FIRST DAY 31.10.2013 SPACE 1

Short Introduction Sodja Lotker

CV Sodja Zupanc Lotker is currently working as an artistic director of the Prague Quadrennial of Performance Design and Space. She has worked for this performance design event since 1999. Previously she has acted as Programming Director of live events in 2007 and in 2003 Programming Director of interactive performance/installation the Heart of the PQ. She works as a dramaturg for independent theatre, dance and site specific projects in Czech Republic, USA, Brazil etc., Sodja has also worked for the International Department of the Theatre Institute Prague, of which she was the Director in 2006–2008. And has been teaching and giving lectures at Visual Arts Academy in Brno, Prague Performing Arts Academy, Columbia University, and a number of festivals and symposia. She is a PhD candidate in theatre theory at Vienna University. [email protected]

Session 1: Intro Lecture Maaike Bleeker

CV Maaike Bleeker is a Professor and the Chair of Theatre Studies at Utrecht University. She studied Art History, Theatre Studies and Philosophy at the University of Amsterdam where she also completed her PhD on Visuality in the Theatre (2002). Previously, she lectured at the Department of Theatre Studies of the University of Amsterdam, The Piet Zwart Post-Graduate program in Fine Arts (Rotterdam), Media Gn: Centre for Emergent Media (Groningen), The School for New Dance Development (Amsterdam), the post graduate program Arts Performance Theatricality (Antwerp), and in the IPP Performance and Media Studies Summer School of the Johannes Gutenberg Universität, Mainz. Since 1991, she also worked as a dramaturge for various theatre directors, choreographers and visual artists. She performed in several lecture performances, ran her own theatre company (Het Oranjehotel) and translated five plays that were performed by major Dutch theatre companies. She was an Artist in Residence at the Amsterdam School for the Arts (2006–2007) and member of the jury of the Dutch National Theatre Festival TF (2007–2008). Prof. Bleeker is President of Performance Studies international, Member of the International Advisory Board of Maska (Ljubljana) and of Inflexions: A Journal of Research-Creation (Montreal), and Member of the Editorial Board (Humanities) of the Amsterdam University Press.

Session 2: Theory and Practice: Masking as Revealing Joslin McKinney, Darren O´Donnell

Joslin McKinney The Mask of Spectacle

1 A key concept of the mask is that it gives license; masked performers can do and say things which exceed and even challenge the social conventions and political structures of everyday life. This freedom is obtained through shifting focus away from the person and towards the mask. Performance design has regularly been viewed with suspicion as though it were a mask to the performers which threatens to displace their centrality on the stage. Linked to this concern about the masking properties of design is a wariness of the potential sensory and semantic excess stimulated by design; what Kershaw has called the ‘carnival indulgence of the body’ (Kershaw 2003: 601). Dismissing performance design as ‘mere spectacle’ has been a familiar trope. Spectacle, like mask, arouses both ‘curiosity and contempt’ (Kershaw 2003: 591). Guy Debord’s influential manifesto says spectacle is ‘the material reconstruction of the religious illusion’, a ‘fallacious paradise’ which obscures the realities and inequalities of consumer capitalism (1995: 18). In terms of performance design ‘spectacle’ usually denotes an appeal to the senses which overrides critical and rational faculties, rendering audiences passive and compliant. But this bodily appeal of spectacle can also give license to audiences. The confluence of light, sound, texture, body, form and colour can produce a merging (or following Merleau-Ponty, an ‘intertwining’) of the seer and things being seen. This may be rendered as a carnivalesque suspension of everyday reality but it can also be a process of opening up to new encounters. The spectacle of performance design might mark a space in everyday life for reappraisal of the world and the way we relate to it. I am intending to use the work of Punchdrunk (UK) to exemplify my argument.

CV Dr Joslin McKinney is Associate Professor in Scenography in the School of Performance & Cultural Industries at the University of Leeds. Joslin was a professional theatre designer for 10 years before joining the University of Leeds. Her practice-based PhD, completed in 2008, investigated the ways audiences respond to scenography. She is the lead author of The Cambridge Introduction to Scenography, Cambridge University Press (2009) and she has published chapters on research into scenography and the role of empathy in scenographic experiences. Joslin is currently the UK representative for the History & Theory Commission for the Organisation Internationale des Scenografes, Techniciens et Architectes de Theatre (OISTAT).

Darren O´Donnell Darren will discuss the work of his company Mammalian Diving Reflex, which uses art to mask the company's true objectives which include pedagogy, affecting subjective well- being, and fostering ways of being together, which are based on trust and generosity.

CV Darren O’Donnell is a novelist, essayist, playwright, director, designer and performer. His books include: Social Acupuncture (2006), which argues for aesthetics of civic engagement and Your Secrets Sleep with Me (2004), a novel about difference, love and the miraculous. His stage-based works include White Mice (1998), [boxhead] (2000), and All the Sex I’ve Ever Had (2012), all produced by Mammalian. He is working on his sophomore novel (and experiencing the 2nd novel syndrome) and a book about working with children (and experiencing the 2nd nonfiction book syndrome). Darren was the 2000 winner of the Pauline McGibbon Award for directing and has been

2 nominated for a number of Dora Awards for his writing, directing, and acting, winning (with Naomi Campbell) for their design of White Mice. His play [boxhead] was nominated for a Chalmers Award and he received a Gabriel Award for excellence in broadcasting for his CBC radio piece Like a Fox. He has a BFA in Acting, studied Shiatsu and Traditional Chinese Medicine at The Shiatsu School of Canada and is currently an MSci candidate in Urban Planning at University of Toronto.

Session 3: Covering and Uncovering: Layering Space moderated by Martin Bernátek

CV Martin is interested in mutual relation between theatre, technique and architecture, in particular. Graduated from Theatre Science and Theory of Interactive Media at the Faculty of Arts, Masaryk university in 2011, he has been studying at the Department of Theatre Studies as PhD candidate. Since April 2012 researcher at the Department of Theatre, Film and Media studies, Palacky University in Olomouc. Lives in Prague. His Ph.D. research focuses on modernisation and "technization" of theatre and distinctions between theatrical and cinematic cultural practices in Czech lands around 1908 and 1929–30. Scholarship at Dep. of Media Studies, University of Lapland, Rovaniemi (2007) and an internship at Zbigniew Raszewski Theatre Institute, Warsaw (2009), plays among his academic experiences the most significant role. He has participated in Mobile lab for Theatre and Communication international seminar of Festivals in Transition network (2008). He is a member of the Society for Theatre Research an the Association of Czech Theatre Critics. He is a co-editor of the Manifests of Moving image: Color Music (2010).

Imanuel Schipper Side Effects - On Authentic Urban Performances What is an authentic place? Where do I find the real authenticity of the city? How do I know that this place is really „the city without its mask“? How comes that I can experience a real authentic situation even in completely un-authentic setting? In my contribution I will look at the city as I will look at a performance and discuss in this framework how feelings of authenticity may appear in specific situations within the urban settings. Then I will propose a way to use the concept of that „A-word“ that will allow us to analyze both performances and situations in a way that also includes us as observers and not only the artifact that we are looking at. I will present examples of performative (Rimini Protokoll, Milo Rau, Forsythe,...) and other artistic productions (knowbotiq, Hirschhorn, ...) as well as approaches that are maybe named to belong to social work (zURBS, ...). In all the works we will stress our attention on how situations are build and how authentic encounters either with people or with the space may happen.

CV Imanuel Schipper works on the interface between scientific research, teaching, and artistic practice. He works to analyze such terms as “theatricality,“ “performativity,“ “dramaturgy,“ “staging,“ “reception“ and “mediality“ – coming from the theatre studies – beyond the boundaries of the theatre, for example in design, urban design, scenography and curation. Recently he has been head of the Swiss National Science Foundation (SNSF) funded

3 research projects „Re/Occupation. Designing Public Spheres in Urban Space by Theatrical Interventions.“ and “Longing for Authenticity. A Critical Analysis of the Term and the Actual Practice in the Context of Contemporary Staging.“ He has participated as curator and dramaturge in theatrical/performative interventions in public spaces together with Matthias von Hartz, Rimini Protokoll, William Forsythe and others. He is teaching at the MA Transdisciplinary Studies and the MAS Spatial Design at the Zurich University of the Arts. Together with his company „trans4mator.net“ he curated three interdisciplinary conferences on the relation of arts and the urban society: „reART:theURBAN“ (Zurich 2012), „MY CITY“ (Essen, 2013) and „rePLAYCE:theCITY“ (Zurich, 2013). He is co-curater for the Swiss contribution for the PQ 15.

Cristiano Cezarino Rodrigues Scenographic Narratives: Uncovering and Showing Spaces The aim of this research is to propose a theoretical framework that assists in the analysis of the contemporary scenography and, consequently, in their design processes. From the analysis of the issues raised by the development of practical works, some operators are listed in order to understand how the performing space is characterized nowadays. We realize that the contemporary performing arts have developed several procedures that highlight the performativity of the scenic event and it’s relation with the space. When the scenic action leaves the traditional building and goes to the city, it enlarges the performativity of the event. The results of the displacement from the building to the city are unpredictable especially with the semantic game of urban spaces in relation to the scenic action. It is taken as hypothesis that the scenography operates to settle a territory that promotes possible alternative relations between action and reception. From this, one might question whether the scenography can promote a more engaging reception, and whether it is able to change the relationship between stage and audience. Perceives it is perceived that the contemporary performing arts and have developed several procedures that extend the performative and theatrical event that, in this turn, affects the notion of theatricality. Thus, we intend to understand how contemporary stage design is conceived as a relational practice space. One realizes that an intensive investigation on the different ways that define the relationship between action and reception directly influences the creation of theatrical spatiality. This change of paradigm affects the very idea of scenography: it becomes a spatial practice that is practiced today, in order to catalyze flows and encode the bodies and movements of those who engage in scenic event.

CV Brazilian architect and stage designer. PhD in Architecture and Urbanism at the School of Architecture, Federal University of Minas Gerais (EAUFMG), Brazil. Professor of the Architecture and Urbanism course at the EAUFMG. Working with emphasis on research and creation of scenography, events design and ephemeral architectures seeking the interface between space and performance. Currently investigating the event design as a relational design which constitutes narrative spaces, with specific focus on scenery.

Luis Abdallah Conde Flores Scenography as Uncovering, Showing, Discovering Space Scenography as uncovering, showing, discovering space. Since the first days before the Spanish Conquest in Mexico-Tenochtitlan city, in 1521, the theather and celebrations were the best way to invite the citizens to religious and ideological topics from Spanish

4 Empire. Among the diferent events that put together these two types of manifestions there was a party dedicated to the viceroy´s reception, celebration that had its beginnings at the end of the Midle Age in Europe, in which the king used to do a symbolic ocupation from his lands and the people so that they could show their loyalty to him. In the New Spain, cultural territory occupied in its majority by Mexico at the present, this type of celebration happened from early XVII century to the XVIII century with the aim to relieve to the citizens from the trauma of the governors change. We talk about a serie of events where the daily performativity (according to the social drama theory by Victor Turner) and the scenic performativity (check Ericka Fischer – Lichte´s theories) happened between the transformation of some streets and plazas of the city using the ephemeral arquitecture of triumphal arches, the stages for plays and the decoration of the most important buildings: a big stage that contained the greatest samples of power. This lecture propose to investigate the idea of how the urban spaces in its daily uses the masking with the scenographic elements that intervene and at the same time how they reveal the strategic intentions of the authority to delimit the population conduct. Finally, I would like to think about the relation between this type of institutional expressions and the behavior of those who live these events at the present.

CV I´m a graduated stage designer from the Theatrical Art National School (ENAT) of Fine Arts National Institute (INBA). Also I´m a student in the master of Art History at the Autonomous National University from Mexico (UNAM). I have worked as set designer in more than thirty plays, movies and television productions. I have attended some workshops about scenic design, art direction, management and conservation of cultural heritage in the most important universities in Mexico. I have taught some scenography courses in a few Mexican universities. Also, I had the oportunity to be at The Prague Quadrennial of Performance Design and Space in 2011.

Marina Cristea Baumgarten Unfolding Spaces, a Case Study Mixed media performances posit a reality whose meaning apparently eludes the spectator by reason of reorganizing his/her visual field. Mediated images alter the perception of the real, whereas „the theatre is precisely that practice which calculates the place of things as they are observed: if I set the spectacle here, the spectator will see this; if I put it elsewhere, she/he will not, and I can avail myself of this masking effect and play on the illusion it provides.” (Barthes 1977: 69) At the same time, this reality emphasizes itself in a dynamic manner favoring a critical attitude towards the images thus presented, for it compels the spectator to consider all the images that his/her visual field integrates, to compare them, to doubt the authenticity of his/her own perception, and also to search beyond the image „the other” reality or „the other” space – unlike physical spaces, cyberspaces are „problematic to identify spatially”, they „possess radically different properties”, but they produce maybe not so radically different effects, although „their power is of a different order than that of a physical space” (Aronson, „The Power of Space in a Virtual World”, in Hannah – Harsløf 2008: 25) The recorded image offers the possibility of simultaneous representation of particular spaces or parts of actors’ bodies. It takes thus place an interaction between virtual images (of spaces, of actors bodies etc.) and real, factual images, interaction which, whether demonstrates itself compulsory, has a powerful dramatic finality, since the

5 existence of a viable relation between the stage images, either virtual or real as they are, is a sine qua non dramatic condition.

CV Marina Cristea is an Accademia di Belle Arti in Rome Stage Design graduate. She holds a BA in Classical Philology and a MA in Theatre and Media Studies. She is a PhD candidate of Babeş-Bolyai University Institute for Doctoral Studies in Theatre and Spectacle Arts Cluj-Napoca. PhD research theme in the History of Ancient Theatrical Performance. Active in the field of Photography, Video Art (one-man and collective shows in Bucarest, Venice and Rome) and Stage Design (she designed and realized the sets and costumes for performances produced by different Romanian theatres). Among her articles, „Les processions dionysiaques et les Grandes Dionysies. L’histoire d’un rapport” (Orma 2013), „Semiologic Lecture Notes on Peter Halls’«Agamemnon» (1986)” (Studia Dramatica 1/2010), „Una lettura del linguaggio di Eugène Ionesco in prospettiva wittgensteiniana” (Quaderni della Casa romena di Venezia, 3/2004).

Session 4: Masking the Social Body moderated by Maaike Bleeker

Matthew Cawson Million Mask March on November 5th I propose a presentation on the notions of ecological transcendence, transformation and ritual in urban spaces in Donato Sartori’s Urban Masks. I wish to explore how iconic public spaces are transformed architecturally into metaphysical spaces of collective creativity and participatory ephemerality, and how one’s relationship with one’s environment is potentially radically altered under such circumstances. From a phenomenological perspective, taking the concept of Heidegger’s Dasein, the self-world model is dramatically altered by means of its transformation of the monumental, concrete and permanent into the fluidity of fabrics, lights, and collective movement. The transformative power of this spectacle illustrates perhaps more dramatically than any other in the modern western world the power of the mask—taken in its broader context—to impact upon those present. It transforms the concrete into the abstract, the permanent into the ephemeral, and the known into the unknowable of spontaneous creation. We move beyond the subjectivity of the individual into the deindividuation of the collective, a sort of synaesthesia of shared experience and creation. The cityscape becomes almost like a collective dreamscape; the spectacle moves beyond traditional theatrical scenography: we are not creating an ‘illusory’ world in which the theatrical event can occur, but transforms reality into theatricality, or perhaps rather highlights the theatricality and changeability of a tenuous reality. The participant becomes the spectator and the spectacle, the performer and the performed, the creator and the created simultaneously; she becomes a physical part of the urban mask. The power of the event is transformative and revelatory, revealing the fluidity of space and the interconnectedness of the collective body and its environment. If there is time, I would like to explore parallels with ancient ritual practices in which the environment is transformed in order to commune with the sacred, and question what the relationship is between the collective act of creativity and the realm of the sacred and the divine.

6 CV Matt Cawson is an early career researcher who specialises in the mask and creativity. His doctoral thesis examined the historical relationship between the self and the theatrical mask, exploring the ways in which the two phenomena can illuminate on each other, specialising in the masks of Greek tragedy, the commedia dell’arte, and the masque neutre of Jacques Lecoq. Matt has taught theatre for eight years, and has lectured at Royal Holloway, University of London on Critical Theories, Writing & Performance, and, more recently, Mask & Performer.

Mihai Lukacs Masks and Veils: Techniques of Camouflage Masked insurgents, members of the black bloc, Subcomandante Marcos and veiled Muslim women cover their faces as a mode of negation of interpellation of identity and to refuse to unveil their fullness. The mask manipulates representation without completely canceling it and functions as exercised power at the limits of subjectivity and authority, by using mocking techniques. The veiled woman denies the colonial power of unveiling while at the same time does not turn the veil into a symbol or object of pure resistance: the veil works as a technique of camouflage and as a means of struggle. The veil had the role to mark the outside limits of safety and home but it can also stand as a revolutionary activity by trasgressing, as Homi K. Bhabha and Franz Fanon taught us, the familial and colonial boundary. The veils of women and the masks of the protesters circulate between and beyond cultural and social norms and spaces, trouble state and colonial authority and give "justify" paranoid surveillance and interrogation. Every veiled woman and every masked protester is suspect for Colonial and Western authority. But when the veil and the mask are present at the heart of Western culture on the streets of big capitals, the police that sees everything sees nothing.

CV Mihai Lukacs (b. 1980) is a performer, activist, theorist, researcher and stage director. Currently located in Bucharest, he studied in stage directing, feminist theory, queer theory, theatre studies and psychoanalysis at Central European University, Nijmegen University and Babes Bolyai University Cluj. His research and performances are focused on intersubjectivity, materiality, hysteria, the posthuman, borders, global inequalities and the relations between performance and political action. More on his latest work: http://lukacsmi.wordpress.com/

Manolis Tsipos Disappearing in Gold In my recent work, I became increasingly drawn to the beauty of disguise; full-body costumes, invoking presences, becoming a medium. It is not only about the power of theatricality that can provide space for the uncanny; it is mainly about practicing (self) disappearance. Who is present? The artist/performer or the costume? Who is animating whom? What are the intimate negotiations that take place between the performer’s body and the matter(ial) that covers it? Who is hosting whom? In my practice I am dealing with (my) language, as structure, function, vessel of communication. I understand language as a phenomenon of great visual power; for me words are objects with specific attributes. Words are sculptures. In this sense, if words can be sculptures, what could be the relation of this “sculpted language” with the disguised “sculpted body”, hidden (or nurtured) by a costume, while performing on

7 stage? And finally, what or who is really disappearing during these exquisite moments? Could it be that these moments are close to the “Holy Grail” of performance art, which is what we would call “transcendence”? I would like to propose a one-day workshop between 5–10 performers and one golden costume (see photo of “Grecia. Citta Aperta”), in which –using various kinesthetic devices– we would explore possible ways of literally turning into gold. This workshop would perhaps be a fitting experience taking place in the city that once hosted the Alchemists of King Rudolf II.

CV Manolis Tsipos was born in 1979 in Athens, Greece. He is a performance maker, performer and writer. His performances oscillate between theatre, dance and visual arts, challenging the limits of choreography. Tsipos is a DasArts graduate (Master of Theatre, Amsterdam School of the Arts, www.dasarts.nl) and holds a BA on Physical Theatre and both a BA and MA on Environmental Sciences. He is co-founder of the theatre collective Nova Melancholia (http://www.novamelancholia.gr/en) and of the Institute for Live Arts Research |Π| (http://liveartsinstitute.wordpress.com/), both based in Athens. Several of his texts have been published by the NEFELH publications in Greece. He has been a danceWEB/Jardin d’Europe scholar (2011) and he received the Huygens Scholarship from the Dutch Ministry of Education, Culture and Science for the academic year 2011- 2012. From September 2012, he is the Mentor of the 3rd year students of SNDO (School of New Dance Development, Amsterdam School of the Arts) (http://www.ahk.nl/en/theaterschool/dance-programmes/sndo/).

Anna Tregloan By Seducing the Audience to be within the Picture (or to Actually Form the Picture) they Become Both the Watched and the Watcher Micro work #1. “Capes and Masks” by the Association of Optimism Refusing categorisation as either theatre or visual art “capesandmasks” is a live work appropriate to gallery and foyer spaces. Its starting point was to contrive a situation where an audience could become the performance. Headphones are built into the costume and the story of one man’s desire for flight can be listened to only by those brave enough to don a cape and mask themselves. Thus dressed in a swathe of blue or red the listener, in their quiet concentration, becomes a surreal installation while public swirl around. Comfortable and cocooning the costumes encourage stillness and the text draws attention to physicality. The audient becomes a bizarre and complex sculptures. In a world of immediate response and instant recognition, of internet proliferation and an insatiable need to document “capes and masks” goes back to the small things that cannot be shared. It deals in abandoned dreams and personal fantasies and savours the sweet smell of human imagination. By seducing the audience to be within the picture (or to actually form the picture) they become both the watched and the watcher. Acts for a Better World and the Marconi Experiments: The micro-works are a thematically connected suite of small installation and performance pieces by Anna Tregloan. Straddling the gap between theatre, artistic intervention and visual art these works reflect current contemporary concerns with scale, purpose of art and transience. They explore the theatrical frame by reframing the audience and performer in terms of presence and absence. Unusual, subtly provocative, and humble they bring smiles to faces by disrupting the everyday.

8 CV While it spans many artistic forms, Anna Tregloan’s particular focus is on what it means to be live and revealing the thing that makes the three dimensions of space particularly poignant in a screen based culture. Her work has toured to all Australian Capitals along with work showing in Edinburgh, Paris, New York, Prague, London, Kyoto, Malaysia, Belgium, Dublin, Holland and many other international stages. She has been privileged to have been nominated numerous times for Greenroom, Helpman and Sydney Theatre awards and has been awarded five Greenroom Association Awards and a Helpman Award along with the prestigious John Truscott Award for Excellence in Design for Theatre. As designer of staging and costumes for dance, theatre and circus and creator and director Anna Tregloan has collaborated with a large number and eclectic mix of companies and artists including Sydney Theatre Company, Bell Shakespeare, Ranter's Theatre, Legs on the Wall, Arena Theatre Company, Melbourne Worker’s Theatre, Back to Back, Danceworks, Handspan, Chunky Move, Finucade and Smith, Lucy Guerrin Company, Belvoir Street Theatre, Force Majeure, Gertrude Street Artists Spaces, numerous productions at Malthouse Melbourne as well as smaller scale independent work. She is an instigating artist at the performance company The Association of Optimism. Further information on her design and installed works is at anarko.com.au THE ASSOCIATION OF OPTIMISM is a strategic initiative implemented by a group of highly regarded Australian artists (Anna Tregloan, Max Lyandvert, Tom Wright, Kate Champion and Jeff Stein). Its primary focus is making innovative performance works that connect with the public, through concept, location and delivery in unexpected and exciting ways.

Session 5: Party at café LIBERAL

New Face – Artistic Intervention by Lucia Škandíková

CV Lucia Škandíková, graduated in the field of costume and mask design at the Academy of Performing Arts, Prague. Professionally she engages with scenography, costume design and devised work. She is a co-founder of the theatre group ‘V pozadí’ (In the Background), that focuses on documentary theatre. She is also part of the design studio ‘Natebe’, which creates clothing as well as commercial design.

9 SECOND DAY 1.11.2013 SPACE 1

Kateřina Ebelová Maska v proměnách času a kultur (Transformations of Mask through Time and Cultures) The phenomenon of masking has appeared across cultures and throughout historical epochs. If we want to find the roots of theatre masks, however, we must search for their origins not only in animistic masked cults and rites of passage, but also in religious dance ceremonies that took place on most continents and in various types of masked annual feasts, in the performances of street magicians and puppeteers. Masks have emerged from many impulses, from various materials and have created by various kinds of technology. The mask fulfils not only a SIGN-SYMBOLIC, but also a CHARACTERIZING or, possibly, a STATUS function. It is entirely logical that the MEASURE OF IDENTIFICATION with the mask and its alter-ego will be different for an African shaman in a trance than for an actor performing a set role of comedy dell’ arte; a representative of a Shrovetide masked parade will have different feelings, still others will be felt by a dancer with a sequined mask at a masked ball…

CV Kateřina Ebelová was born on 31st May 1955 in Prague. Her studies, and professional live have always centred on: art, drama and education. In art Ebelová´s orienttation has been marionette, scenography and masks making. Academically she studied the theory of masks, the history and technology of marionetts. Recently she started teaching at diferent types of art schools, including working with small children and university students. For five years Ebelová has been at the Faculty of Pedagogics of the Charles University, specialized in the theory and practice of masks and marionnets in aproval "artdramatic". In 1996 she opened the gallery Scarabeus, where she monthly presents a new exhibition, including children, student and teachers works. Sometimes she offers performances and concerts in the garden of the gallery. Since 2009 she is the owner and director of the Museum of Coffee in Prague.

Session 6: Masking – Narrative and Conceptual in Contemporary Czech Theatre moderated by Matěj Samec

CV Born on 3rd January 1985, Karlovy Vary, Czech Republic. In september 2009 he has been certificated by MgA. title (Magister of Art), his final graduation thesis was in theme "Text as a component of inscenation and text as a subject of interpretation", and succesfully finished studying theatre dramaturgy at the Academy of performing arts Prague. He is studying PhD program at Theatre faculty – Department of Alternative and experimental theatre, his research project is called "Theatre srcipt and its forms". He´s focusing mainly on research on the topic of authorial theatre and moments, when text,

10 script and the main idea of theatre-inscenation is not taken primary from dramatic literature. Since 2012 he has been working as the theater dramaturg in MeetFactory (dramaturgy of projects Aleš Čermák – Citizen and Subject, Antje Rávic Strubel – Colder Layers of Air, Jan Kačena – Because I Have Never Done It Anywhere, I Am Coming, Public House).

Meetfactory An International Centre for Contemporary Art MeetFactory, a benevolent association. Our mission is to support and help develop contemporary art and bring it to the public. The MeetFactory was founded in 2001 by David Černý, who intended it to become a platform that would enable Prague to join the international art scene, and also wanted to run an independent international cultural centre. In the wake of the destructive floods of 2002, The MeetFactory had to evacuate the old factory in Holešovice. The project was resurrected three years later in Smíchov, once again in an industrial building, in a unique space tightly squeezed between a motorway and a busy railroad. The MeetFactory facilitates the development of original projects and events for next to nothing or free of charge. It is a space where people and various art forms such as art, music, theatre, film, photography, and literature, meet and converse. It brings together different art groups and generations.

Marie Černíková In my doctoral thesis "Determination by costume on staged and living reality" I am checking the appearance of a person as a way of communication. I'm interested in visual clichés, assumptions of a successful product. During my singergame I seek deep-rooted patterns associated with music genres (style of movement, costumes, makeup, hairstyle, mode of presentation, texts testimony...), however beyond into the social sphere (subcultures, social costume, fashion). Originality vs. uniformity. Trying to hide or to include, visage as a demonstration of view. All I'm trying myself. I ask musicians, performers, public and private entities. I am also raising new informations during my science fantastic discussion program "Shitparáda" (shitparade) which is made by sound formation "Debbi Love". I use questionnaires formulated by URPOP platform which was established to look for the core of easy listening music. http://debbilove.blogspot.cz/ http://www.urpop.cz/ http://biomasha.webnode.cz/

CV Marie Černíková (27.11.1982) is currently perusing a PhD at DAMU Prague, where she studied stage design at the Faculty of Alternative and Puppet Theatre; research: Determination by the costume in incensed reality and living realityinclude sound specific gastromusic. She has been performing under the pseudonym Bio Masha and has been actively involved in the stage and costume of numerous productions. Amongst others: LDN Eden (author's project with M. Samec and others, Prague 2011, 2012), Instinct& experience (author's project with M. Samec and T. Tausingerová Prague 2009), Mission invisible (performance,international project La Zone – Strasbourg, France 2012), Nature tatoo (land art, plain air Palmela (Portugal) international project plaform11+), Much More Than Nothing (Šavel, Dobák et al., Alta Prague 2012), Simulante Bande (Verte dance, Archa Prague 2012), Kolik váží vaše touha? (What

11 is the weight of your desire?; Verte dance , Ponec Prague 2011), Ala III. (L. Kasiarová, Alta Prague 2010).

Barbora Zelníčková Barbora Zelničková will present her current work on the theme of the mask and the layering of reality. She will speak about how she understands the mask, regardless of cultural origin and regardless of whether it concerns theatre or not. Zelničková would like to speak of the mask as matter (layering on the outside) and the mask through the medium of the tattoo (layering in depth). The fading of the mask and the fading of a tattoo. Physical processes contrariwise. The work of the body and work with the body. The way the body thinks, one could also say the notion of the costume as a part of the body. Best sheca demonstrate the two areas which, cross paths in the symposium theme by the tattoos which she create on her own body and other beings, and costume design.

CV Barbora Zelničková graduated in 2011 in Scenography, at the Janáček Academy of Performing Arts (JAMU), Brno. She is a practicing scenographer both in film and for the theatre. She enjoys creating music under the pseudonym Ticho De Beige (BE). She is a member of the City Sufer collective, she rides horses and makes accessories under the label of Paloma Braun.

Iva Němcová Stage designer. She is actively focused on space (both theatrical and public). She has designed scenes and costumes for numerous productions both locally and abroad (Švandovo Theatre, Pesti Színház, Studio Alt@, Theatre Na Zábradlí; Reduta Theatre). She likes design. She chooses anti-design pieces from containers and reconstructs them sensitively to highlight their often fouled aesthetic value. With a natural love for space, she has also designed several interiors (café V lese, Nutprodukce studio). She established the group “V pozadi” ( In the background), which focuses on mapping and intervention into abandoned buildings pending reconstruction or demolition. Her last purely authorial project was the Na Barrandov! with emotion site-specific event, which took place during the 4+4 Days in Movement festival.

Ivana Kanhäuserová Outsiderská scénografie a zakrývání (identity) (Outsider Scenography) My project Outsider scenography focuses among others on the concealing of all the “important things” in theatrical space. It is interesting to see its effects on space, to see the effects of concealing on our perception of space, and especially on the reception of information about a dramatic situation. It enables one to focus on the very ambient context and, at the same time, to fill in the concealed frame with one’s own information through imagination. There is no more importance to what a hairdryer looks like, but the fact that is a hairdryer. However, it may also be possible that it is not a hairdryer… what matters is how I use the concealed prop in a performance. All that I have tried within the first Outsider scenography test, which included the concealing of face in space - outmasking - during the performance. Such outmasking was, however, part of the space.

12 I have always been inspired by rather common concealing with a black blindfold, especially on photographs; very often used to conceal identity - a willing act of face loss. It is a desire to be unrecognized, as well as an attempt to avoid taking on another face, another mask with another identity. Human face is the main and forefront object in communication, we speak to faces, we perceive first and above all another person’s face. Sometimes after an interaction with another person, we often remember only the face – it is a transmitter and transceiver at the same time. We focus on faces. Performer or actor may communicate through mask, it shifts his/her identity, changes it, or eventually stylizes. But what happens once we completely deny identity as an unimportant feature of the whole picture? Doesn’t it make us even more interested in the identity? Another method used to conceal identity is the face blurring or pixelation, also used in video art. This method leaves particular color and, perhaps, even contours to a face, but may be irritating even more to the viewer who attempts to “sharpen” the face. Maybe it is time to shoot a motion picture with a blurry central character. Other characters would be become mirrors to him during dialogues. The surroundings, arm gestures and motion will gain importance. The picture’s title should be Sharpened man out of focus. Because the important may be out of focus.

CV MgA. Ivana Kanhäuserová was born on 7th of January 1982. She studied stage-design techniques at the High School of Applied Arts in Žižkov, and continued on to the Scenography department at the Theater faculty of the Academy of Performing Arts for her master degree. During the studies she collaborated with several artists and directors, such as Katharina Schmitt (Koltés – Quay West, Disk Theater 2004), Spitfire Company (The Voice of Anne Frank, NoD, 2007), Jakub Folvarčný (By Ears of Autumn, author project ), Veronika Riedlbauchova (Sarah Cane CLEANSED / DEPURADOS, 2010, Czech – Spanish dance project) and other independent artists. Currently, Ivana is collaborating with Jan Nebeský, on a site-specific project at Nekázanka street, in Prague and with Jiří Adámek on a devised performance piece involving Berlin based actor Dominik Stein. Outside of her works on interiors and designs in space, she is a member of NATEBE design studio.

Session 9: Examples moderated by Sofia Pantouvaki

Campbell Edinborough Scenography and the Unmasking of Heterotopian Space This paper will analyse the ways in which scenographic practice can be used within site- specific contexts to unmask and critique the political and social resonance of public space. Drawing on the writings of Henri Lefebvre, Michel Foucault and Edward Soja, the paper will reflect on how transforming existing architectural spaces using theatre technologies (such as light and sound) can highlight the ways that spaces shape behaviour and mood. The paper will frame its discussion in relation to the recent immersive theatre piece, The History of Water. The performance invited audiences of 7 to swim alongside a performer in two of the UK’s early 20th Century swimming pools: Beverley Road Baths and East Hull Pools.

13 The piece presented stories, sounds and images that evoked the personal and private histories of the sites, while engaging audiences in the communal activity of swimming. Swimming in a public pool is, somewhat paradoxically, an intimate, private, social and public act. Through employing the specificity of theatre as an art form rooted in live human encounter, The History of Water aimed to create an innovative theatrical context for individuals to share a space and physical activity – encouraging audiences to consider and question the importance of embodied experience within public space. This paper will reflect on the ways in which the scenography of the performance created an environment that stimulated audiences to think about the social, personal and aesthetic value of the buildings; drawing attention to the complexity of the pools as heterotopian spaces – spaces of otherness rooted both in a liminal world of immersion and weightlessness and a world of social interaction and public engagement.

CV Campbell Edinborough is a theatre maker and a lecturer in Drama and Theatre Practice at the University of Hull. His research applies somatic paradigms of experience and cognition to the study of dance, theatre and performance. He has published and presented papers on performance training, somatics and performance and cognition. He has worked professionally as a theatre director, movement director, performer and writer in a range of contexts. His current research and practice is interested in the study of liminal spaces as sites for empathetic engagement and deliberation. [email protected]

Matteo Lanfranchi Innerscapes when Time is Beated by Space Every human action is influnced by its surrounding. Our behaviour changes depending on where we are, on the persons near us, on the objects around us. Places have an emotional value for us, they are keepers of a time. I decided to create a performance where time was beated by space. A simple love story is told through the creation of the spaces around the two lovers, placing different moments of the story in various locations. The meaning of the events is always linked to their context. A kiss is different if it happens at home, in an alley, in a night club or in an offce. It's different if it happens between husband and wife, between two friends, two colleagues, between two persons involved with someone else. But it's always a kiss. The context is the element that defnes the sign of the action: showing the process reveals the action's real nature, the structure of a game that we play unconsciously. This involves the audience both in an emotional and mental way, creating short circuits between perception and meaning, sense and word. Exploring the relation between human action and its position in time and space through the mutual influence of these elements. The performance is realized in front of the audience. Locations, situations, costumes, characters are managed and changed in view through a scenic game. Scenography becomes an instrument to create and change space on stage: in the age of technological applications as a medium to produce art, Innerscapes wants to use “concrete applications” to reach contemporary style results. The simple movement of objects and performers in and out of the stage realizes a sequence of events in a typically cinematographic grammar.

CV Matteo Lafranchi was born in Milan in 1976. In 2001 he graduated as an actor at Milan's

14 “Paolo Grassi” School of Drama. Lafranchi's most important artistic encounters have been with Gabriele Vacis, Michele Di Stefano and MK, Claudio Morganti. He has performed in Germany, France, Austria, Switzerland, Slovenia, Czech Republic. He worked as an actor for many directors, winning some awards and collecting experiences that led him to found his own company in 2007: Effetto Larsen. The companies work is based on body and action rather than words, trying to find an universal communication. It received awards and appreciation both at national and international level: Lafranchi realizes stage, urban and site specific performances for theater festivals, national universities and private businesses. His first performance, Dukkha – a private action, won G.A.I's Movin'Up contest and in 2008 received a special mention at UpNea - Suburbia Festival contest. In 2008 he realized TUO/OUT, a urban performance for Danae Festival. It won the first prize at the urban dramaturgy contest at the Borgo Teatro in Bologna (2009). In 2008 Hamlet's Gaze, that won the second prize at the International Festival of Theater Production Fantasio Piccoli. In 2009 Lafranchi got awarded the Biennal of Young Artists Exhibition from Europe and the Mediterranean - Skopje 2009 with Aggregazione (Gathering), the second part of the project Dukkha. In 2010 he developed the third and last part of the Dukkha project, Elogio del disagio (Uneasiness' eulogy), and the mass urban performance STORMO, both produced by Milan's Danae Festival. In 2011 he started a collaboration with The Academy of Fine Arts of Brera for the Underground Trip project, first mass performance in the history of Milan's subway. In 2011 he got awarded the Lia Lapini Award with Innerscapes. In 2013, also as a political reaction to the cultural situation in our country,Lafranchi developed the STORMO project in a new, evolved form: STORMO rEVOLUTION, receiving in a few months a lot of attention and support by theaters, universities, festivals and drama schools, both at national and international level. In 2013 he was the protagonist of Yuri Esposito, a movie directed by Alessio Fava and winner of the Biennale College Filmlab. The movie has been presented at the 70th Venice Film Festival with excellent feedbacks by audience and critics. In 2013 he was asked to produce a written interview about my work to be included in the book "Testimonianza, ricerca, azioni" (Ed. Akropolis, Genua), a publication collecting the views of the most important emergent directors in Italy.

Andrea Cusumano Realism vs Truthfulness The Face of the Other World […] Indian aesthetic celebrates its potential to express the transformative ability of its underlying divine nature. Artistic experience through the body may enable the attainment of the highest spiritual goals. (Susan Schwartz, ‘RASA-Performing the Divine in India’) Drawing inspiration from Dionysos’ toys, the ball (becoming), the spinner (dance), the rhomb (noise/music), the mirror (the mask), the play aliossi (chance), the dummies, the golden apples and the fleece, I will delve into the idea of masking as a transformative practice. I will discuss how the extra moenia space generated by the performance environment, allows the representation and mirroring of the human condition and of the sense of community. I will use several case studies of performances I realized in the last couple of years, as example of an investigation into the transformative and ritualistic nature of theatre and performance. I will show some examples of Indian performance practices (Theyyam, Mutiyettu, Kootiattam and Kathakali), in which the use of mask and masking responds

15 to specific rituals of transformations, the interpretation of which can bring insights into the western understanding of ‘acting’ and ‘actors’ (I have original material which I have recorded in several research trips to Kerala). Further investigating the idea of ‘masking’ the space, I will touch upon the practice of acting as ‘masking’, in the work of Craig (the use of set/flats as actors), Meyerhold (the bio-mechanic as a technique to create segments of actions as masks), Kantor (the interaction with objects and micro-sets as the construction of ‘mask’). I will look into the idea of theatrical ‘realism’ vs. theatrical ‘reality’ and the implication that, the use of mask and ‘masking’ brings to these practices, looking into the concept of the ‘likely’ vs. the ‘artefact’, as a way to master the grammar of collective memories.

CV Andrea is a multimedia artist, director, performer and scenographer. His research focuses on the dramaturgical potential of objects and space. In his practice Andrea explores the boundaries between fine art and time based disciplines, applying this approach to a wide spectrum of practices including painting, installation, Live Art and Visual Theatre. His work has been performed and exhibited in several major institutions across Europe and overseas from New York to New Delhi. Andrea is a published academic and recognised expert of the work of Hermann Nitsch and Tadeusz Kantor. He currently teaches space dramaturgy, radical performance and scenography at Godlsmiths College. In the past he taught at Central Saint Martins College of Art and Design, Rose Bruford College and the ISA Salzburg (Austria). In 2005 Andrea founded in Italy CeSDAS (Centre for the Experimentation of Space Dramaturgy) and since then he has realised numerous performance, installations and educational projects in collaboration with leading international institutions, including: Cricoteka Krakow, DEA di Edinburgh, Fondazione Orestiadi Gibellina, University of Washington, Prague Quadrennial, Central Saint Martins College of Art and Design. His work has been reviwed in prestigious national and international TVs and newspapers includine, BBC, Guardian, Scotsman, The Independent, RAI, Repubblica, Giornale di Sicilia, Il resto del Carlino, Il Sole24Ore, Il Corriere del Mezzogiorno, Il Giornale dell’Arte, Flash Art, ORF, Die Presse, Kerala Express, Malayalam Times, Deccan Cronicle, The Hindu.

Session 11: Short Ideas and Provocations Moderated by Joslin McKinney

Luca Libertini Masking to unveil - On the Modes of Representation Globalization, liquid modernity, the economic crisis. The general feeling is worry. What is real and what is not? What do I really know? On the other side, what should I doubt? And eventually, what is true? Since Western culture is still deeply influenced by positivist thought, questions on reality, as originally posed by Descartes, keep being on most people’s lips. Theater seems to be the place where people may find some rest from these big concerns. The mask unveils. This intuition guides my speech. My objective is to demonstrate that the logics of lie underlying the concept of masking are the ideal abstract dimension for a reflection on the modes of representation as well as on their reality. I will use arguments from semiotic theory and philosophy.

16 In particular, I intend to present to the public a character who “died, but never existed”. It's Pavane, the protagonist of the conceptual work that I achieved in August 2012 on the social network Facebook. Pavane allows us to understand the dynamics of theatrical representation and the unveiling power of the mask. This project also focuses on the political aspect of the work: the specific masking function realized by Pavane attacks the “power device” embodied by Facebook. In fact this is just the way I see my work as an artist: a practice devoted to the eradication of common sense and to the contestation of those forms of domination that are inextricably linked to it, a practice that draws its strength from the reiteration of a constitutively human question: what does this mean?

CV Born in Firenze, on February 14, 1989. As a teenager, his passion for electronic music and his scientific knowledge allowed him to start studying the electronic sound synthesis. Fascinated by the timbre of the sound, he composes his first pieces. Quickly enough, in 2007 he ends up working for the art of theater, by taking part in the composition of Ba Ba show’s soundtrack under the Piccoli Principi theater company. In 2009 he presents a soundloop called Orogenesi at he contemporary art exhibition Private Flat #5 in Florence. He then collaborates with the communication agency C&G Maxicom in order to conceive and play the soundtrack of Gazzarrini fashion shows in Milans. In 2011 he conceives and stages in Paris the performance Cassandra in collaboration with dancer and actress Juliette Kempf. In 2012 he exposes a video called Costanza at Transmediale festival in Berlin, in collaboration with visual artist Costanza Candeloro. He then designs and performs the conceptual work Elena at the private exhibition Nessun Posto è Come Questo in Bologna. In the same year he creates the conceptual Facebook-based project Pavane. As a student of Literature and Philosophy at the University of Bologna, in 2011 he begins to study Semiotics, in which frame he writes a dissertation dealing with Eschyle's work that is at the genesis of the Cassandre performance. Now he is studying the creative processes of art in order to achieve the Master Degree in Semiotics.

Susanne Kass Language as a Mask Theatrical space provides extensive opportunities to explore the communicative avenues of speaking and listening both with individual and group dynamics.Words might be worn and experienced as sounds but conceal meanings, redirecting focus and perception between audience and performer. What does it mean to tell a story on stage which partially or even wholly devoid of it's actual meaning? Which factors distinguish coherent speech from 'fantasy' babble? Despite a rapid process of globalization and homogenization, language and our use of it continues to become increasingly idiosyncratic. As we increasingly divide the languages we use into distinct categories (i.e. intercultural communication, mother tongue etc.) languages increasingly begin to take up roles and we use or set them aside according to contexts and particular relationships between speakers. On stage choice of language is not a simple question of opening up a clear channel of communication, it can also indicate a political or social standpoint, represent emotional ties or cultural diversity/conflict. The presence of language can present a meaning beyond its content for being understood as a text.

17 Has language started to become yet another mask for us to wear? Are we developing ways to use it to hide our intentions as much as present them? In my recent performance project Lingua Moribunda I have been exploring our personal relationships to language and the emotional dimensions of speech and symbolic writing systems. The meeting of performer and audience in real time and space allows for a spontaneous dialogue which combines language as a static material which can be modified through its performance and the live dialogue of the performance situation where the role of language is set by the present parties.

CV *21.4.1983, Jakobstad, Finland. Working in a variety of media fine arts, performance and scenography Susanne Kass explores the properties of spaces, objects and situations. She has a BA in Mediaculture (Photography) and is currently a student at the Academy of Fine Arts in Prague – Intermedia studio 3, school of Tomáš Vaněk. Projects include the performance Lingua Moribunda developed during a residency at Alfred ve Dvore/Motus, Exchange Committee in Mexico City and is technical director/stage designer for Blood Love and Rhetoric theatre since 2010.

Nigel Ward Acting in the Uncanny Valley: Digital Technology and the Virtual Mask This paper will explore and illustrate the impact of digital technology on masking for the actor. It will explore the impact of computer graphics and performance capture on the role and function of the actor, to turn back time, conceal identity, to animate virtual creations and to bring the dead back to life (including the post mortem careers of Marlon Brando and Laurence Olivier). It will focus on Masahiro Mori’s idea, in his study of robotics, of the ‘uncanny valley’, which posits that as the simulation of the real face approaches perfection, so it becomes more ‘uncanny’, more disturbing. This will be discussed in relation to films such as Avatar and Tintin where the actor drives the virtual mask, the mask in animation (Ghost in the Shell) and the role of masking for the virtual work of performers such as Stelarc. It will incorporate anime, robotics and virtual realities and avatars, taking a wide view of masks and masking and the ontological and practical implications of these technologies for the actor. It will consider Freud and Jensch’s notion of the uncanny (unheimlich), as well as Baudrillard’s ideas of simulacra andGordon Craig’s conflation of the marionette and the mask.

CV Nigel Ward works as a theatre director and academic. He has taught in both universities and conservatoires and was course leader for the MA in Performance Studies at Central School of Speech and Drama. He was an assistant director at the Royal Shakespeare Company and has directed for a number of theatre companies internationally. He has written for a range of theatre journals, including New Theatre Quarterly and Performance Studies International. He is currently Senior Lecturer in Drama and course leader for Performing Arts at Anglia Ruskin University in Cambridge, UK.

Will Pinchin Mask Pedagogy: Monotheistic or Polytheistic The title of this paper alludes to an essay by James Hillman, “Psychology: Monotheistic or Polytheistic” (1981), in which he critiques the monotheism that he believes dominates Jungian psychology, specifically the process of individuation. Hillman argues against

18 monotheistic thinking, a teleology that strives for wholeness and unification, preferring a polytheistic psychology dedicated to “soul-making”. In a similar fashion, the masked pedagogy of the renowned mime and mask teacher Jacques Lecoq (1921-1999), with its assertion that there is a neutral mask underneath all other masks, has tamed the rough paganism of a typically polytheistic technology, allowing a unity to clean the murky waters of his pedagogy. With the mask, Lecoq proposes a distinct (though problematic) teleology: neutrality. We see a pedagogy that is focused on cleanliness. We see a determined focus on what “works”, on the removal of anything that clutters: the stage, the body, its movement, even the student creations themselves. This paper explores the monotheistic implications within mask actor pedagogy, using my own Practice as Research methodology of mask-making and following the reasoning of James Hillman, this paper challenges the monotheism inherent within the Lecoq pedagogy. It argues that the neutral mask need not be viewed as the mask underneath all other masks, it can also be viewed as one mask among many.

CV Trained in the Lecoq pedagogy at the London International School of Performing Arts, Will Pinchin is co-artistic director of Grafted Cede Theatre. His credits as an actor/deviser include over 15 original productions, which have toured both nationally and internationally. He has worked as movement director/choreographer with numerous companies: Black Ram Theatre Company, Barnstorm, Limbik Theatre, Theatre Temoin, and, most recently, Central School of Speech and Drama. Will has taught workshops on movement and mask performance in the UK, USA, Ireland and Spain. He is currently in his second year of research at Central, exploring the use of mask within the Lecoq tradition, and the individuation of the Actor/Creator.

Pavel Pařízek Nobody Noface: hledání nultého bodu (Nobody Noface: In Search of Point Zero) We can imagine movement in the street as movement from point A to point B. It is a simple process of change, transformation and also the leitmotif of all theatre. Problems begin if the departure and target point, i.e. from where we are coming and to where we are going, become the subject of obsession. At that moment, our thoughts are confined to planning the future (point B), or accusations from the past (point A). The result is a loss of attention to the present and a state which psychology terms Being in the head. Living with one’s thought in the present, here and now, is the ideal of being. Numerous spiritual practitioners exhort us to do this, and in the theatrical arts, the present has found a place under the term point zero. In the terminology of masks, we can refer to point zero as the mask of all masks. From the perspective of stage design, we can imagine point zero as an empty stage or, better yet, as THAT which is beyond the stage itself. Creating from the present and peeling off layers of false reality from oneself is the dream of every artist. But the fundamental question is how to do it? The developed concept of Nobody Noface, which uses the neutral masks of Jacques Lecoque as its philosophical departure point, is focused on the search for point zero. Although the concept is currently being developed with theatre professionals, its main goal is to make the “world beyond the mirror” accessible, especially to the broad public. In its range it combines primitive theatre media (basic greasepaint and black theatre garb), new media (Facebook) and street performance art.

19 CV Bron in 1981. Psychologist, psychotherapist, theatre improviser, street performer and experimenter. He is actively and theoretically focused especially on improvised theatre. At present, he is working in the Improvariace.cz theatre group and on his own experimental theatre projects. He conducts workshops focused on connecting psychology and theatre.

SECOND DAY 1.11.2013 SPACE 2

Session 7: Short Project Presentations moderated by Daniela Pařízková

CV Daniela Pařízková is the Executive Director of the Prague Quadrennial. She worked as a cultural editor before becoming the Assistant to the PQ Director, and organized the Accompanying Events for the PQ ’03. She was the Chief Coordinator of the PQ ‘07. She has also worked on other projects of the AI/TI, e.g. organizing Czech and foreign exhibitions of Czech theatre design; she is also a co-founder of the Institute of Lighting Design in Prague, and collaborates on other cultural events in the field of theatre, film and architecture and their public relations.

Rosie Ward Breathing Space I create site-specific video and sound installation art works, which question our understanding of reality and the way in which we construct the sense of the authentic when faced within many different types of representation. This derives from an interest within the psychoanalytical aspect of how the human psyche has been affected by postmodernity, particularly as a result of technological advancement. Jean Baudrillard (1994:40) says that in a simulated world ‘it is now impossible to isolate the process of the real, or to prove the real’. Therefore as an individual living within a mediatised culture ‘our experience of space is ‘shattered’, (Mitchell in Kaye, 2009)). Consequently there are questions posed regarding the way in which we configure and construct our experience of reality. I will focus upon my work ‘Breathing Space’; a site-specific video projection installation performance created specifically for the site of the Arches, 16th century vaults located under Glasgow railway station (see images attached). Upon entering the site, I immediately had an intuitive vision of a young girl. I brought this vision to life through a technique in which I take up Merleau Ponty’s phenomenology of perception to develop a super-imposed reality in which the audience understands the experience to be pre- recorded, and yet responds to it as if it were live. By placing this virtual experience within the context of 3D space (as appose to 2D flat screen), I also pose questions concerning our relationship to hybrid spaces, virtual and non-virtual. It appears that the girl is now a folklore attached to the venue and lives on as a collective memory embedded in the site.

20 Lyn Gardner (The Guardian) wrote, ‘Rosie Ward's Breathing Space made me convinced I had seen a ghost’. Note: For video documentation please see http://www.rosieward.co.uk/portfolio_breathingspace.html

CV Rosie is a practitioner currently developing her practice within a research context of a practice based scholarship PhD at the University of Sheffield supported by Sheffield Hallam. Since completing her Masters in Scenography at Central St Martins in 2005 she has been Artist in Residence at the Cable Factory, Helsinki, in partnership with HIAP (Helsinki International Artist-in-residence Programme) and Arts Council of England. She has been an AA2A artist in collaboration with BA Interactive Design, University of Lincoln and has worked as visiting lecturer within MA design and BA Creative Advertising and visiting lecturer within Performance and Visual Art Dance, University of Brighton.

Erika Schwarz Costume as Performance The performance Map 01 (Vale Tudo) integrates the project "Scenographic Productions and the SAARA area/Maps of the carioca creative processes", which studies the contemporary creations of scenographers in the city of Rio de Janeiro, Brazil, from its main supplier of materials: the SAARA commercial shopping district. Articulating vivid experiences, cultural traditions and questions about Brazilian artistic productions in contemporaneity, the research uses, in this video recording, the performativity (and the theatricality of the 'real') to problematize not only the relationship between production and creation within a project of costumes or scenery, but its own use of materials and everyday objects – tracing, as well, a dialog with pop language. Map 01 (Vale Tudo) begins with the performer/designer arriving at SAARA equiped with a large map of the region. In this map a route has been traced out, the fruit of prior research, which it is permeated by, leading the performer to find different shapes and colors. Along this path, multiple purchases are made, initiating the accumulation process of materials and the composition of costumes in situ, that culminates in the creation of a theatrical figure/body and in the radical transformation of objects - at first banal in the eyes of another (attentive observer or mere passerby). (…) We can conclude, therefore, that from the performance – which improvised the creation of costumes on-site in the same location where the ready-made objects were purchased – the notion of reality dilated. Not only achieving other layers, but also by establishing new and countless relationships: between the performer and the seller, between the theatrical figure and passers-by, between common objects and the body and even, still, the spectator.

CV Erika Schwarz is a scenographer and costume designer, Masters of Performing Arts from the Federal University of the state of Rio de Janeiro (UNIRIO, Brazil). She works with scenography, art production and costumes in theater and dance shows, television and cultural events. Currently, she is a substitute professor of Performing Arts at the Federal University of Rio de Janeiro (UFRJ, Brazil), where she teaches disciplines concerning costume design and characterization.

21 Tasos Protopsaltou L'Incoronazione di Poppea: Costumed Body and Site Specifity in Opera Performance This presentation is related to a site specific opera performance based on Claudio Monteverdi’s baroque opera L’Incoronazione di Poppea (1642). The performance directed and designed by Tasos Protopsaltou (2011) at the roman tower of Veria city in North Greece makes use of architecture, archeology, costumed body, Monteverdi’s music and soprano voice focusing on the main opera female character Poppea. In this performance Poppea through a costumed body performance vocabulary creates a site specific bodied scenography which unveils the dramaturgical structure of the opera.

CV Born in 1980 in Greece. Studied Theatre, Scenography, Costume Design and Fine Arts at the Academy of Fine Arts of Florence, National School of Cinema in Rome and the Drama Department of Aristotle University. He is teaching Scenography, Costume Design and Performing Arts at the Department of Fine and Applied Arts of the University of Western Macedonia. Tasos has taught, lectured and published internationally.

Cristian Stanoiu (Back)stage Architecture: Masking Performance Space for the Play "The Unfortunates" / (back)Stage architecture: Masking and Unmasking Space for "The Unfortunates”, by Füst Milán, scenography by Cristian Stănoiu, light design by Daniel Klinger, directed by Kovács Zsuzsánna – a project at the National University of Theater and Film “I.L. Caragiale”, Bucharest, Romania. Inspired by a newspaper article in 1914 the play tells the story of several connected love intrigues dealing with poverty and rough relationships, in a very restrained, shared and exposed space for living.The quest as a scenographer was to visually express a limited place for interactions and the lack of intimacy for characters on stage. Two acting areas were meant to create a complicity between the audience and the actors who used them as a masking space. As we developed this set design we tried to work at the same time with all the theatrical conventional spaces: stage, backstage and beyond stage, while asking ourselves about the power of scenography to take all participants under its own mask.

CV Born in 1979 in Bucharest, Romania, Cristian Stanoiu studied architecture in Bucharest and Marseille, with a Master degree in scenography in 2011. He works as an architect and is involved in several continuous projects like video design for early music band Imago Mundi, light and video design for land art photography and scenography for a school of amateur comedians in site-specific performances. As a scenographer he contributed with the national table at the Architecture section of the PQ11 and created for his Master in scenography exam the stage design for the play “The Unfortunates”, by Füst Milán, directed by Kovács Zsuzsánna – a project at the National University of Theatre and Film, “I.L. Caragiale”, in Bucharest, Romania. The play was performed at the Odeon Theatre in Bucharest and at the Béhague Palace, in Paris. The analysis of masking in performing space through the conception of this scenography is the topic applied for this symposium.

22 Tomáš Cetera Costume as Performance The author tries to refer to his teacher personality, which extends into his artistic expression and general social intercourse. The mask consists of plaster casts of the author’s portrait. The casts are placed on all limbs. The author, with casts on his arms and legs, teaches the viewers and himself; he becomes student and educator. The actual weight of the plaster cast makes the whole event somewhat heavy-handed – a metaphor for the author’s view on contemporary education.

CV Tomáš Cetera is a young fine artist, attracted by the issues of media, material and form – with regard to statue or linocut. He is fascinated by classic media, which he pushes into an actual shape by means of slight gesture

Marie Brenneis Layering Reality “Need relief from restrictive social conventions and dull daytime jobs? Cos(tume) – play and masquerade are expressions of personal and emotional freedom are a very essential part of life”. Taken from Ralf Bahren (2010) Tokyo Clash, Japanese Pop Culture: 106. This is one of the reasons I create the work that I do. Firstly I am a practical based artist and researcher; I work with wearable sculpture and installation. Creating different realities and deconstructing the head of the body fascinates me. I am not that keen on the ‘now’ so I try and transfer the viewer into another world. Where non-conformity and fantasy go together. I work with the body and space and I am interested in extending the body. One of the main reasons that I am fascinated with masks, is that people change whilst wearing a mask, a loss of inhibitions takes place, and you do not need to think of how you ought to be, your free to be many different identities because your disguised. With my work, I would be happy to come to your presentation as an independent artist and present a short presentation of my work, comprising of images of my work and me discussing my methodologies of working. Areas I will be discussing will be human individual Agency, fictional realities and scenography for the gallery. To find out more about my work, please take a look at my website: www.mariebrenneis.com

CV I am a practical based artist and researcher; I work with wearable sculpture masks and installation/scenography for the Gallery and staged photography. I create absurd body and spatial interventions that toy with perception and fantasy. I am interested in scenography for the art gallery, and deconstructing the body and the space around the body. The source of my work comes from my interest in individual human agency and different realities. Conformity, challenging hierarchies and fictional realities seem to crop up a lot within my work. Born in Wigan, UK, and based in London, trained in Fine Art and Photography (BA) University of East London 2009 ; MA in The Body in Performance , Laban, London, UK 2010.

23 Session 8: Less is More – On Anonymity Julian Hetzel

CV Julian Hetzel was born in the Black Forest. He lives and works in Amsterdam and Leipzig. He studied visual arts at Bauhaus University Weimar with a focus on audio-visual and time-based formats. He is founding member of the electro-pop band »Pentatones«. He realizes works in the field of performance and visual arts, which often have a political dimension and a documentary approach. Modes of perception and phenomenas of daily life are of central interest for his examinations. He attempts and develops forms and formats which are inherent to the subject – mostly along the trinity of Music, Media and Theater. He currently holds a residency for artistic research in new forms of performing arts & theatre at DasArts in Amsterdam.

Session 10: Short Project Presentations moderated by Sodja Lotker

Eva Blahová Kostým / maska / objekt / scéna jeden objekt, několik měřítek (Costume/ Mask/ Object/ Set One Object, Several Dimensions) An object that may be used as a mask, a costume or a scene… It employs its own outer and inner space, while the tool of comparison is a dancer/performer. Once realized creative project Život podle jepice (Life according to mayfly) originated several years ago and is the foundation of my research in this field. Object and performer as connected vessels, as well as often a dialogue of two “individualities.” One interchangeable and abstract object on the scene can lead any viewer through the plot with no further visual support. Material and structure of the object have a crucial significance for the project’s emotional effect. Glass fibre in particular works exceptionally well with light. The rehearsals begun with tens of drawings depicting kinetic compositions of a dancer/performer with the object. These served as departure points of individual screenplay items (e.g. birth, transformation into a nymph, wedding dance, death, bug’s life of M.M., etc.). My long-lasting interest in scenography is centered around functional abstract object as a symbol able to represent anything the plot needs. The condition is that it must not contain any particular elements/features. Object-elementary shape: metamorphic glass fiber skirt. The project is supplemented by a journal of drawings, inspiring groundwork, texts and photographs of the object in use, storyboard. It is possible to display the object statically as an installation or set it in spatial motion with the aid of light.

CV Eva Blahová was born 1975 in Uherském Hradišti, lives in Prague. Education: DAMU, faculty of alternative and puppett theatre. Accademia di Brera, Miláno. Collaborations with theatres: Theatre Ponec Prague, Alfred ve dvoře, Westbohemian Theatre in Cheb, Southbohemian Theatre – Puppett scene, puppett theatre Ostrava.

24 Collaboration with film: Artistic solution for film Kuličjy, collaboration on films wth Miry Fornay – costume design. Collaboration with festivals: 4+4 days in motion, paricipation in Prague Quadrennial, design and performance section. Personal Projects costume/scenography.

Radka Kunderová Touching the Invisible: Representation, Authenticity and Transformation in Handa Gote´s Complex corelations among time and space, memory and history, privacy and politics, as well as corporeality and spirituality will be explored by analysis of mask usage in Handa Gote´s Clouds (2011) based on a family history and featuring documentary theatre, performance art and new technologies.

CV Czech theatre critic, editor, historian and lecturer. Graduated from the Charles University in Prague in theatre studies, media studies and journalism, studied also in Greece and England. She is an external editor of Svět a divadlo (World and Theatre) where she has been publishing her critical essays since her student years. Since 2007, she has been teaching theatre reviewing practice, theory and history at the Masaryk University in Brno. In her historical research, she has been dealing with the Czech theatre discourse and its critical meta-discourse within the Communist era (1948–1989) with an emphasis on the issues of politics, language and ideology. Her doctoral thesis Erosion of the Authoritative Discourse in Czech Theatre Reviewing within the Period of So-called Perestroika (1985–1989) is about to be defended this November. She works as a full-time theatre researcher and editor for the Theatre Faculty of Janáček Academy of Music and Performing Arts (JAMU) in Brno, she has edited e.g. well received conference proceedings Tendencies in the Contemporary Theatre Theory (2010). She has participated in various Czech and foreign research projects and conferences, recently in the project Contemporary Central European Theatre: Document/ary versus Postmemory held by the International Alternative Culture Center, Budapest.

Nelly Barseghyan Layering Reality … smile, bicycle, garbage, fork, tree, child, cigarette, heart… information that directs a person… information that is born with a person… answers and questions that create society, society that creates a person… person who is the heart of society. Whether desired or not our whole life is continual flow of information we are fed with. We are a bearers and transferors of information. The goal of the Social Art Biennale was to voice out the current social issues through the medium of painting: i.e. to transfer the information of the issues people are mostly concerned about by painting, and why not to find solution. The Social Art Biennale was an attempt to remind the society about art being an alternative resource for media. We see the same thing in petroglyphs. They are nothing but documented information. A faceless paper man was presented during the Social Art Biennale. The faceless paper man represented the idea that people take different guises depending on the situation and society they live in. Walking through city the faceless paper man has been collecting information given by people through painting. In fact, information was a mask covering

25 his body. He carried and transferred information by taking off the mask (Full body mask) and leaving it on the streets, parks, undergrounds and everywhere....

CV Nelly Barseghyan was born in Yerevan, Armenia. She graduated from Yerevan State Institute of Theatre and Cinematography with an MA degree in Costume and Set design. She has been designing set and costumes for the theatres such as Yerevan State H. Paronyan Theatre of Musical Comedy, Edgar Elbakyan Theatre of Dream and Comedy , State Musical Chamber Theatre, Youth Experimental Theatre, Yerevan Theatre of The Young Spectator, since 2007. Nelly Barseghyan was author and curator of "Development of " Theatre Design" in Southern Caucasus and Central Asia" project in the framework of 7th High Fest International Performing Arts Festival. She was the national curator of Armenia in Prague Quadrennial 2011 (It was first appearance in PQ). She participated in several exhibitions.

Margaret Krawecka Multiseconsory Performance Installation What are the narrative potentials of masking in immersive performance that combines media in a layered sensory experience? This presentation demonstrates how the mechanism of masking and unmasking is the main narrative driver within my performance installation. “The Hunger” (Toronto, 2012) explores the idea of fairy tales as an expression of the psychic processes of the collective unconscious (Jung, 1968) as well as their ancient roots and transformative healing power. The project translates the famous moment of deception and disillusionment in “Hansel and Gretel” into a non-linear spatial and temporal experience, while using popular consumer culture iconography to mirror the empty yet addictive trap of consumerism and its advertising mechanism. In the project, masking drives narrative on two levels. The first is through complete spatial transformation of the installation, mapping the changing states of the house archetype in the original tale, as reflection of inner psychological states. The second is through the use of costume alluding to the bird characters who play a key narrative role in both original tale and performance. Dramaturgically, the birds guide the audience through the space, positing them in the roles of Hansel or Gretel, who discover the spatial narrative through free movement. Symbolically, their anthropomorphism alludes to the animistic roots of folk tales; these silent tricksters hold a mysterious presence that hints at ritualized, cathartic confrontation with the shadow, their repetition in numbers evoking the Uncanny (Freud, 1919), which lies at the heart of the narrative. The presentation will analyze narrative structure using conceptual models and diagrams with reference to Borgesian convergence of literature and architecture. It will then demonstrate how masking is used to unfold space and narrative through both conceptual and perceptual space models (Tschumi, 1995) – house as object vs. house as space. Images and video from the project will illustrate how (un)masking occurs through the synchronization of various design elements, resulting in complete spatial transformation, and how this reflects narrative structure as mechanism of disillusionment.

26 CV Margaret Krawecka is an interdisciplinary artist working in performance design, installation and architecture. Born in Krakow, raised in Kuwait, and educated in North America, Krawecka draws on her passion for understanding other cultures and worlds to bring a sense of empathy to her work, opening up diverse points of view through tangible spatial experience. Krawecka completed her Bachelor of Architecture at the University of Toronto (2001) and MA Scenography at Central Saint Martin’s College of Art and Design in London, UK (2005). Her subsequent experience in promenade theatre and site-specific performance installations in London and Europe continues to influence her current practice. Her architecture background also plays a key role in her creative approach to time-based projects; she is interested in exposing hidden structures, patterns and diagrams in space and time, applicable to ordering narrative or configuring physical movement. Through immersive performance installation, Krawecka combines her experience in architecture with that of promenade theatre to create narratives experienced through sensory interaction and physical movement in space.

Anna Adler Masks as Tools for (Dis)orientation I arrived in Prague in January – I am (still) an outsider here. Slowly, I started to get to know the city, observe people, buildings, spaces, streets, transportation – I wished to find a way to intervene in this new fabric. I began making masks to aid in my observations. Masks function as a simultaneous shield and spectacle; they imply vulnerability and defiance, threat and protection. I used these masks, these props, as mechanisms to see and be seen. The masks isolated me, yet allowed me to observe my new surroundings freely and clearly, in attempt to understand and eventually integrate. I conducted a series of performative walks while wearing the masks, on the street, on the tram etc. These interventions were recorded through photography and text. This work was shown in a group exhibition at Staycation Musuem, Berlin, GE, in March 2013. Since then, I have continued to use and make masks in a variety of forms, from elementary or readymade masks such as sunglasses and face paint to more specific sculptural objects, molded and manipulated using peopleʼ s faces. The masks are used for masquerade, props for theater, and in performances; some function purely as art objects. I would like to present this project, this series of [Prague] Masks, in the PQ symposium. The presentation will on focus mask wearing as a tool to understand personal identity and place, a surreal social experiment, which simultaneously achieves integration and alienation. I would like to encourage people to wear masks in public, perhaps to wear a mask for a day. This form of dis(orientation) and hyper experience in public space allows one to become temporarily embedded in their socio-geographic community, thus building awareness and trust in the city and others. The goal is to share our experience; the discussion will include viewersʼ , wearers ʼ , performers ʼ and pedestrians ʼ reflections on mask wearing.

CV I was born in Moscow, Russia, in 1983 – I experienced a brief yet vivid Soviet childhood. In 1990, my parents, biologists, were invited to work at the University of Alabama in Birmingham; we moved to the US. Four years later, we relocated to Westchester County, New York, one hour north of NYC; this is where I grew up…mostly. I have lived in Moscow, RU, Birmingham, AL, New York, NY, Detroit, MI, and currently Prague, CZ. All of these cities have contributed to my idea of what it is to exist in and understand place,

27 to be displaced and familiar, foreign and at home. I am engaged in a multidisciplinary studio practice, which includes sculpture, photography, performance and video. Using site, body, and object, I aim to understand reality through myth and to infuse the banal with wonder. In doing so, an alternate world emerges, one that parallels our own, where things are potentially idyllic or have gone awry. I am interested in blurring the line between art and everyday life, making poetry out of quotidian objects and interactions. In my performances and daily encounters, I explore ideas of intimacy and isolation, using tools such as masks to transgress boundaries within the public realm.

Session 12

Anna Karen Bosh and Carly Everaert Layering Reality, a research-performance on the work of Carly Everaert We propose a ‘live research discussion’ or if you will, a ‘research-performance’. With this discussion Carly Everaert and Anne Karin ten Bosch intend to intensify the looking at and reflecting on the work of Carly. Not yet knowing all the answers they will invite the audience to share their experiences and to collectively create a vocabulary to address the specific way Carly organizes her research and for the way she is ‘layering reality’ in her costumes and masks. This layering is characteristic for her work and research methods. Having ‘another’ look is necessary to become aware of these layers and to understand the way she organizes the experience of looking of what is there to be seen. Layering reality is realised on the level of the material, the composition, the treatment and montage of the material and the context it performs in. We agree with M. Bleeker (2008) that visual analysis is often underestimated in theatre studies. Intensifying the looking,sharpeningthe eye, deepening the reflection on the research of the practitioner and the performance of the design in the performing arts, is what AnneKarin is aiming for with the ‘toolbox’ she is momentarily developing. Before starting to analyse, we live through the experience. To describe this experience in words is hard, but to find out what caused this experience, seems even harder. Scenographers are searching for ways to realize experiences. They create trajectories, so that these experiences can develop during performances. In this ‘research-performance’ we like to practice dissecting the mechanisms of layeringand of masking and ‘revealing by masking’ that is characteristic in the performance of the works of Carly Everaert. Doing so we will make visible the grotesque, the humour as a reflective tool, hidden signs andcomments, her sketching and her use of daily life materials. Finally we hope to reveal the specific qualities of the work of Carly Everaert.

CV Biography of Anne Karin ten Bosch I have worked for eighteen years as a practitioner, as scenographer for many companies and independent theatre makers. Meanwhile I realised several performance-installations and in The Netherlands so called ‘experience theatre’ works, crossing the borders of visual arts and theatre. Between 1999 and 2010, I teached scenography at the University of fine arts in Groningen and I work as a guest teacher and coach for different schools. Since 2001 I organized several roundtables an interviewed colleagues, in an attempt to find language to describe and reflect on the mechanisms or strategies of scenography. By developing a ‘toolbox’ for students and teachers in the performing arts, I hope to hand

28 and trigger helpful language. The toolbox I develop within the program of the Professorship Theatre-Making Processes of the HKU University of the arts Utrecht. I am co-founder of the Dutch Platform-Scenography. www.annekarintenbosch.nl

Biography Carly Everaert Since 1986 I have been designing costumes for many different disciplines (opera, youth- theatre, mime, drama) and groups in Holland (OT, Het Zuidelijk Toneel, De Toneelmakerij, CARVER, De Nederlandse Opera, de Toneelmakerij Firma Rieks Swarte, Orkater, De Nationale Reisopera etc). In recent years I won the Wijnberg Scenography price (2012) with the whole creative team for a youth-theatre adaption of The Tempest, wich is playing in Moskou next weekend. Also I have won “de zilveren krekel” for two of my costumedesigns from last year: Pinokkio and Mehmet the conqueror. This means I can still win “de gouden krekel”. Which is going to be anounced 15 septembre during the dutch theatre-award gala. My work is all about layering and how mixing every day life materials in my designs can create a whole new illusion. Right now I am working on two plays. One at NT-jong and one at de Toneelmakerij. Also I have started on the concept for Verbrennen, wich is going to be on at Stadttheater Dortmund at the end of november. There the whole proces of creating is going to be the design. I am going to work with and on the actors during rehearsals and want to write a blog about the whole process. I have been teaching costumedesign at the Amsterdam theatre-school in the scenography departement since 2006. www.carlyeveraert.nl

Donatella Barbieri Moving/Drawing/Masking The physical reality of masking is central to the Moving / Drawing / Masking performative presentation – workshop. This revisits my research around the Laboratoire D’ Etude Du Mouvement (L.E.M.) (Barbieri 2006, 2007, and film produced for the L.E.M. exhibition in the Fashion Fashion Space, London, 2005) which reclaims the body, starting from the body of the designer herself, with movement as a key design tool. Exploring this notion further with Dr Melissa Trimingham, expert author on the Bauhaus, Modernism and performance, for our forthcoming publication (Costume in Performance to be published by Bloomsbury and the V&A, 2015) we have encountered examples of this practice which precedes architect Krikor Belekian and physical theatre pioneer Jacques Lecoq’s L.E.M. methodology, devised in 1978. L.E.M. utilises the performing body, masked and extended, as the channel for empathic – and emphatic – embodied communication. Examples of this are also found on the Bauhaus stage, in constructivism and in the work of the Viennese Expressionist dancer Hilda Holger. The idea of layering meanings through masking the body will be explored with the help of some participating audience members. For this purpose, I will bring three masks, abstract in design, each devised to embody a certain gesture within itself, thus exploring the symbiosis between movement and material expression that is fundamental to costume. I intend to show the film, discuss the effect of the LEM workshop on pedagogy (I set up the MA Costume Design for Performance at the London College of Fashion based on this

29 research) and on my own practice. The masked body in movement is conceived here as a layering of ideas. I will identify these and the earlier gestural allusions and physical visuality through which they can be contextualised, whilst demonstrating how they continue to be efficacious, notwithstanding the transformed meanings they acquire.

CV Donatella Barbieri is Senior Research Fellow in Design for Performance, at London College of Fashion and at the Victoria and Albert Museum. As costume-based scenographer and scholar, Donatella has taught extensively, lectured publicly, presented at international conferences, curated exhibitions, convened research events and is a published author. Performance-making and the practice of devising performance out of costume are the focus of her practice, as is the fascination with the costumed body and its infinite potential to articulate and embody the human condition. As well as curating ‘Costume in Action’ for World Stage Design 2013, current projects include ‘Old into New, Part 2’ performance-as-research project, ‘Encounters in the Archive’, film-based investigation of costume and the archive, ‘Costume in Performance’, to be published by Berg with the V&A, and ‘Studies in Costume and Performance’, new peer reviewed research journal. Recent and forthcoming publications include ‘Reflections on Costume’, V&A On-line Journal and ‘Costume Re-Considered’ in ‘Endyesthai (to dress), historical, sociological and methodological approaches’, ‘Performativity and the historical body: detecting performance through the archived costume’ in Studies in Theatre and Performance (September 2013) and, with Greer Crawley, ‘Dress, Time and Space: Expanding the Field Through Exhibition Making’ in The Fashion Studies Handbook, Bloomsbury (October 2013). Donatella has been present at Prague Quadrennial through her own practice, pedagogy and research, since 1999, including in 2007 she co-produced with Professor Jana Zborilova LES / Forest as part of Scenofest, in 2003 she curated and presented the work of Nicky Gillibrand who, as a result was awarded the Gold Medal in Costume, she presented a scatch performance of Old into New at the Extreme Costumes Talks in 2011. Having taught in various Universities in the UK since 1995, in 2006 she founded the MA Costume Design for Performance at London College of Fashion, where she continues to teach while also supervising at PhD level.

Note: Biographies and abstracts are based on the texts sent by the participants.

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