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Sie sind hier: Startseite MAP II Entscheidung und Augenschein (2011) TRANSFORMIEREN

TRANSFORMIEREN

Processing Der Prozess / Proces

Jana Horáková (Brno)

The paper focuses on the possibilities and potential of connecting live performance with new media. Our attempt is to find alternative strategies for theatre/performance relations with media, in this case digital media, by means of placing the theatre/performance within contemporary art production, developing strategies of production, which is developing a culture of usage. “In this new form of culture, which one might call a culture of use or a culture of activity, the artwork functions as the temporary terminal of a network of interconnected elements, like a narrative that extends and reinterprets preceding narratives.” [Nicolas Bourriaud: Postproduction, New York 2002] The project we are going to introduce is based on collaborative research, in which artistic and scientific approaches overlap and fuse.

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THE LATHSHEV-FITHSHNEV-PROZESS (2009-2010)

Gívan Belá and Michal Kindernay (Praha)

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Barbora Klímová: Replaced - Brno 2006

Barbora Klímová (Brno)

For my Replaced-Brno-2006 project I chose five performances by five artists that took place in Czechoslovakia in the 1970s and 80s. The main selection's prerequisite was that the performances were conducted (or could have been conducted) in a public space. Instead of composed, clearly identifiable performances, gestures or acts that bordered on normal behaviour suited my plan. I was interested in what way a public space and everything related to it (politics, urbanism, architecture, as well as social conventions and rules related to certain places) was transformed.
I met with almost all the artists of the original performances and spoke with them of their experiences and why they carried out such performances. It became evident that, besides a probe into public space, my project would reflect and alter the way we now view their performances.
Simply put, it was meant to show what happens when we transfer a previously documented gesture to a completely transformed reality.

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Why 'I Live'?

Daniel AlmgrenRecén (Amsterdam)

This performance is based on the historically important neo-classical ballet LIVE from 1979 choreographed by Hans van Manen. LIVE has become canonized because of its at that time innovative use of live projected video, portraying the strength and weakness of the performer.

“I always had the wish to be part of something historical” was Daniel AlmgrenRecén’s starting point for his performance “I Live”.
He, him self born just a few weeks after the premiere of LIVE in 1979 poses the question:
Can I become part of something that I never was by deciding, “I am”?
In “I Live” he reincarnate, without any formal ballet education as the female principal dancer out of the neo-classical ballet LIVE.

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