ke stažení zde - Prague Quadrennial

FREE
02
SATURDAY,
JUNE 18TH 2011
12TH INTERNATIONAL COMPETITIVE EXHIBITION OF PERFORMANCE DESIGN AND SPACE FOR ///////////////////////////////////////////////////////////////// JUNE 18TH 2011
When Spectacle Kisses the Lips
of Intimacy: An Intersection
in the Piazzetta
Every day, in Intersection, pairs of once-distant lovers are caught in tight embraces inside an array of 30 white boxes. Theater hooks up with
Visual Arts. Scenography cuddles with Installation. Architecture submits to the desires of Public Space. This groundbreaking immersive
experience, conceived by Sodja Lotker, inhabits the Piazzetta corridor, flanked on two sides by the National Theatre and Laterna Magika
in the busy city center. One sunny afternoon, Randy Gener, Editor-in-Chief of PQ MAG, cozies up with Guerra de la Paz, Romeo Castellucci,
Monika Pormale, Brett Bailey, Nathaniel Mellors and Ulla von Brandenburg to find out if their transdisciplinary romances are fixed, real or forone-night-only.
//// Seen from afar, Intersection might be a modular bee’s hive — or
it might be a playground of giant toy blocks. Thirty white cubes
housing 30 galleries, black-box spaces and open displays —
Intersections fires up so many synapses in our brains that the
journalist Jean-Marc Adolphe, in an editorial for Mouvement’s stylishlooking brochure, conjectures that it might be a “neuronal project.”
//// Metaphors fly fast and furious. Intersection is a crossroads of
hybrid artistic expressions. No — it is a collective, a web of conceptual
propositions. No — see that bar on the top floor? — this is a party lounge,
man! No, no, no — Prague was the home of Franz Kafka, whose works
inscribe a labyrinth of human understanding and imagination — so
Intersection is a maze of new scenographic experiments in a public
square. Brett Bailey, the charismatic director from South Africa (and
one of the jury members of this year’s Prague Quadrennial), begs to
differ. “This is an installation — it is not scenography,” Bailey says. “For
me, real scenography is what happens on stage.”
//// Whatever Intersection is, it takes a village. Seen from the
perspective of the red-and-white trams that whiz by in front of
Prague’s National Theatre and Laterna Magika, it is not immediately
apparent that the white boxes tucked and clustered in the Piazzetta
area serves as a modernist dwelling for a living mash-up. As you enter
its narrow coves and wade through the tiny streets and as you stride
from room to room, you begin to realize: This site is a haven for semipublic intimacies. It is a lovers’ nest for an transdisciplinary romance.
//// Who are the couples involved in this torrid love affair? Meet the
flirtatious lovers Visual Arts and Performing Arts. Look for the
designers who hopped into the bed of installation art, and the
installation artists cavorting (some for the first time) in the splendor
of scenography. For 11 days in Intersection, a handpicked group of
scenographers, performers, choreographers, visual artists, major
directors, fashion designers, painters and installation artists have
jumped into beds with one another. Architecture hooks up with Public
Space. Installation cuddles up with scenography. Spectacle kills
Intimacy’s lips.
//// Each pair of lovers breaks down walls and creates new
convergences. Check out, for example, the dome-like lair of Guerra
de la Paz. Their room is festooned from floor to the roof with perhaps
about 4,000 men’s button-down white shirts. White clothing alludes
to an African Yoruba deity named Obatala, the archetypal saint of
creativity. De La Paz’s partner, Alain Guerra, points to the pretty lacy
things — prom dresses, frilly curtains and table covers — that hang
inside the box. “It’s yin and yang,” says Neraldo de la Paz, who forms
one half of the Miami, Florida-based duo Guerra de la Paz. “Outside,
the box is more masculine. The interior is feminine. It might be the
anatomy of man and woman—the man is more outside, the woman is
more inside.” “Guerra De La Paz” translates roughly as “war of peace.”
It mashes up the surnames of Alain Guerra and Neraldo de la Paz. Both
were born in Cuba. Their work in sculpture and installation references
the politics of modern conflict and consumerism alongside symbols of
religion and faith.
//// Romeo Castellucci, the celebrated Italian auteur of Societas
Raffaello Sanzio, imagined a box that mixes cheery icons and sinister
MISTERMISSMISSMISTER
18. âERVNA, 20:30–22:30
VELETRÎNÍ PALÁC
INTERSEKCE
Pozor! Jiné datum než je
uvedeno v českém Průvodci PQ!
Koná se již dnes, 18. 6.! Proměna
intimity ve spektákl osloví nejen
každého diváka jednotlivě, ale také
kolektivní prostor reprezentací
identit, v němž „potíže s genderem“
nabývají nezpochybnitelného významu. Ana Borralho & João Galante.
feelings. He immediately saw in his
mind the image of the Greek mask of
comedy when it was explained to him
that Intersection would be a kind of
village with a public space situated
above it, where visitors can mingle
and drink. “I thought of an intimate
space where every spectator will be
confronted with a proper mask,”
Castellucci says. “The mask is a dark
mirror that looks at all of us — our
society and our histories. The mask of
Green comedy has a smile on it that is
quite terrifying. It suggests something
about this age we live in, this terrible
smile. You are alone in this room, and
you can feel the judgment of this
mask. The mask is a perfect negative
of humanity. We are the spectacle for
this mask. We are the spectacle for
this theatre. We are the show!”
//// Castellucci is perhaps an ideal
artist–emblem for Intersection,
because his theatre is impossible to
categorize. Similarly polymorphic
are the productions of Monika
Pormale, Nathaniel Mellors, Ulla
Von Brandenburg, (ERS) Elevator
Repair Service, and Brett Bailey.
Mellors describes his two boxes as
“a two-channel video installation with animatronic sculpture.” And
the box tells a story. “The play concerns the medieval explorers lost
inside the body of a giant and they are trying to get out,” Mellors
says.
//// Ben Rubin, an American media artist, collaborated with Mark
Hansen, a statistician, and with the New York–based collective ERS.
Their box, Retrospective, has automated typewriters and pages of
scripts on the wall. They have fed into their machine texts from ERS’s
stage adaptations of three 1920s novels (The Sun Also Rises by Ernest
Hemingway, The Sound and the Fury by William Faulkner and The
Great Gatsby by F. Scott Fitzgerald). Through a mathematical
algorithm, the machine spits out random fragments of texts, which
the ERS actors will then perform.
//// The German-born Ulla Von Brandenburg dips into literature,
cinema, theatre and opera in order to re-think the role of a spectactor.
“I am showing a smaller version of an installation I presented in Venice
two years ago,” she says. “It’s a traveling installation. IT repeats the
colors and the spatial plan of Villa Savoye (Poissy, France) designed by
Le Corbusier. I am projecting on a fabric my film, Singspiel, which
I made in this villa. As a visitor, you are somehow in a colored fabric
universe to look at a black-and-white film.” And the film depicts
a family that sings together.
LIVE EVENTS IN
EXPOSITIONS
JUNE 18
VELETRÎNÍ PALACE
Reliquiarum and Light (CZ),
Depressive Children Loaning For
Money will bring you to their
Reliquiarium of contemporary
saints; 10 am, 6 pm. // The
Adventures of White-Man (US),
Toy theater spectacle about the
male Caucasian human; 12 pm,
5 pm.
ARCHA THEATRE
JUNE 18
PQ+
Architecture as an Impulse for
Theatrical Space, the director of
the Archa Theatre O. Hrab will meet
the artists who create projects
specifically for the Archa Theatre;
6 pm. // Here I Am Human!, a
creative collaboration between the
band The Tiger Lillies, the Irish
playwright, J. Clarke, and the
Czech director, J. Havelka; 8 pm.
Photo © Miroslav Halada
//// South African Brett Bailey coerces tough-minded social themes
in an Intersection room that is ironically labeled a San-ctuary. Bailey
says he is not interested in spectacle at all; he delves into the dangers
of authority. “It is dark inside and very intimate,” he says. “It is very
tight. You don’t know where you are going when you enter. You find
that you are going upstairs. It is intended for one person at a time.”
Bailey imagined “a holy place around the altar of a Catholic Church.”
Ironically the piece addresses the phenomenon of priests and
authority figures that have abused children.
//// The tight hugging on display in Monika Pormale’s box, called
Exhibit 17, almost literally stages the unusual couplings, the
polymorphic desires and the spectacle of shared intimacy of this entire
Intersection project. Couples who barely know each other are trapped
inside an aquarium-like glass box (well, it might be a store display that
retails images of ordinary tenderness), and they embrace
affectionately and in silence.
//// As Romeo Castellucci states, “Scenography is related to an
action. In scenography, the action is related to a sense of time. An
installation is outside of the dynamic of time; it is closer to the idea of
an exposition.”
Randy Gener is the Nathan Award–winning editor, drama critic and conceptual
artist from the United States.
MASTERCLASS WITH STAN
LAI
JUNE 18, 10:30 AM
DAMU
SCENOFEST
A conversation with one of the
most influential
playwright/directors in Asia. Stan
Lai is also known for his awardwinning films and his work as the
Artistic Director of Taiwan’s
leading theatre group
Performance Workshop.
GALLERY2
JUNE 16–25
PIAZZETTA
INTERSECTION
Gallery2 presents 10 exhibition projects. It could be called a recycling
gallery, where the exhibit opening is
also its closing, and where one
project is swallowed up by the one
that comes after it. The opening for
each project takes place from 5 to
8 pm.
Curators Speak Out
In a wide-ranging conversation with a number of curators from various countries,
Randy Gener reports on the thrills, challenges and obstacles of putting up exhibits of
the Section of Countries and Regions at the PQ.
//// “Crossing an ocean is a significant challenge for countries
that are too far away from the Czech Republic,” says Sergio
Villegas, curator of Mexico’s exhibition. “Western countries don’t
face the same obstacles. We are fortunate that we were able to
get the budget from different sources, including Mexican
foundations and government bodies. Every time we prepare for
the PQ, curators worry about the budget and logistics. No matter
how strong the curatorial idea, if you do not have the money to
put up an exhibition, you are screwed.”
//// It probably helped that all of the costume designers
represented in the 2007 Mexican exhibit took home PQ 2007’s
Gold Medal for Costume Design. As a result, this year’s Mexican
contingent arrived in Prague almost a month before anyone else
from any other country showed up to build their pavilions at
Veletržní Palace. “It was a little psychotic, but it worked, and we
were happy about that,” Villegas says.
//// One of the fiercest discussions at PQ center on the new
curatorial imperative that is inscribed in the very name of the
quadrennial itself, which has re-positioned its focus from “world
scenography” to “performance design and space.”
//// Susan Tsu, the artistic director of the USITT/USA 2011
Exhibition, that PQ vibrates within the avant-garde of design.
“The view of scenography is changing every day,” Tsu says.
“Traditional boundaries and descriptors of scenography are being
challenged by the intersections and blurred lines of other
disciplines. All in all, curating an exhibit for the PQ is a thrilling
job. One of the hardest aspects of curating design in the USA is
that we are such a large country. We kept the focus clear and
sharp; as a result, there is much good work that we had to pass
by. Money in these hard times has been a challenge from
beginning to end. We spent a lot of time raising money and
borrowing equipment.”
//// In 2007, the countries of Italy, China, France and the
Philippine were not represented with a pavilion. This time, Italy
has an exhibition (rooted in moleskin materials) — and so does
China. Even the tiny island of Cuba has one. France, however, is
still not represented. Neither is Belarus.
PQ
//// The Philippines, which presented a student exhibit in 2007,
is represented with both a pavilion in the Section of Countries
and Regions and a student exhibit, courtesy of the Abatan River
Theater Project or Teatro Abatan. “Our pavilion is made up of
bamboo,” says curator Rolando de Leon of the Philippine center
of the International Theater Institute (ITI), who adds that his
pavilion has been conceived and designed to show off how the
inland water body of the Boholano life, culture, heritage and
nature in the Philippines can amaze visitors and spectators.
A painter De Leon thinks the rift between visual arts and
scenography is “an ego issue.”
//// Taiwan’s curator Chuan-Fu Liu reports that raising the
money was also a problem. But that issue was nothing compared
to the real challenge, which is that designers are not so well
known, compared to visual artists, in his country. The Taiwan
curator invites visitors to use their mobile phones and iPads to
note the black-and-white code that is attached to the bottom right
hand of the computer monitors. That code allows interested
visitors to later visit an online site where the designers speak at
greater length (up to 15 minutes) about their aesthetics.
//// In Finland, the extended curatorial team consists of Reija
Hirvikoski, the curator; Maiju Loukola, scenographer-researcher
who coordinates the presentations and discussion series; and the
lighting designer Mia Kivinen. In an email interview, Hirvikoski
and Loukola states, “We are focusing on scenographic process and
scenography as an eventual, living situation. This means that our
‘optics’ aims toward a certain site-specificity of the phenomena that
we are exhibiting, sharing and discussing. We, too, are pointing
strongly toward ‘specifities’ rather than ‘universalisms.’ ”
//// Given that Finland is a small Nordic country, in what ways
did the Finns make its pavilion at once “specific” and “national”?
“We will have a blast of a party on Midsummer’s Eve, which is big
in our country. There are all kinds of eccentric traditions such as
dancing naked in the middle of the night among the flowery fields
in the countryside, getting lightly loaded, and singing old folk
songs together, in the arms of a summer night when the sun
never goes down.”
PORTRAITS
ES DEVLIN (UK) is award winning stage and costume designer who designs many of the major European opera houses including
Royal Opera House, English National Opera or Glyndebourne. She has designed plays for The National Theatre, RSC, Royal
Court, West End and Broadway. Most people can know her design work from pop concerts of stars including Lady Gaga, Muse,
Kanye West, Pet Shop Boys or MTV EMA Awards 2010 and 2011 ceremonies. At the PQ 2011 she will discuss her interesting
work of an extreme range of collaborations from the Bush Theatre to Lady Gaga and onto the London Olympic Games: From
Gaga to Glyndebourne: a Designer’s Tales from Pop and Opera (June 18, 4 pm; Veletržní Palace, Lecture Hall).
KIRSTEN DEHLHOLM (DK), Artistic Director of Hotel Pro Forma, creates interdisciplinary work that moves across the genres of
theatre, opera, visual arts, and concerts. Innovative and highly creative in its use of technology and new media, the Danish ensemble
Hotel Pro Forma, under the artistic leadership of Dehlholm, has been at the forefront of independent music theatre practice for more
than two decades now. Every production is a new experiment and contains a double staging. Kirsten Dehlhom introduces Hotel Pro
Forma at the PQ 2011: Kirsten Delholm, Hotel Pro Forma (June 18, 6 pm, Veletržní Palace, Lecture Hall).
RICHARD GOUGH (UK) is Artistic Director of the Centre for Performance Research (CPR) and Professor in the Department of
Theatre, Film and Television Studies at the University of Wales, Aberystwyth. As a director, deviser and workshop leader, he has
developed an original approach to creating visual, musical and site-specific performance. Richard Gough, together with director
Brett Bailey, scenographer Monika Pormale and Christopher Baugh, will talk about their personal ‘reading’ of contemporary
scenography as well as propose possible scripts for the future based on the exhibitions in PQ 2011: Scenography:
Environments (of the Future) (June 18, 12 am, Veletržní Palace, Lecture Hall).
PAWEŁ ALTHAMER (PL), sculptor, media artist and performer studied at Faculty of Sculpture in Warsaw Academy of Fine Arts.
His solo exhibitions include the Centre Pompidou in Paris, Wrong Gallery in New York, as well as in Berlin, Milan, Trieste,
Maastricht and Düsseldorf. He focuses on social issues and the creative reception of reality, often involving local communities in
the creative process. During the PQ 2011 you can see his costume performance and discussion outside the Veletržní Palace:
Golden People (June 18, 10am, in front of the Veletržní Palace). He is taking part in the Extreme Costume exhibition as well
(look for his costume Common Task).
PQ
JP.CO.DE DIARY
Krétakör:
actions and social experiment on the way
Eleven young people, all from outside of Prague found randomly
another one to join them on their experimental artistic
community building project. It was the first major challenge we
planned for our volunteers who are here as our artistic
collaborators for two weeks at the Právo printing house. We
thought it might take more than one day to find some strangers
who would move into our partially abandoned factory. They had
not just persuaded this 22 year old German sculptor – on his way
to a concert by bicycle crossing Europe… – , they also found
their inspirational partner. The missing link to creativity. He
moved in with such a spirit that suddenly the whole community
started to react to his boldness and natural, relaxed personality.
After the first 2–3 days of overwhelmingly „PC” – approach to
the issues we were dealing with, the volunteers stopped acting
like intelligent and polite guest of a world famous theater
company! They have started to develop own ideas, own
structure while exploring with us in the fields of guerrilla night
actions, interactive performances in the city or discussions on
social issues such as dictatorship, democracy or minority issues.
We even had a „solidarity flash mob”. It was dedicated to Simon,
who as the leader of the group was sent to a nuclear-proof
bunker – 2 floors below ground level – in order to find out the
next day’s program. The majority of his partners slept outside
their rooms, on the dusty floor of the building. While spiritually
getting closer to each other, the volunteers also shaping the
nature of the hall with different artistic projects.
Róbert Vágó Wallenstein
PQ
Gallery2: Alice Nikitinová // Workshop of Paul Zaloom: Theatre of Trash // Pamela
Howard // PQ for Children
PQ
EDITORIAL
Two years ago, when I was offered the possibility of working for Scenofest, I didn’t hesitate for a moment and jumped right
into preparations for this Prague Quadrennial project. I was attracted not only by the fact that the Prague Quadrennial is
a prestigious international event a long history and that I will thus have the chance to see how the festival works and to
learn all kinds of things. I was also attracted by the Prague Quadrennials change in focus, as reflected in its name, and I was
interested it all the things that might come about on the field of performance art, for which the Space without Boundaries
is intended. I was also intrigued by Scenofest and its focus on young people whom it can help start their carrier or which
contributes, thanks to the chance of meeting with unique individuals and professionals from all over the world, to forming
their own form of artistic expression. // For me, the most attractive aspect was the involvement of so many people from all
corners of the world and with different working styles, artistic opinion and cultures habits. Soon, however, I was immersed
into the world of PQ, which swallowed up all of my original ideas and opened the doors to previously unknown lands. The
Prague Quadrennial cannot be easily described or understood. The Prague Quadrennial is about learning, meeting and
searching. At the Prague Quadrennial, you can meet artists who design stage sets for the most famous opera houses as
well as form factory halls, people who try to cheat the forces of gravity, or an Indian who travels on a bread roll... In this
endless see, Scenofest is a ship without anchor, with passengers from all over the world who have come together in order
to create works of art intended only for this moving stage, in order to feel, jointly, what it is like to be at the still point of
a turning world... // After long months of preparation, searching, and hard work, I can now be on board with them, and
I intend to enjoy this cruise along with everything that it has to offer. If you would like to join us and let yourself be inspired by
our fellow shipmates – or even if you would just like to support them – do not hesitate: the doors are open, and the most diverse
range of performances, installations, lectures and meetings are waiting for you – all of them once-in-a-lifetime experiences.
Michaela Stránská, manager of the Scenofest project
Česká verze editorialu na www.pq.cz/cs/pq-mag
Extrémní vztahy
Ve VeletrÏním paláci naleznou náv‰tûvníci PraÏského Quadriennale mimo jiné
i projekt Extrémní kost˘m. Tvofií ho v˘stava kost˘mÛ, videozáznamÛ a fotografií
a také série prezentací a diskusí. Obû ãásti kurátoruje pfiední ãeská kost˘mní
v˘tvarnice Simona Rybáková, která v rozhovoru pfiibliÏuje hlavní zámûry projektu.
//// Co v sobě skrývá sekce PQ nazvaná Extrémní kostým
a co je jejím smyslem? — Je to výstava věnovaná čistě kostýmu
pro divadlo a živé akce. Její specifikum je v určitém protikladu
k exponátům, které se vystavují v národních expozicích. Tam
uvidíme široké spektrum tvorby kostýmních výtvarníků
z celého světa, kdy různé země a kultury jsou na rozdílné
úrovni posunu od klasického divadelního kostýmu do
současných krajních poloh. Tím, že jsme vyzvali kurátory
národních expozic k výběru co nejextrémnějších forem
současného kostýmu pro všechny druhy živých akci, chceme
zachytit nejširší tendence, kam se dnešní kostým ubírá.
Photo © Luděk Neužil
PHOTO REPORT
Photo © Petr Jedinák, Miroslav Halada, Luděk Neužil
Nikolina Kostova (BG): I, Thy Soul // Já, tvá duše
//// Slovo „extrémní“ v jejím názvu znamená extrémní
podobu kostýmu, použitých materiálů, extrémně použitý
kostým, nebo všechno dohromady? — Přesně to a ještě
mnohem víc. Zajímá nás extrémní podoba ve smyslu formy,
výtvarného zpracování, k tomu přispívá výběr materiálu, který
se svými specifickými vlastnostmi stává hybatelem děje v akci,
v níž je daný kostým použit. Extrémní je i použití některých
symbolů a barev, jdoucí někdy i do silně politického podtextu.
Prostředí, ve kterém je kostým performován a jehož součástí
se stává. Nové technologie, nové materiály, které díky svým
vlastnostem inspirují a promlouvají, například textilie, která se
vodou na tanečníkovi rozpustí během představení. Nakonec
i umístěním všech těchto různorodých kostýmů do jedné
instalace vytváříme extrémní vztah.
//// Jaké místo patří v současném divadle kostýmu? — To je
pro mne dost osobní otázka a zkusím ji z obou stran pojmenovat.
Kostým byl a je jednou z významných složek jevištního dění a je
jeho nedílnou součástí. Já jako kostýmní výtvarnice vnímám jeho
důležitost silně a samozřejmě neobjektivně. Ale je to vedle
hercova výrazu a řeči těla primární informace o charakteru
postavy, její sociální příslušnosti, emocionálním nastavení
a podobně. Barva, materiál, střih, maska hraje velkou roli
v identifikaci diváka s postavou. To vše považuji za jasné
a automatické. Není tomu tak ale vždy. Spousta režisérů nemá
představivost, nejsou dostatečně výtvarně vzděláni a nevyžadují
ani neinspirují výtvarníka. Z lenosti či neznalosti to vzdávají
předem. Je ovšem faktem, že pokud má mít kostým aktivní roli
v představení, měli by mít herci i režisér možnost s ním zkoušet,
aby situace, které nabízí, mohly vzniknout jako nedílná součást
představení. Když však přijde kostým až na poslední zkoušky,
může skutečně i „vadit“. Ale při vůli ke spolupráci v týmu se dá
hodně vymyslet dopředu, aby vše fungovalo v celku. Pak se
výsledek umocní a výrazně posune k lepšímu. Neodpustím si
poznámku, že například na plakátech je často uveden pouze
režisér a autor, ostatní tvůrčí profese nikoliv….
//// Potřebuje více kostým herce, nebo herec kostým? —
Obojí by mělo být v souladu. Kostým může herci pomoci, ale
i ublížit. Herec kostým naplní, ožije ho. To ale mluvíme
o tradičním chápání divadelního kostýmu. Výtvarník může
vytvářet kostýmy i bez konkrétního libreta. To je třeba případ
modní přehlídky, kdy návrhář řeší určité téma a formu
a kostým není prvotně určen konkrétnímu tělu – aktéru.
Někteří kostýmní výtvarníci v rámci vlastní svobodné kreativní
tvorby řeší kostým, objekt ve výtvarném kontextu své
představy, a až potom je třeba použit do konkrétního
představení, inspiruje-li zpětně režiséra.
//// Může kostým hrát/existovat samostatně bez kontextu
divadelní hry, performance, pro niž vznikl? Může být
samostatným výtvarným dílem? — Některý kostým ano, jiný
ne. Právě na naší výstavě tento problém řešíme. Kostýmy
vytrhujeme z původního konceptu a zastavujeme jejich
dramatický čas, abychom divákovi zprostředkovali pohled
zblízka, abychom mohli zachytit, jak a z čeho je vytvořen
a zaznamenat jeho vlastní vnitřní příběh. Já jsem například
použila na ozdobu jednoho kostýmu do velké opery stříbrné
drátěnky, které ani na velkém divadle nerozeznáte, ale zblízka
pobaví… Na naší výstavě právě tyto postupy a nápady může
divák v klidu zachytit. Některé kostýmy, které vystavujeme,
jsou i jakýmsi konceptuálním uměleckým dílem a jako takové
jsou schopné samostatné existence. Přesto pro pochopení
jejich podstaty vystavujeme některé kostýmy formou vlastního
objektu na figurínách, jiné vypovídají na fotografii nebo videu.
Nav‰tivte autogramiádu knihy
âesk˘ divadelní kost˘m autorÛ
Vûry Ptáãkové, Báry Pfiíhodové,
Simony Rybákové a Jana
Dvofiáka.
19. âERVNA 2011, 18:00
VELETRÎNÍ PALÁC, KNIHKUPECTVÍ
//// A je možné v tomto smyslu kostýmy samostatně
vystavovat? — Jak jsem už řekla, je to možné, ale jen některé.
Navíc si musíme uvědomit, že vystavujeme tato díla s důrazem na
jejich výtvarný a konceptuální obsah. Ne všechny kostýmy, které
na herci skvěle hrají, jsou vystavení schopny, právě proto, že tělo
a výraz je jejich nedílnou součástí. Je potřeba pro každý jednotlivý
kostým najít adekvátní formu prezentace. Naproti tomu kostýmy
tvůrců typu Roberta Wilsona nebo Riena Becckerse se vystavují
dobře, neboť jejich formální strana je natolik svébytná a výtvarná
a herec je jen jakousi loutkou se stylizovanou maskou, že tělo
konkrétního interpreta není až tak potřeba.
//// Jak moc lze divadelní kostým uplatnit v jiných oblastech
života, než je umění, a čím se dnes divadelní kostým převážně
inspiruje? — Kostým pro divadlo a živé akce je sám o sobě
specifickým druhem oděvu a jako takový je z tohoto prostředí
nepřenositelný. Vzniká pro určitou osobu, situaci a čas. Ale
samozřejmě přináší divákovi informaci, inspiraci, emoci a může
se volně prolnout do jeho života. A výtvarníci vytvářející
kostým pro živou akci se inspirují absolutně vším. Vzájemné
vlivy uměleckých disciplín i jevů běžného života se volně
a svobodně propojují. Kreativní kostýmní návrháři se inspirují
historií, módou, hudbou, přírodou, sociálními a politickými
aspekty ve společnosti, prací kolegů, všemi směry a druhy
kultury obecně, prostě vším, co jim může dopomoci k vyjádření
kýženého výsledku.
Rozhovor vedla Markéta Horešovská, redaktorka ČTK
You can find the interview with Simona Rybáková in English at
http://www.pq.cz/en/interviews.html.
REKLAMA
PQ for
Children
All children who visit the epicentre of PQ
events – the Veletržní Palace – from 16 to 26
June will find their visit transformed into an
adventure-filled game. The purpose is to give
children a tour of the exposition and to call
their attention to details that they shouldn’t
miss. Children who come with their parents
can participate in a workshop where they can
create unusual objects (curiosities) that they
then add to a constantly expanding installation
– the Cabinet of Curiosities. Children will also
become jurors: after seeing the exhibition, they
can vote for one of the exposition of the
Section of Countries and Regions from more
than 60 countries. The winning exposition
receives the PQ Children’s Award, which is
presented at a ceremony at the exhibition’s
conclusion.
All the world is a theatre a cabinet of
curiosities.
Don’t believe us? Come and convince yourself
in person.
What can you look forward to?
• Get lost in a curious Cabinet of Curiosities
• Find missing curiosities on an adventurous
tour of the entire exhibition.
• A pair of even more curious glasses will help
you find them.
• Uncover the contents of the secret safe.
• Help to decide which exposition is the best
and deserves to receive the PQ Children’s
Prize.
• And if you still have the time and the desire,
you can create your own curiosity to add to
our constantly expanding cabinet – thus
helping to make the exhibit more interesting
for future visitors.
We are looking forward to seeing you, so
come and find us!
P.S.: The little map will help you.
PQ
BOOKS
Joslin McKinney
& Philip Butterworth,
The Cambridge Introduction
to Scenography,
publisher: Cambridge University
Press
This book introduces the reader
to the purpose, identity and
scope of scenography and its
theories and concepts. Settings
and structures, light, projected
images, sound, costumes and
props are considered in relation
to performing bodies, text,
space and the role of the
audience. Concentrating on
scenographic developments in
the 20th century, the Introduction examines how these
continue to evolve in the 21st
century.
Book Signing: Book Shop at
Veletržní Palace, June 18th,
5 pm
LIVE EVENTS IN
EXPOSITIONS
JUNE 18
VELETRÎNÍ PALACE
Common space/Personal space
(PL), discussion in the Trailer of
Poland exposition outside the VP;
1 pm // Tecla Cernuda (ES),
performance by Mariaelena
Roqué in Spanish exposition;
2 pm // Day of Japan, puppet
performance by Noriyuki Sawa
and choreographer Kiyomi Maeda
with dancers; 3 pm.
Christopher
Baugh, Theatre
Performance and
Technology: The
Development of
Scenography in the
Twentieth Century,
publisher: Palgrave
Macmillan.
The author, is a designer, a historian,
a theatre professor in
the U.K. and a coeditor of the journal
Scenography International. In this quite
comprehensive
survey of technology’s impact on the
scenography practices of the 20th
century, Baugh travels
back to the 19th
century and spins
forward to the near
present in order to
track the main
E. G. CRAIG: SPACE & LIGHT
MAY 27–JUNE 25, TUE–SUN,
11 AM–7 PM
J. FRAGNER GALLERY
INTERSECTION
The exhibition explores the life,
career, and continuing legacy of
pioneering British director,
designer, graphic artist and theorist
E. G. Craig (1872–1966). Through
an original sound recording and
performance, visitors will learn
about his thoughts and about the
people in his life.
theories and
established practices
of stage design. By
tracing these patterns,
he is able to describe
and investigate how
the stage functions as
both a place for
performance and
a technologically
supported machine
geared to generate
fresh new meanings.
— Gener
Book Signing: Book
Shop at Veletržní
Palace, June 18th,
6 pm
DISK STORIES:
LANDSCAPE #4
JUNE 18, 8 PM
DAMU
SCENOFEST
The student performance presented by California Institute of the
Arts, is an interdisciplinary work
based on a score by Calarts
experimental composer, James
Klopfleisch. The text is no more
than three sentences long. However its rich language and visual
composition are vast with imagery.
Marie Zdeňková &
Josef Vomáčka,
Miroslav Melena:
Scenographer and
Architect, publisher:
The Art and Theatre
Institute in Prague
Enter the world of
Miroslav Melena,
considered among
the most important
Czech architects and
scenographers in the
second half of the
20th century. “Melena
belonged to the type
of scenographers,
nowadays almost
extinct, who honestly
drew and painted
their designs.” That
desire to paint was
a residue of his
Czech training. He
was one of the last
students of František
Tröster at DAMU.
Melena also collaborated with director
John Schmid; Melena
and Schmid were
both involved in the
formation of the
poetics of the nowlegendary Studio
Ypsilon Theatre.
This book serves as
a catalog to a June
2011 exhibition of
Melena’s life and
career at Old Town
Hall in Prague. —
Gener
THE MARRIAGE!
ART HAS NO HISTORY
JUNE 18, 3 AND 6 PM
LA FABRIKA
PQ+
Bohuslav Martinů’s charming
opera about Agafya´s three
suitors is set among Russian
immigrants in New York in 1953.
This unorthodox version by
Pamela Howard staged at La
Fabrika offers a unique
opportunity to peek inside an
opera performance.
JUNE 1–26, WED–SUN, 12 AM–8 PM
KARLIN STUDIOS
PQ+
The exhibition focuses on
a tendency appearing among
artists influenced by the
conceptual tradition which has
become an integral part of their
creative process and facilitates
a perpetual evaluation of the “art
form” and the questioning of the
autonomy and position of the
artist.