theatre’? What are the histories Hopefully the artistic energy and the and roles of networks in Europe then, now sense of urgency that the House on Fire and for the future? What are the comparative network has engaged with will continue, so profiles of networks in Europe and in other that the constellation of artists, performances, parts of the world? Curation is as much about theatres, festivals, theorists, art schools, what is selected as about what is left out. The universities, NGOs, readers and many audi- contents of the books are mostly focused on ences and participants may continue to expand systems, discourses and rules; in the future, and join forces with the other constellations more attention may be given to the body and that transform it. Whether it is time to break dance, to the audience (as spect-actors, partici- free from our immersion or to re-immerse pants, performers, fellow artists and amateurs) ourselves, this house is our home and, so far, and, for example, to humorous approaches we may only have entered just a few rooms. to art and activism. Now that the realities of The heat is on — time to perform! politics have become more and more farcical, comedy and satire are almost automatically perceived as more real — and thus political.
31 ACESSO CULTURA AUDIENCE RESPONSES
A SAMPLE SURVEY
32 This final part of the report presents the Distinctiveness: it was different from things insights received through a public survey I’ve experienced before conducted by Acesso Cultura on audience Challenge: it was thought-provoking reactions to three HoF activities, taking place Captivation: it was absorbing and held my at Maria Matos Teatro Municipal/EGEAC attention between October 2016 and February 2017. It Enthusiasm: I would come to something like is written by Maria Vlachou, the executive this again director of Acesso Cultura, and provides an Local impact: it is important that it’s happen- example of how the productions and thematic ing here events of HoF have been perceived by their Relevance: it has something to say about the audiences. With this small-scale public survey, world in which we live the network sought to qualitatively evaluate Rigour: it was well thought through and put the impact that a programming practice with a together clear political/social positioning had in forging a relationship between the audiences and the THE RESULTS IN TERMS OF THE partners of House on Fire. The study sets out AUDIENCE to provide insights into how people perceive In general terms, two main groups were identi- this positioning and to determine whether it fied among the people who participated in the is something that they value. In order to do study: newcomers and ‘loyals’. Rarely did the this, it focused on a sample of three HoF initi- respondents identify themselves as occasional atives: the performance ‘A Hundred Wars to visitors. World Peace’ by Christophe Meierhans, the Among the newcomers, the majority performance ‘The Discreet Charm of Marxism’ were invited by a friend, which is the most by Bojan Djordjev and the debate ‘When the common reason why people decide (and some Light Goes Out — Integration of Refugees and find the courage) to enter a cultural venue for Common Futures’ as part of the Thematic the first time. Programme ‘Migration/Refugees’. Acesso Among the three initiatives evaluated, Cultura carried out both phone surveys and the performance ‘A Hundred Wars to World self-administered surveys, organised a focus Peace’ best displayed the kind of relationship group and interviewed the curators of this that newcomers develop with Teatro Maria programme, as well as the Association of Matos, having used all the tools available Refugees in Portugal. to make this evaluation. Apart from being The results are presented under the invited by a friend, the second reason why scope of the Arts Council England Quality newcomers decided to come was the subject Metrics. Quality Metrics is a sector-led project of the performance, rather than its actual that uses self, peer and public assessment to format (being a participatory event and capture the quality of art and cultural work. including a meal). After the performance, It is a set of statements, developed by arts approximately half of the newcomers (46%) and cultural organisations, which aim to help said that it had been different from what they organisations understand what people value had seen before, referring to the format. The about their work, as well as allowing them to majority (62%) left with the feeling that the benchmark against similar organisations. performance had something to say about the The Quality Metrics are: world we live in, 54% said that it was an inter- esting idea, 38% stated that the performance Concept: it was an interesting idea had made them think. Presentation: it was well produced and We were able to talk to three newcom- presented ers, approximately three months after attend- ing the performance. All three believe that 33 Gala, Jérôme Bel at Teatro Maria Matos, in Lisbon (2015)
theatre has a political role to play in society. in the subject of the initiatives proposed by the For some, this is a relationship that is experi- theatre, while, at the same time and more often enced at a distance, but, for others, it becomes than the newcomers, they also refer to the part of their life, and eventually they end up format (being participatory and including food). joining the ‘loyal’ audience. In this sense, Both from the self-administered survey and and in relation to Arts Council’s nine Quality the focus group discussion, we were able to Metrics, newcomers seem to particularly conclude that this is a programme that ‘loyals’ appreciate relevance, concept, distinctiveness find interesting, it has something to say about and challenge. Some also value the enthusiasm the world we live in, and it makes them think. that the programme arouses and might actually They agree that cultural organisations must become frequent visitors. be places of questioning and must assume a The fact that, in a performance like that political role. Interest, curiosity, surprise are of Christoph Meierhans, more than 1/3 of the words that frequently come up during the participants were newcomers indicates that conversations. In relation to Arts Council’s specific subjects have the power to arouse curi- nine Quality Metrics, ‘loyals’ value all or most osity and attract new people, although being of them (although no direct mentions were invited by someone you know is still a deter- made regarding presentation and rigour, these mining factor, one that minimises unnecessary were, nevertheless, issues that came up in the risks for newcomers. focus group discussion). Regarding the politi- cal role of theatre, everyone we got in touch In relation to the group of ‘loyals’, the vast with (over the phone or during the focus group majority of the people we talked to or surveyed discussion) seemed to believe that theatre has visit Teatro Maria Matos very often (‘much more a place in the public debate, although some felt than 5 times a year’). They are mainly interested the need to clarify that it shouldn’t be partisan.
34 The Discreet Charm of Marxism, Bojan Djordjev (2015)
THE RESULTS IN RELATION TO THE Refugees in Portugal confirmed once again ASSOCIATED PARTNER ‘ASSOCIATION that most refugees are afraid and timid about OF REFUGEES IN PORTUGAL’ speaking in public. Both the Theatre and the House on Fire has a clear policy of invit- Association consider that the format of the ing civil society organisations to be part of debate should be re-examined. Furthermore, the work developed by the theatres. Thus, there is a need to consider concrete steps for the Association of Refugees in Portugal was taking this partnership further, as well as to invited to co-organise the debate ‘When the decide on the best way to manage the refugees’ Light Goes Out — Integration of Refugees and expectations regarding the role of the Theatre Common Futures’ into the framework of the and its programming. Thematic Programme ‘Migration/Refugees’. As far as the partnership with civil The Theatre and the Association shared certain society is concerned, and in this specific case objectives: giving a voice to the refugees, creat- with the Association of Refugees in Portugal, ing an opportunity for them to speak in the careful thought must be given to the different first person and to raise the questions they felt phases in the development of this relationship, should be raised. Both organisations consider especially regarding its evaluation and contin- the Theatre as an alternative and natural space uation in a way that will build trust and keep for this to happen. both parties actively engaged. Our survey indicates that the debate One final point that Acesso Cultura, largely achieved its main objectives, i.e. it would like to make here is that the quality of raised questions not normally raised. People the relationship with audiences and partners heard things they had never heard before, and does not solely depend on the programme. It is all sides were made to think about what they the concerted action of programming, commu- could do next. The objective of giving the refu- nicating and caring for people that makes the gees a voice was, however, not totally achieved. relationship last, and this became clear during The representatives of the Association of the focus group discussion. 35 LISTING OF HOUSE ON FIRE ACTIVITIES
· CO-PRODUCTIONS & PRESENTATIONS · THEMATIC PROGRAMMES · BOOK SERIES
36 CO-PRODUCTIONS & PRESENTATIONS
15TH EXTRAORDINARY BUILT TO LAST HUNTER CONGRESS Meg Stuart / Damaged Goods Meg Stuart / Damaged Goods Vlatka Horvat (UK) (US / BE) (US / BE)
69 POSITIONS BY HEART I’VE NEVER DONE THIS Mette Ingvartsen (DK / BE) Tiago Rodrigues / TNDMII (PT) BEFORE Giuseppe Chico & Barbara 7 PLEASURES COLONIZATION Matijevic (HR / IT / FR) Mette Ingvartsen (DK / BE) Vosto5 (CZ) IMMERWAHR A HUNDRED WARS TO WORLD DEMENTIA Pieter De Buysser & Maike Lond PEACE Kornél Mundruczó / Proton Theatre (BE) Christophe Meierhans (CH / BE) (HU) IN COMMON A PIECE OF WORK DIRECT DIALOG KINSHASA- Ivana Müller (CU / FR) Annie Dorsen (US) LISBON / BRUSSELS / BERLIN Gintersdorfer / Klassen (DE) IN MANY HANDS A SPECULATION Kate McIntosh (NZ / BE) Begüm Erciyas (TR / DE) FORECASTING Giuseppe Chico & Barbara IN THE EYES OF HEAVEN ALL EARS Matijevic (HR / IT / FR) Ruud Gielens, Rachid Benzine Kate McIntosh (NZ / BE) & Hiam Abbass (BE / MA / FR / PS) GALA ANONYMOUS P. Jérôme Bel (FR) INVENTORY OF Chris Kondek & Christiane Kühl POWERLESSNESS (US / DE) GROUND AND FLOOR Edit Kaldor (NL) Toshiki Okada / Chelfitsch (JP) ARDE BRILLANTE EN LOS KHAOS BOSQUES DE LA NOCHE HATE RADIO Laurent Chétouane (FR) Mariano Pensotti (AR) International Institute of Political Murder (DE / CH) LANDSCAPE WITH SKIPROADS BACH / PASSION / JOHANNES Pieter De Buysser (BE) Laurent Chétouane & HAWA EL HORREYA Solistenensemble Kaleidoskop (WHIMS OF FREEDOM) LAS IDEAS (FR / DE) Laila Soliman (EG) Federico Léon (AR)
BODY NOT FIT FOR PURPOSE HISTORY HISTORY HISTORY LATE NIGHT Jonathan Burrows & Matteo Deborah Pearson (UK) Blitz Theatre Group (GR) Fargion (UK) HOME VISIT: EUROPE LECTURE FOR EVERY ONE BOSCH BEACH Rimini Protokoll (DE) Sarah Vanhee (BE) Vasco Mendonça, Kris Verdonck, Dimitri Verhulst, LOD HORTUS LEGACY Muziektheater & Orquestra Patrícia Portela & Christoph Nadia Beugré (CI / FR) Gulbenkian (PT / BE) De Boeck (PT / BE)
37 MACBETH SACRÉ SACRE DU PRINTEMPS THE AFTER PARTY Brett Bailey / Third World Bunfight Laurent Chétouane (FR) Pieter De Buysser (BE) (ZA) SAMEDI DÉTENTE THE DISCO MATELUNA Dorothée Munyaneza (RW / FR) Tea Tupajić (HR) Guillermo Calderón (CL) SAN FRANCISCO THE DISCREET CHARM ME AND STALIN De Warme Winkel (NL) OF MARXISM Nadia Tsulukidze (GE) Bojan Djordjev (RS) SCHWALBE IN HOUSE — MINEFIELD COLLECTION THE EXTRA PEOPLE Lola Arias (AR) Schwalbe (NL) Ant Hampton (UK)
MONUMENT 0 — HAUNTED SINGSPIELE THE GREAT PRETENDER BY WARS (1913–2013) Maguy Marin (FR) Zachary Oberzan (US) Eszter Salamon (HU / DE) SKETCHES/NOTEBOOK THE GREAT WAR NOISE AND DARKNESS Meg Stuart / Damaged Goods Hotel Modern & Arthur Sauer (NL) Miss Revolutionary Idol Berserker (US / BE) (JP) THE INTERNATIONAL SOME USE FOR YOUR BROKEN CRIMINAL COURT / THE END NORA CLAY POTS OF THE WESTERN / DESIST tg STAN (BE) Christophe Meierhans (CH / BE) III / LA JET SET Gintersdorfer / Klassen (DE) NOT MY REVOLUTION, IF...: SONS OF SISSY THE STORIES OF ANGIE O. Simon Mayer (AT / BE) THE LAC OF SIGNS andcompany&Co. (DE) Andros Zins-Browne (US / BE) SOUNDS LIKE WAR: OLD CHAOS NEW ORDER KRIEGSERKLÄRUNG THE NOTEBOOK Oleg Soulimenko & Andrei (DECLARATION OF WAR) Forced Entertainment (UK) Andrianov (AT / RU) andcompany&Co (DE) THE PYRE OPERVILLE STRAIGHT WHITE MEN Gisèle Vienne (FR) Ivo Dimchev (BG) Young Jean Lee (US) THE RITE OF SPRING PORTRAIT SERIES SUNBENGSITTING She She Pop (DE) BATTAMBANG / GALAXY KHMER Simon Mayer (AT / BE) Michael Laub / The Cambodian THE YEAR I WAS BORN Space Project (KH / DE) SUPER PREMIUM SOFT DOUBLE Lola Arias (AR) VANILLA RICH PRIVACY Toshiki Okada / Chelfitsch (JP) TIME’S JOURNEY THROUGH De Warme Winkel & Wunderbaum A ROOM (NL) SUPERAMAX Toshiki Okada / Chelfitsch (JP) Superamas (AT / FR / BE) REMOTE X UMWELT Stefan Kaegi / Rimini Protokoll (DE) TAPIS ROUGE Maguy Marin (FR) Nadia Beugré & Seb Martel (CI / FR)
38 UNI * FORM Simone Aughterlony & Jorge León (CH / DE / BE)
UNIVERSAL DANCER Doris Uhlich (AT)
VETERANS Lola Arias (AR)
VIVE L´ARMÉE! Superamas (AT / FR / BE)
WE ARE STILL WATCHING Ivana Müller (CU / FR)
WE ARE YOUR FRIENDS De Warme Winkel (NL)
WE DON’T SPEAK TO BE UNDERSTOOD Benjamin Verdonck & Pieter Ampe (BE)
WESTERN SOCIETY Gob Squad (DE)
WHITEREDBLACK: THE REBUILDING OF THE WEST IN WHITE, RED AND BLACK De Koe (BE)
WITHOUT BLOOD Inne Goris & Dominique Pauwels / Lod Muziektheater (BE)
WOE Edit Kaldor (NL)
WONDER WORLD Mundo Perfeito & Foguetes Maravilha (PT / BR)
YOUARENOWHERE Andrew Schneider (US)
ZIG ZIG Laila Soliman (EG) 39 THEMATIC PROGRAMMES
IMAGES OF REALITY STRAIGHT WHITE MEN — A ART & POLITICS Hans-Thies Lehmann & FESTIVAL ABOUT PRIVILEGE Helmut Lethen (Performances / Debates / Music / 10 JOURNEYS TO A PLACE (Talk) — Vienna Theatre / Dance / Film) — Berlin WHERE NOTHING HAPPENS Maike Lond PHANTASM AND POLITICS THE PERMEABLE STAGE THE BENEFACTOR (Debates / Film / Conference) Mette Ingvartsen Julian Hetzel — Berlin (Performative Conference) (Lecture / Performance) — Brussels — Brussels THE ART OF THINKING AGORA: ON RECLAIMING Jean-Luc Nancy THE “PUBLICNESS” OF (Lecture) — Brussels THEATRE CULTURAL (Book Presentation) — Brussels THE REIGN OF THE SERVANTS DIVERSITY AT Robert Pfaller CENSORS AT WORK: HOW (Lecture) — Vienna A CROSSROADS STATES SHAPED LITERATURE Robert Darnton ASIAN INVESTMENTS, IDIOM (Conference / Talk) — Toulouse (Forum) — Poznań BIOPOLITICS, CULTURE AND THE GENDER & DE LA LIBERTÉ PRODUCTION OF THE WORLD D’EXPRESSION ET DU RÔLE curated by André Lepecki TRANSHUMANISM DE LA CULTURE (Lectures / Seminars) — Lisbon Abdelkader Benali & FE_MALE_GAZE Rachid Benzine DE LA CENSURE ET (Debate) — Berlin (Debate) — Brussels L’AFFAIRE DES QUATORZE Robert Darnton GENDER STEREOTYPES FACES OF LATIN AMERICA, (Conference / Talk) — Toulouse Liesbet Stevens IDIOM (Talk) — Brussels (Forum) — Poznań DEFEAT FEAR, A EUROPEAN JOURNEY GENDER TROUBLE INTERNATIONAL LAW…. (Conference / Talk) — Toulouse (Lectures / Performances / WHOSE LAW? Workshops / Video / Bookshop) (Lecture / Debate / Performances) FESTIVAL AKCENT 2013 — Lisbon — Amsterdam (International Conference / Exhibition / Performances) — Prague MAN. BOUNDARIES ODE TO FATIMA MERNISSI (Forum) — Poznań (Lecture) — Brussels HISTORY IS CONTEMPORARY LITERATURE MR MRS MX ON AVERROE Laurent Mauvignier & (Performances / Dance / Theatre / Rachid Benzine Ivan Jablonka Installation / Film / Debate) (Talk) — Brussels (Conference / Talk) — Toulouse — Amsterdam RESPECT 2016 IDENTIFYING CONTEXTS POWER AND THE GAZE (Debate) — Prague (Workshop for artists and (Seminar) — Bergen producers) — Bergen
40 RETURN TO SENDER ON VIOLENCE WE ARE ALL MIGRANTS (Exhibition / Installation / Hans Achterhuis & Music Fund Gregory Feldman Performance / Performances / (Talk) — Brussels (Talk) — Brussels Lecture-Performances / Talks / Dance / Music) — Berlin PURE BONUS Hiam Abbass, Rachid Benzine and THEMATIC PROGRAM HATE Ruud Gielens in conversation with SHARED RADIO Silje O. Heltne KNOWLEDGE/ (Debate) — Amsterdam (Talk) — Bergen LEARNING UP IN ARMS: HATE RADIO Post-performance talk, Milo Rau A HISTORY OF EDITING: GOVERNMENT, (Talk) — Brussels EDITING HISTORY CONFLICT AND WAR Alain Franco WAFFENLOUNGE / WEAPONS (Talk) — Brussels AFTER A WAR LOUNGE (Performances / Installations) (Talks / Debates / Film / Installations / EDUTOPIA — London Performances) — Berlin (Seminar) — Bergen
AKCENT FESTIVAL 2014 — ENFANTS TERRIBLES BEFORE THE WAR AND AFTER (Performances / Dance / Theatre / THE WAR MIGRATION/ Installation / Film / Debate) (Film / Installations / Performances / REFUGEES — Amsterdam Theatre) — Prague AGAINST THE FEAR INTERNATIONAL SUMMER CONVERSATIONS FOR THE (Debate) — Prague SCHOOL CULTURALLY CURIOUS — (Workshop) — Prague AFTER A WAR CINEMAXIMILLIAAN (Debate) — London Hussein Rassim, Shalan Alhamwy STATE OF MADNESS (MENTAL) & Mohammed Aukal (Performances / Lecture / Lecture- DEMOCRACY, A PRINCIPLE / (Dance / Film / Music) — Brussels Performance) — Amsterdam SURVEY ON NEW POLITICAL EXPERIMENTATIONS MOVE BODY AND PERSPECTIVE THE AUTOMATIC SOCIETY Sandra Laugier & Albert Ogien (Workshop for people with and Meeting with Stiegler (Book Presentation) — Toulouse without experiences as refugees) (Conference / Talk) — Toulouse — Vienna LE MAL NAPOLÉONIEN THE END OF PRIVACY Lionel Jospin ON THE MOVE (Performances / Dance / Theatre / (Lecture) — Toulouse (Installations / Film / Theatre / Audio Installation / Film / Debate) Piece) — London — Amsterdam LES ARABES, LEUR DESTIN ET LE NÔTRE; HISTOIRE QUANDO A LUZ SE APAGA — THE SPECTATORS GROUP D’UNE LIBÉRATION INTEGRAÇÃO DE REFUGIADOS (Workshop) — Poznań Jean—Pierre Filiu E FUTUROS COMUNS / WHEN (Conference / Talk) — Toulouse THE LIGHT GOES OUT — URBAN ACADEMY: PROTOTYPE INTEGRATION OF REFUGEES (Lectures / Seminars / Workshops) AND COMMON FUTURES — Poznań (Debate) — Lisbon 41 THEMATIC PROGRAMMES
WHAT IS PERFORMANCE ART? MEETINGS WITH ON PROSPERITY WITHOUT (Course) — Brussels Michel Barbaraza, François Bon, GROWTH AND PATHS TO A François-Xavier Fauvelle Aymar, SUSTAINABLE SOCIETY 2.0 Bertrand Hirsch, Patrick Boucheron Tim Jackson & Barbara Unmüssig THE INDIVIDUAL (Conference / Talk) — Toulouse (Talk) — Brussels AND THE COMMON THERE’S NO SUCH THING AS TRANSIÇÃO / TRANSITION SOCIETY (Lectures) — Lisbon ACTOR, WITNESS, SPECTATOR (Performances / Dance / Workshop / (Forum) — Poznań Theatre) — Lisbon
AKCENT FESTIVAL 2015 — TREFFPUNKTE THE UNITED STATES AUDIENCES FOR THE (Performance / Talk / Music / OF EUROPE REVOLUTION Installation) — Berlin (Film / Installations / Performances / EUROPA IMPROVÁVEL / Theatre) — Prague IMPROBABLE EUROPE (Lecture / Theatre / Performance) CRASH COURSE FAILURE THE POLITICS — Lisbon (Performances / Lectures / OF ECONOMY Discussions / Interventions) LE MAL NAPOLÉONIEN — Vienna CAPITAL IN THE 21ST Lionel Jospin CENTURY (Book Presentation / Talk) COMME UNE Thomas Piketty — Toulouse (Performances / Theatre / Installation / (Conference / Talk) — Toulouse Film / Debate) — Amsterdam ON THE EDGE: HOW ART AND CHANGE FOR A TENNER! ACTIVISM IS CHALLENGING COMMON (Game Show / Talk) — London EUROPEAN AUSTERITY Pierre Rosanvallon (Debate) — London (Conference / Talk) — Toulouse DIAS DE TRANSIÇÃO / TRANSITION DAYS OUBLIER, TRAHIR, PUIS LE PARLEMENT DES (Lectures / Workshops / DISPARAÎTRE INVISIBLES Performances) — Lisbon Camille de Toledo Pierre Rosanvallon (Conference / Talk) — Toulouse (Lecture) — Toulouse FRASCATI ON MONEY (Debate / Lecture Performances) RESET DEMOCRACY LES IRREMPLAÇABLES — Amsterdam (Talk) — Brussels Cynthia Fleury (Talk) — Toulouse GREEN RULES: THEMENTAG THE CAPITALISM TRIBUNAL WACHSTUM (Debate) — Vienna ME, MYSELF & WE: (Lectures / Installations (Performance / Lectures / Debates / Performances) — Vienna Speeches) — Brussels MARX’ GESPENSTER ME / WE (Performances / Installations / (Performances / Dance / Theatre / Films / Talks / Performance Lecture) Installation / Film / Debate) — Berlin — Amsterdam
42 UTOPIA
AN EVENING WITH THE GROUP LA MAUVAISE TROUPE (Talk) — Toulouse
AKCENT FESTIVAL 2016 — NEED OF UTOPIA (Film / Installations / Performances / Theatre) — Prague
CHANGING UTOPIA (A Theory Workshop) — Bergen
HOW THE WORLD COULD COLLAPSE (Conference / Talk) — Toulouse
IDIOM: NEW WORLD ORDER (Forum) — Poznań
OCCUPY UTOPIA (Theatre / Lectures / Conference) — Amsterdam
RE:MAKE: (Lecture-Performance / Talks / Debates) — Brussels
UTOPIA (Performances / Films / Talks) — Poznań
UTOPIA R&D RESIDENCY (Workshops) — London
UTOPIAS (Lectures / Debates / Film / Theatre / Music) — Lisbon
WE’VE ONLY JUST BEGUN – UN-MAPPING THE BEGINNING (Statements / Lectures / Shows / Texts) — Vienna
43 BOOK SERIES
PERFORMING URGENCY #1 — NOT PERFORMING URGENCY #3 — JOINED JUST A MIRROR. LOOKING FOR THE FORCES. AUDIENCE PARTICIPATION POLITICAL THEATRE OF TODAY IN THEATRE Edited by Florian Malzacher, 2015 Edited by Anna R. Burzyńska, 2016 Authors: Julian Boal, Boris Buden, Matan Authors: Ophelia Patricio Arrabal, Elena Cohen, Annie Dorsen, Galit Eilat, Monika Basteri, Lotte van den Berg, Roger Bernat, Ginterdorfer, John Jordan, Alexander Justine Boutens, Anna R. Burzyńska, Adam Karschnia, Hervé Kimenyi, Beatrix Kricsfalusi, Czirak, Johanna Freiburg, Helgard Haug, Bojana Kunst, Hans-Thies Lehmann, Judith Stefan Kaegi, Tobi Müller, Dominique Malina, Florian Malzacher, Tala Jamal Nduhura, Antoine Pickels, Adelheid Roosen, Manassah, Oliver Marchart, Carol Martin, Tom Sellar, Roberto Fratini Serafide, Jan Sowa, Lloyd Nyikadzino, Giulia Palladini, Roman Bastian Trost, Miriam Tscholl, Tea Tupajić, Pawłowski, Jeroen Peeters, Goran Sergej Ana Vujanović, Daniel Wetzel and Wojtek Pristaš, Christian Römer, Sylvia Sasse, Ziemilski. Francesco Scasciamacchia, Michael Sengazi, Vassilis Tsianos, Margarita Tsomou, Benjamin PERFORMING URGENCY #4 — Wihstutz and Franck Edmond Yao. EMPTY STAGES, CROWDED FLATS. PERFORMATIVITY AS CURATORIAL PERFORMING URGENCY #2 — TURN STRATEGY TURTLE! REENACTING THE INSTITUTE Edited by Florian Malzacher & Joanna Edited by Elke Van Campenhout & Lilia Warsza, 2016 Mestre, 2016 Authors: Frédérique Aït-Touati, Knut Ove Authors: Livia Andrea Piazza, Ana Bigotte Arntzen, Nedjma Hadj Benchelabi, Claire Vieira, Daniel Blanga-Gubbay, Valentina Bishop, Beatrice von Bismarck, Rui Catalão, Desideri, Kattrin Deufert & Thomas Plischke, Vanessa Desclaux, Tim Etchells, Galerie, Karin Juan Dominguez, Nicolas Galeazzi, Jan Harrasser, Shannon Jackson, Ana Janevski, Goossens, Valeria Graziano, Sébastien Lina Majdalanie, Ewa Majewska, Florian Hendrickx, Herbordt/Mohren, Vladimir Miller, Malzacher, Maayan Sheleff, Gerald Siegmund, Vera Sofia Mota, Ahmet Öğüt, Victoria Perez Claire Tacons, Kasia Tórz, Rachida Triki, Jelena Royo, Gerald Raunig, Jan Ritsema, Elke Van Vesić, Joanna Warsza and Catherine Wood. Campenhout and Various Artists.
44 CONTRIBUTORS
LONNEKE VAN HEUGTEN MARIA VLACHOU & ACESSO CULTURA Lonneke van Heugten is a researcher and Maria Vlachou is a Cultural Management dramaturge with experience as a director’s and Communications Consultant. Founding assistant, marketing manager and producer member and Executive Director of the for festivals, theatre groups and cultural association Acesso Cultura. Author of the organisations. Her writings reflect an ongoing bilingual blog Musing on Culture. In the interest in the interconnections between past, she was Communications Director of the performing arts and society, such as the the São Luiz Municipal Theatre and Head of publication Theatre as a Vortex of Behaviour Communication of the Pavilion of Knowledge in Dutch Multicultural Society (2013) on the — Ciência Viva (Lisbon). An alumna of the cancellation of a music theatre production DeVos Institute of Arts Management at the intended for Rotterdam European Cultural Kennedy Center in Washington (2011-2013), Capital 2001, and ‘Tuning in to European she has an M.A. in Museum Studies (University Dissonance’ (2014) in the European project College London, 1994) and a B.A. in History ‘Karaoke Europe Handbook’. She also and Archaeology (University of Ioannina, occasionally teaches at the Department Greece, 1992). of Theatre Studies of the University of Acesso Cultura is a cultural, not-for- Amsterdam. Currently, she is working on profit association based in Portugal that her PhD on The Cosmopolitics and Limits of promotes (physical, social and intellec- Imagining Community in European Cultural tual) access to cultural venues and cultural Policy and Theatre Practices (working title) at programming. It organises training courses, the Amsterdam School for Cultural Analysis an annual conference and public debates, as (ASCA). well as carrying out access audits and related studies. It presents two annual awards: the lonnekevanheugten.com Access Culture Award and the Access Culture Award — Simple Language.
acessocultura.org
45 Maria Matos Teatro Municipal/EGEAC Frascati Theater Malta Festival Poznań (Project Leader) Nes, 63 Ratajczaka 44 Av. Frei Miguel Contreiras, 52 1012 KD Amsterdam, Netherlands 61–728 Poznań, Poland 1700–213 Lisboa, Portugal www.theaterfrascati.nl Malta-festival.pl www.teatromariamatos.pt Artistic Director: Mark Timmer Artistic Director: Michal Merczynski Artistic Director: Mark Deputter HAU Hebbel am Ufer Théâtre Garonne Archa Theatre Stresemannstraße, 29 Avenue du château d’eau, 1 Na Poříčí 26, 110 00 10963 Berlin, Germany 31300 Toulouse, France Prague 1, Czech Republic www.hebbel-am-ufer.de www.theatregaronne.com www.divadloarcha.cz Artistic Director: Annemie Vanackere Artistic Director: Jacky Ohayon Artistic Director: Ondřej Hrab Kaaitheater BIT Teatergarasjen Akenkaai, 2 ––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Strandgaten, 205 1000 Brussels, Belgium Regular participants in the House on Fire N–2004 Bergen, Norway www.kaaitheater.be meetings: Mark Deputter, Laura Lopes, Ondřej bit-teatergarasjen.no Artistic Director: Guy Gypens Hrab, Jan Veselý, Sven Birkeland, Karoline Skuseth, Artistic Director: Sven Birkeland Thomas Frank, Kira Kirsch, Mark Timmer, Annemie LIFT Vanackere, Ricardo Carmona, Guy Gypens, Mark brut Wien Toynbee Studios, 28 Commercial Street Ball, Jon Davis, Jonathan May, Katarzyna Tórz, Karlsplatz, 5 London E1 6AB, United Kingdom Jacky Ohayon, Stéphane Boitel. 1010 Vienna, Austria www.liftfestival.com brut-wien.at Artistic Director: Mark Ball Artistic Director: Haiko Pfost & Thomas Frank (HoF period 2012–2013), Thomas Frank (HoF period 2013–2015) & Kira Kirsch (HoF period 2015–2017)
Edited by Lonneke van Heugten
Public Survey: Acesso Cultura
Graphic Design: R2
Proofreading: John Elliott
Editorial Management: Laura Lopes
Photos: Virginie Mira (10), David Kumermann (13), Tim Etchells (15), Philadelphia FringeArts (20), David Kumermann (21), Chris Kondek (24), Edith Goddeeris (26), Magda Bizarro (27), Alípio Padilha (28), Marco Morgenroth (30), Luca Mattei (31), José Frade (34) Jelena Janković (35)
Printed in Maia (Portugal) by Maiadouro
© 2017 House on Fire
All rights reserved, including the right of reproduction in whole or in part in any form.
House on Fire is a network of ten European theatres and festivals that aims to support the production and presentation of politically engaged theatre at an international level. Based on the conviction that the arts have an essential role to play in the development of thought and debate about the challenges that our societies are facing in this turbulent beginning to the century, the partners of House on Fire join forces to pursue an international programming and co-production policy to support the creation and dissemination of performances that claim a place in the public debate about social, environmental and political issues. Besides producing and presenting artworks, House on Fire experiments with programming formats that look for new ways to present these works to audiences all over Europe. Taking the theatre into the streets or even into your living room, framing it with debates and conferences, opening it up to audience participation, presenting it in concentrated marathon sessions or spreading it over a year-long thematic focus, stimulating the creation of unexpected forms that combine documentary and fiction, installation and performance, conference and theatre, and activism and art.