DOCSLIB.ORG

Tabori Prize 2021 Transcript

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tabori Prize 2021 Transcript Tabori Prize 2021 Transcript LIMOUSINE Yawns. What time is it? God, are we still here? Whose turn is it to make breakfast? Wait, let me check the list. Umm. It’s Sean’s turn. Hey? But it’s always my turn to make breakfast!! Sean, I'd like a toasted bagel with vegan cheese chia topping and a, maybe a Cremoso to go please. Excuse me. And you'll get what you're given, Kumpel. Oh man! According to my checklist, we just spent 365 days in this limousine. I’m not so great at math, but I think that means: a year has passed! Oh, one year. That means it's like a whole year since we - Gob Squad Arts Collective - won the Tabori Prize and got to live the life of glamour and glitz! Exactly! It was in May 2020 when the Fonds DaKu invited us to get into this limousine, raise a champagne toast and since then we have been living in here and never saw the light of day again. But, back to the beginning: Who am I? Sean, you are Sean founding member of Gob Squad Arts collective, you know, one of the groups of the free scene of Berlin. And who are you? I'm Simon. I've known you for 30 years. And then who's that lady over there? Sean. I am your oldest daughter Johanna’s godmother. I’m also a Gob Squad member. Are you just pretending to have forgotten everything so that you can draw attention away from you being up for making breakfast? But… Shit, where is my… Gob Squad…. …lipstick cap. …Arts Collective. What kind of a stupid name is that? I don’t get it: How someone could think that this name could be a path to success is beyond me. But collective? If so, then just the three of us. Mmh, yeah we had to separate because of social distance reasonings. Berit, Sarah, Bastian, Sharon, all ok up there? Social distancing. What’s that? Sean, why don’t you remember anything? Honestly, maybe you need to listen to Holger Bergmann from the Fonds Darstellende Künste. Ah, now I remember. I had to learn that at naturalization. The Federal Republic of Ger- many has three important organs: The Federal Chancellery with Mss. Merkel. Correct. The Ministry of Health with Mr. Spahn. Correct. And, most important, the Fonds Darstellende Künste with Holger Bergmann. Yes! Sean, you just won your German passport! Yes, and we represent the independent scene, so we are ever so free and flexible… He’s remembering something! We’re always ready for action. Wherever art, performing arts are needed, that’s where we are! And this Mr. Bergmann, he most likely has a few – well – orders for us. Sean, watch this and you’ll remember everything. Orders, Sean, are problematic. Let’s say we’re: „voluntarily ready for action“. Ok? HOLGER BERGMANN SPEECH Thank you Johanna, Sean and Simon, we haven’t come so far yet that the Fonds Darstellende Künste could be seen as the third most important organ next to the Federal Chancellery and the Ministry of Health, but a very special year with many challenges lies behind the Fonds’ team and the artists – and all of us as well. So all the more gratifying that we can now once again join in a special and beautiful event – albeit digital and decentral, but all the same – to award the most important prize in the independent performing arts. Every year, the Tabori Prize celebrates diversity among inde- pendent performing artists and stands for the importance of the scene and the art that it creates. It was also the goal of our support program #TakeThat to “sustain and stabilize variety in the independent performing arts”; we were able to infuse approximately 70 million EUR into the independently producing arts. Over the course of the last 14 months, we have not only been working on distributing funds, but also on continuing support measures for those for whom plan reliability in the federal independent performing arts will be the fo- cus. In the future, the Fonds will let another 60 million EURO from Neustart Kultur flow into artistic work within the follow-up program #TakeHeart. So much for the work; let’s get back to celebrating! Dear audience, dear colleagues, dear friends of the independent arts, dear prizewinners and award winners, I would like to welcome you to this year’s awards ceremony 2021, in which trophies will be passed on in a very special way for the second time running. Look forward to the reasoned decisions of the Tabori expert jury made up of Franziska Werner, Carena Schlewitt and Prof. Dr. Hans-Joachim Wagner as well as the greetings from Sabine Bangert and Prof. Dr. Wolfgang Schneider, and especially the digital after-show party at the end, to which I would like to invite all of you with all of my heart. I would like to thank our funding body, the State Minister for Culture and the Media Prof. Monika Grütters, Mr. Mix, Mr. Eifler, Ms. Edelhoff, Ms. Seger and the entire BKM team without which no prize could be awarded today. In addition, I would like to thank everyone who has made this digital awards ceremony possible, above all Gob Squad, the prizewinners from last year who are taking us with them on a mobile awards ceremony and allowing us to take part in a Tabori prizewinner’s life. Dear Gob Squads, it is time for you to pass on the zepter – uhmm, the party limo – to 2021’s prizewinners… LIMOUSINE Oh, Sean, breakfast is almost ready. I always get a little carsick. I need something in my stomach. Thanks. Life here in the limousine – all that glitters is not gold – also has its dark sides. Wow, look at that! Nice! That’s not for us, Sean. Haven’t you heard? The time has come for us to pass on the scep- ter to the 2021 prizewinners. Hey, that’s funny, it’s so heavy when you hold it. Huh Sean, you’ll be saying there’s a golden envelope inside like there was in the 1970’s. Wait a minute. There is a golden envelope inside. Great. Let's open it and find out the winner and then we can deliver the honey pops corn flakes to whoever has won the award. Deliver? Well, we used to be freelance artists and now we’ve become a kind of Reliverdoo or Rieferdando? Well, these irregular hours, no paid vacation, totally depend on commis- sions. So who would agree to these working conditions? Certainly no one, right? So, before we announce the first award, we have to build up a little tension. Yes, let’s do a drum roll. Oh no, we haven’t got any drums. How are we gonna build ten- sion? Ah! munching The winner is - Flinn Works TRAILER Welcome to Aseveda and Flinn Works research institute. Thank you for participating in this research study on malaria. You would probably shoot me if you could, right? What are we doing? What are we doing? You would probably shoot me if you could, right? What are we doing? You would probably shoot me if you could, right? What are we doing? What are we doing? We. We are making a theater piece. About you. About women in the textile industry in Bangladesh. I imagine, there are like three strong women. On a completely empty stage. Maybe there are a few sewing machines, too. You stop buying these clothes only because of this komisch German guilt. The thousands and thousands of people will lose their job and they - and their children will starve! So stop this guilt! I want. I want.. A virus. A Virus. That hacks toxic masculinity. Being a feminist man, it’s gonna change your life. Why can’t you just pay for having kids? Why don’t we just pay for the work by women; then all women of the world would have FREEDOM! LAUDATIO The collective, which was founded in 1997, captivates audiences with its ethnographic in- vestigative research processes with which they research concrete cases and unfold in their productions. The artists work with a team of international protagonists on questions of globalization, capitalism, feminism and postcolonialism. As broad as these subjects are, it is equally important for the company to find a respec- tively adequate form to deal with them. Their settings are often organized as participative and immersive modules. Thus the audience is included in a special way, which allows the collective to open up thought spaces, enlighten and access common discursive spaces for their subjects. It is an approach with which they enrich and advance documentary theater. The expert jury of the Fonds Darstellende Künste awards the Tabori Award 2021, endowed with 10,000 EUR, to Flinn Works. It is thus honoring the unique signature of this documen- tary research theater. The collective’s artistic works trigger strong reactions from the realm of politics, but also from the press and audiences; they draw attention to problems and abuses on a national and international level. ACCEPTANCE SPEECH Thank you, for awarding us the Tabori Prize this year. We are very happy and we would be here with a lot more people, but because that isn’t possible in today’s day and age, we would like to thank our team and many collaborators. These would be Lisa Stepf Debarati Guha Lea Whitcher Andi Otto Jürgen Salzmann Susana Alonso Gijs Wisse Alexander Barta Tatjana Kautsch- The partner companies in Tanzania and Ruanda Isack Abeneko von Asedeva from Dar es Salam Wesley Ruzibiza and Louise Mutabazi of Amizero from Kigali Gabby Mzei Orio of the Old Moshi Cultural Tourism Our indefatigable assistants: Alice Harrison and Annekatrin Utke And the chairwoman of Flinn Works e.V.: Renate Stepf We would also like to thank our Indian colleagues, who are currently very much in our minds.
Load more

Recommended publications
  • Workshops & Research
    WORKSHOPS & RESEARCH 20 JULY - 16 AUGUST 2014 Workshops in Contemporary Dance and Bodywork for all levels from beginners to professional dancers. Seven phases which can be attended independently from each other (each week- workshop: 1 class per day, each intensive-workshop: 2 classes per day) «impressions'14»: 20 July ! Week1: 21 - 25 July Intensive1: 26 + 27 July Week2: 28 July - 01 August! Intensive2: 02 + 03 August! Week3: 04 - 08 August! Intensive3: 09 + 10 August! Week4: 11 - 15 August ! «expressions'14»: 16 August Index 3 Artists listed by departments 4 - 133 All workshop descriptions listed by artists 134 - 149 All Field Project descriptions listed by artists 149 - 150 Pro Series description 2 CONTEMPORARY DANCE Jose Agudo | Conny Aitzetmueller | Kristina Alleyne | Sadé Alleyne | Laura Arís | Iñaki Azpillaga | Susanne Bentley | Marco Berrettini | Bruno Caverna | Marta Coronado | Zoi Dimitriou | Frey Faust | Ori Flomin | Saju Hari | Sascha Hauser aka CIONN | Kathleen Hermesdorf | Damien Jalet | Peter Jasko | German Jauregui | Kira Kirsch | Kerstin Kussmaul | Juliana Neves | Sabine Parzer | Rasmus Ölme | Francesco Scavetta | Rakesh Sukesh | Samantha Van Wissen | Hagit Yakira | David Zambrano IMPROVISATION Marco Berrettini | Adriana Borriello | Alice Chauchat | Ivo Dimchev | Zoi Dimitriou | Defne Erdur | Judith Grodowitz | Miguel Gutierrez | Francesca Harper | Andrew Harwood de Lotbinière | Keith Hennessy | Damien Jalet | Martin Kilvády | Barbara Kraus | Aiko Kazuko Kurosaki | Jennifer Lacey | Benoît Lachambre | Nita Little | Eroca
    [Show full text]
  • The Long Term You Cannot Afford
    e LONG TERM you caot aÿord. on e distribuon of e TOXIC INVOCATIONS .– WITH Edna Bonhomme BPoC Environmenta and Cimate Justice Coective (Imeh Ituen and Rebecca Abena Kennedy-Asante) Center for Intersectiona Justice (Emiia Roig) Yoanda Ariadne Coins Discard Studies (Aex Zahara and Josh Lepawsky) Angea Fournoy The Forest Curricuum (Pujita Guha and Abhijan Toto) Hazardous Traves (Ayushi Dhawan, Maximiian Feichtner and Simone Müer) Hyoung-Min Kim and Gabrie Gaindez Cruz Jessika Khazrik Laboratory for Aesthetics and Ecoogy (Ida Bencke) Latedjou Liping Ting Mother the Verb (Ivan “Ivy” Monteiro) Franziska Pierwoss Raqs Media Coective (Shuddhabrata Sengupta) Matana Roberts Huda Rós Guðnadóttir Tomás Saraceno and the Aerocene Foundation Aexis Shotwe Stephan Thierbach Françoise Vergès Wearebornfree! Empowerment Radio (Moro Yapha) XR Extinction Rebeion (Kate Sagovsky) among others CURATORS Antonia Aampi Caroine Ektander CO¨CURATORS Jasmina A-Qaisi Kamia Metway ARTISTIS DIRECTOR Bonaventure Soh Bejeng Ndikung PROJECT TEAM Monioa Iupeju António Pedro Mendes Oa Zieińska CURATORIAL ASSISTANT Mahnoor Zehra Lodhi MANAGEMENT Lema Sikod Lynhan Baatbat-Hebock COMMUNICATION Anna Jäger GRAPHIC DESIGN Esa Westreicher Lii Somogyi SOUND ENGINEER Kay Bennet Kruthoff LIVE STREAM Boiing Head The project is funded by Hauptstadtkuturfonds and the Foundation for Arts Initiatives. With additiona support by the Mondriaan Fund, Goethe-Institut / Max Mueer Bhavan Kokata, Goethe Institut Pakistan, White Space Beijing, The Visua Arts Fund Iceand, DAAD Artists-in-Berin Program and the Berin Senate Department for Cuture and Europe. SAVVY Contemporary T Laboratory of Form-Ideas THE LONG TERM YOU CANNOT AFFORD. ON THE DISTRIBUTION OF THE TOXIC is the third chapter of SCHEDULE our ong-term investigation THE INVENTION OF SCIENCE.
    [Show full text]
  • Memory Is Fragile Garbage Lasts Forever
    MEMORY IS FRAGILE GARBAGE LASTS FOREVER INDEX CONSTANZA MACRAS |DORKYPARK SHOWS OPEN FOR EVERYTHING HERE/AFTER BERLIN ELSEWHERE THE OFFSIDE RULES MEGALOPOLIS OEDIPUS REX HELL ON EARTH BRICKLAND I´M NOT THE ONLY ONE SURE, SHALL WE TALK ABOUT IT? NO WONDER BIG IN BOMBAY BACK TO THE PRESENT UPCOMING PIECES PIECES FOR TOURING TOURING CONTACT CONSTANZA MACRAS Constanza Macras was born in Buenos Aires, Argentina, where she In 2008 Constanza Macras received the GOETHE-INSTITUT Award for an outstanding German studied dance and fashion design, at the Buenos Aires University production for her piece Hell On Earth. (UBA). She continued her dance studies in Amsterdam and New York (Merce Cunningham Studios). In 1995, Macras moved to Berlin and In 2010 she was awarded with the Arts at MIT (Massachusetts Institute of Technology) William danced for various companies. In 1997, she founded her own first L. Abramowitz Residency. Since 1961, the series has brought renowned performing artists and company TAMAGOTCHI Y2K. writers to MIT to perform, present public lectures, and collaborate with students in free Between 1998 and 2000, TAMAGOTCHI Y2K presented four pieces: programs. Wild Switzerland (1998), Face One (1999), In Between (2000) and Dolce Vita (2000), a site-specific live music performance that com- In the same year Constanza Macras was awarded the national German theater-prize DER FAUST bined artists from various disciplines. It was created as a one-time for best choreography for the piece Megalopolis. event for each specific location. Next to her productions with her company Constanza Macras | DorkyPark, Constanza Macras From 2001 to 2002, Macras developed and presented the trilogy MIR: has also created: A Love Story.
    [Show full text]
  • Orff-Schulwerk Elementare Musik- Und Tanzpädagogik Elemental Music and Dance Pedagogy
    Sommer 2016 Orff-Schulwerk Elementare Musik- und Tanzpädagogik Elemental Music and Dance Pedagogy 94 Interkulturalität in der Elementaren Musik- und Tanzerziehung II Interculturality in Elemental Music and Dance Pedagogy II Publikationen II Publications - Winter 2015 CHANGES?! Orff-Schulwerk Elementare Musik- und Tanzpädagogik 9. INTERNATIONALES Elemental Music and Dance Pedagogy ORFF-SCHULWERK SYMPOSIUM Elementare Musik- und Tanzpädagogik im WANDEL der Medien Interculturality in the Elemental Music and Dance Pedagogy in the Elemental Music Interculturality / 93 Interkulturalität in der Elementaren Musik- und Tanzerziehung Interculturality in the Elemental Music and Interkulturalität in der Elementaren Musik- und Tanzpädagogik Musik- in der Elementaren Interkulturalität Dance Pedagogy Orff-Schulwerk Weitere Informationen siehe Rückseite. Informationen siehe Weitere furtherFor information see back page. ISSNISSN 2312-8895 2305-9079 Schutzgebühr 5,– Euro 93 odh93_umschlag_def.indd 1 02.12.15 16:32 Zum Titelthema werden in Theorie und Praxis Three main questions have been asked in “The- drei großen Fragen nachgegangen: Warum, ory and Practice”: Why, what and how? Reports Was und Wie? Projektberichte ergänzen das of projects expand the theme clearly. They have Thema anschaulich. Dabei geht es vor allem to do above all with advocating music, dance and darum Musik, Tanz und Sprache und die an- speech and the other arts to further a sensibility deren Künste auch einzusetzen um interkul- to intercultural competence in thinking, feeling turelle Kompetenzen zu fördern, d. h. Sensi- and activities with people from other cultures – bilisierung zu fördern um Denken, Fühlen to learn understanding and respect. und Handeln von Menschen aus anderen Kul- turen verstehen und respektieren zu lernen. This approach has been distinctive to the Orff Institute for years.
    [Show full text]
  • Constanza Macras / Dorky Park Berlin
    constanza macras / dorky park berlin Constanza Macras, geboren 1970 in Buenos Aires / Argentinien, absolvierte eine Tanzausbildung an der Margarita Bali Tanzschule und ein Studium für Modedesign an der Universität Buenos Aires. 1992 setzte sie ihre Ausbildung am New Yorker Merce Cunningham Studio fort. Anschließend arbeitete sie in Amsterdam, u.a. zusammen mit Ivan Kranmar, Glenn Eddy und Amanda Miller. Während dieser Zeit entstanden erste eigene Choreografien. Seit 1995 lebt und arbeitet sie als Performerin, Regisseurin und Choreografin in Berlin. 1997 grün- dete sie ihre eigene Tanzkompanie tamagotchi Y2K, heute DORKY PARK. Seither entwickelte Macras u.a. das mehrteilige Projekt „MIR – A love story“ (2000–02), „PORNOsotros“ (2002) und „Back to the Present“ (2003). Ich interessiere mich für die Arbeit mit unterschiedlich ausgebildeten Darstellern, ohne auf diese Unterschiedlichkeiten Rücksicht zu nehmen: Am Ende werden alle Darsteller zu Tänzern, Sängern und Schauspielern. Konzepte dienen meinen Arbeiten als Ausgangs- punkte, sind jedoch nicht Fokus. Es geht um die Vielschichtigkeit eines Themas und um des- sen Brechung durch die Einführung verschiedener Blickwinkel. So gibt es immer mehrere Publikumsbereiche, die oftmals mit den Aktionsräumen der Darsteller verschränkt sind. Ich suche nach einem Weg, Darstellung zum „perfekten Fake” zu machen – was » Scratch Neukölln « Darstellung eigentlich immer ist – und darin das Authentische und Spontane zu finden. Foto: Thomas Aurin Diesen „perfekten Fake“ kann man auf mindestens zweierlei Weise sehen, das Publikum sollte dann immer die Wahl haben, auf welche. Constanza Macras Das größte Trauma ihrer Kindheit sei der Verlust des familieneigenen Vorort- Constanza Macras, born in Buenos Aires / Argentina in 1970, got her dance Swimmingpools gewesen, sagte jüngst Constanza Macras wunderbar selbstironisch.
    [Show full text]
  • Llibre Abstracts.Pdf
    THE BORDER, AN UNAVOIDABLE CONCEPT? GRAE - UAB GRAE THE BORDER, AN UNAVOIDABLE CONCEPT? International Conference on the Border and its Relationship to the Performing Arts in Europe Barcelona, 1st-3rd March 2012 Programme and Abstracts GRAE – UAB Grup de Recerca en Arts Escèniques (GRAE) de la Universitat Autònoma de Barcelona Designed by Magda Alemany Printed by Publidisa D. l.: Benvolguts participants, Ens complau donar-vos la benvinguda al Primer Congrés Internacional, organitzat pel GRAE (grup de Recerca en Arts Escèniques) de la Universitat Autònoma de Barcelona, que se celebrarà a la Residència d’Investigadors de Barcelona, entre l’1 i el 3 de març de 2012. La frontera, un concepte ineludible? ha pretès reunir investigadors d’arreu per participar en el debat sobre les complexes facetes que poden tenir les relacions entre el concepte de frontera i les arts escèniques europees: des dels abordatges territorials, polítics, identitaris fins a les reflexions sobre els límits del que anomenem escènic i/o artístic, passant per les fronteres ideològiques, socials, que incideixen en la producció artística contemporània. Ens encarem a dos eixos essencials per a la comprensió de l’hora actual o invoquem dues entelèquies, dues fantasmagories: hi ha un teatre europeu? És la frontera un concepte ineludible? Agraïm el suport financer del Departament de Filologia Catalana i del Deganat de la Facultat de Filosofia i Lletres de la Universitat Autònoma de Barcelona i l’ajut en l’organització que ens ha brindat el personal administratiu del Departament de Filologia Catalana, la Agència de Promoció d’Activitats i Congressos de la UAB i la Biblioteca de Catalunya.
    [Show full text]
  • UC Riverside UC Riverside Electronic Theses and Dissertations
    UC Riverside UC Riverside Electronic Theses and Dissertations Title On the Move: Transnational South Asian Dancers and the 'Flexible' Dancing Body Permalink https://escholarship.org/uc/item/6m4475v1 Author KEDHAR, ANUSHA LAKSHMI Publication Date 2011 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE On the Move: Transnational South Asian Dancers and the ‘Flexible’ Dancing Body A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Critical Dance Studies by Anusha Lakshmi Kedhar August 2011 Dissertation Committee: Dr. Priya Srinivasan, Chairperson Dr. Anthea Kraut Dr. Marta Savigliano ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Copyright by Anusha Lakshmi Kedhar 2011 ! ! ! ! ! ! The Dissertation of Anusha Lakshmi Kedhar is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGEMENTS If it takes a village to raise a child, it certainly takes a few people to write a dissertation. I could not have completed the Ph.D. without the help of my friends, colleagues, and family. First and foremost, I am grateful to Priya Srinivasan, my chair, for her sharp critiques and incisive comments, and for never allowing good to be good enough. I am a better scholar because of her. I also feel fortunate to have worked with Anthea Kraut. Her faith and belief in me and my work, and her critical feedback on my dissertation were invaluable. Marta Savigliano’s intellectual rigor and insights have also been a source of inspiration throughout this process. I owe a special thanks to John Kim for recognizing an early scholarly spark and fanning it with encouragement and support.
    [Show full text]
  • Dance Umbrella 2017
    Dance Forum funded by the National Arts Council presents Feb 23 2017 - Mar 05 2017 Johannesburg The Dance Umbrella 2017 is funded by the Department of Arts and Culture and the Gauteng Department of Sport, Recreation Arts and Culture, in partnership with the National Arts Council of South Africa, Institut Français d’Afrique du Sud (IFAS) and the Goethe Institut. The 29th edition of the Dance Umbrella Festival is presenting more than 50 choreographers from Johannesburg, Cape Town, Mpumalanga, Madagascar, Mozambique and KZN. The focus of the 2017 Dance Umbrella is ‘young’ featuring mostly up and coming choreographers who have been challenging the mainstream and are generating interest on all levels. Cover photo: Photographer John Hogg Dance Umbrella 2017 Dance Umbrella Workers’ CHANT By: Nhlanhla Mahlangu Venue: Workers’ Museum Newtown R 100.00 Tickets: | Page 3 Date: Thursday, February 23 & Friday, February 24 @ 19:00 The Workers’ CHANT celebrates the unsung heroes who built the City of Johannesburg with their bare hands. It reflects on the black migrant workers who lived in compounds - the Workers’ Museum, where the work will be performed was a compound - and also the atrocities experienced by men, women and children during those times. Workers’ CHANT by Nhlanhla Mahlangu: Photographer Evans Mathibe Page 4 | Corps By: Moeketsi Koena, Gaby Saranouffi and Denis Rion Venue: Wits Downstairs Theatre Tickets: R 100.00 Date: Friday, February 24 & Saturday, February 25 @ 19:00 Dance Umbrella 2017 Dance Umbrella Corps explores the transporting links that connect the real and the unreal through photography and dance. Corps creates a link between today’s world and the past through the ancestral history of South Africa, Madagascar and France.
    [Show full text]
  • Untitled“, Adam Linder‘S „Some Proximity“ and „Auto Ficto Reflexo“, and Liz Kinoshita‘S „Volcano“
    14 July — 14 August 2016 A MEETING OF THE arts at IMPULSTANZ 2016 In 2016, ImPulsTanz – Vienna International Dance Festival invites greats of and newcomers to the world of contemporary dance as well as over forty visual artists. Golden Lion winner Tino Sehgal and collabo- rators have conceived a series of workshops and research projects. Additionally, outstanding spaces of encounter between choreography and the visual arts are being created in Leopold Museum and mumok as part of the festival’s performance programme. One of the highlights among the many artistic encounters initiated by ImPulsTanz has been specially devised for Vienna: the visual arts x dance project by Tino Sehgal, who may be considered the most important propo- nent of art at the interface of choreography and the visual arts at present. In a five-week series of workshops and research projects (open level and advanced), Sehgal invites artists from both fields to exchange ideas and experiences. A debate between French choreographer Jérôme Bel and art historian and curator Dorothea von Hantelmann on the opening day of the festival (14th July) in Leopold Museum marks the beginning of a series of highly diverse artistic formats, which continues until 14th August both in Leopold Museum and Vienna Arsenal. New York choreographer Maria Hassabi and Brussels-based gallery owner Jan Mot, for example, start off their project, which will extend over several days, with a leisurely stroll through the garden of Belvedere Palace. Exceptional performer Justin F. Kennedy meets Canadian artist Jeremy Shaw, a “researcher of intoxication”: they call their five-day laboratoryWormhole Through Your Brain, during which they will experiment with various states of trance.
    [Show full text]
  • Programm Kulturali Għall-2018
    CULTURAL PROGRAMME 2018 IL-PROGRAMM KULTURALI 2018 VALLETTA 2018 EUROPEAN CAPITAL OF CULTURE THE YEAR 2018 USHERS IN AN EXCITING CELEBRATION ROOTED IN THE UNIQUE HERITAGE OF THE MALTESE ISLANDS. IS-SENA 2018 TAGĦTINA ĊELEBRAZZJONI EĊĊITANTI B’GĦERUQ FONDI FIL-PATRIMONJU UNIKU TAL-GŻEJJER MALTIN. 2018 Cultural Programme Introduction 002 \ 003 VALLETTA 2018 INVITES YOU TO TAKE PART IN AN ISLAND-WIDE FESTA, A 360-DEGREE EXPLORATION OF CONTEMPORARY MALTESE AND GOZITAN LIFE THAT DRAWS INSPIRATION FROM HOME WHILE LOOKING OUT TO OUR NEIGHBOURS ACROSS THE SEA. As per the Charter signed by all Local Councils in Malta and Gozo, Valletta’s title of European Capital of Culture 2018 is an award shared among all localities on our Islands. Further information can be found at valletta2018.org Skont il-Karta ffirmata mill-Kunsilli VALLETTA 2018 TISTIEDNEK TIPPARTEĊIPA F’FESTA Lokali kollha f’Malta u f’Għawdex, KBIRA MADWAR IL-GŻIRA KOLLHA, DAWRA it-titlu ta’ Kapitali Ewropea tal-Kultura 2018 mogħti lill-Belt Valletta huwa titlu TA’ 360-GRAD MADWAR IL-ĦAJJA MALTIJA U li jinqasam bejn il-lokalitajiet kollha GĦAWDXIJA KONTEMPORANJA LI TISPIRA RUĦHA tal-gżejjer tagħna. MILL-GŻEJJER TAGĦNA FILWAQT LI TĦARES LEJN Aktar informazzjoni tista’ tinkiseb minn: IL-ĠIRIEN TAGĦNA LIL HINN MINN XTUTNA. valletta2018.org VALLETTA 2018 EUROPEAN CAPITAL OF CULTURE CONTENTS // WERREJ A WORD FROM… // KELMA MINGĦAND… …OUR CHAIRMAN 006 // IĊ-ĊERMEN TAGĦNA …OUR PARLIAMENTARY SECRETARY 008 // IS-SEGRETARJU PARLAMENTARI TAGĦNA …OUR MINISTER FOR CULTURE 010 // IL-MINISTRU GĦALL-KULTURA
    [Show full text]
  • 21 Century Theatrical Performance and the Limits of a Discourse
    Struck Stupid: 21st Century Theatrical Performance and the Limits of a Discourse A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY George David McConnell IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Dr. Margaret Werry, Adviser December 2011 ©George David McConnell, 2011 Acknowledgements First, I would like to sincerely thank Dr. Margaret Werry for her support for this stupid project from the beginning, and her continued guidance as it often went off the map, forgot there was a map, and tripped over itself. I would also like to thank Dr. Werry for… I would like to thank Dr. Sonja Kuftinec, Dr. Cindy García, and Dr. Stuart McLean for being my committee and offering tactical support when I needed it. And for… I would like to thank Dr. Mary Karen Dahl for… I would like to thank my mom, dad, and Dennis for being great parents who always encouraged me to follow whatever path I imagined for myself. And for… I would like to thank Matthew Goulish, Lin Hixson, Stephen Fiehn, Mislav Cavajda, Selma Banich, John Rich, Erin Search-Wells, Jeffrey Wells, Sam Johnson, and Byrd Shuler for being so generous in allowing me to invade their workspace to see what they were up to. And for… I would like to thank Eleanor Caudill for being there when it began. And for… I would like to thank Paige Collette for listening to me talk about this project even at times I probably shouldnʼt have. And for… I would like to express my extreme gratitude to William Daddario and Joanne Zerdy for… Finally, I would like to offer a great heart-felt thanks to Samantha Johns for… i Dedication This dissertation is dedicated to Michael McConnell, my brother the artist.
    [Show full text]
  • Zeman Opět Osvědčil Své Nízké Pudy V Praze I V Brně Proti Babišovi
    15,–Kč Romský hlas – čtRnáctideník Romů v české Republice RočníkRočník 19 18 • číslo• číslo 4 •14 vyšlo • vyšlo 22. 24. května října 20162017 zprávy Zeman opět osvědčil své nízké pudy bRno – 1. máj zde proběhl v rám- hodna úřadu prezidenta? Snažil se ci celé ČR nejdramatičtěji. Asi 150 zesměšnit premiéra, podařilo se mu radikálů pochodovalo s prapo- zostudit sebe sama. Zdálo se nám ry Brnem za doprovodu bubnová- všem, že premiér za ním přišel ní odpůrců. Žádné projevy řečníků v naivní a pro mne stále nepocho- nezazněly. Vzájemné střety si ne- pitelné snaze diskutovat s ním věci, vyžádaly žádné zranění, bylo však které prezident má brát dle Ústavy zadrženo k výpovědi 11 lidí z obou jako fakt a rozhodnutí, jež mu ne- stran. Výrazně posílená policie z ce- přísluší, nijak ohýbat. lého Jihomoravského kraje situaci Ve skutečnosti si premiér progra- zvládla, nešetřila však ranami i pou- mově šel sice vytrpět tu pohanu, ty na obou stranách. Brňané přihlí- aby však lstivě zjistil, co prezident želi v klidu a bez náznaku reakcí. zamýšlí. Když zjistil, že to podstat- Náš redaktor byl jedním z nich. né, proč hodlal demisi podat, prezi- dent neuskuteční, totiž Babiše ne- pRAHA – Dne 27. dubna zemřel odvolá, dál se mohl dle toho zařídit ve věku 81 let Jiří Karas. Byl zná- a zařídil. mým undergroundovým zpěvá- Ve skutečnosti z té pře vyšel ví- kem. Připomeňme, že koncem 90. tězně premiér, alespoň doufám, a ze let působil jako vládní zmocněnec Zemana učinil hlupáka, který mu pro lidská práva na Úřadu vlády, na jeho fintu skočil. a tím pádem řídil i Radu vlády pro Už jen fakt, že demise podaná záležitosti Romů.
    [Show full text]