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First Day 31.10.2013 Space 1 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
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