ke stažení zde - Prague Quadrennial

FREE
03
SUNDAY,
JUNE 19TH 2011
12TH INTERNATIONAL COMPETITIVE EXHIBITION OF PERFORMANCE DESIGN AND SPACE FOR /////////////////////////////////////// JUNE 19TH —––––— JUNE 20TH 2011
Performance Attack! Czech Citizens
Invade Prague’s Public Spaces
A conversation with Claudia Bosse, artistic director of Austria’s theatercombinat and creator
of the tears of stalin.
//// Forget the tourists. Every summer, foreigners invade the public
spaces of Prague in search of holiday pleasures and adventure. Sure,
tourists are annoying. But that kind of consumerist invasion is not what
Claudia Bosse, the artistic director of the Austrian performance
collective theatercombinat, is interested in. Bosse is avid to dig deeper
into the surface of Prague’s public spaces.
//// Forget the play script, too. In the past, Bosse, who was born in
Salzgitter-Bad in 1969 and studied directing in Berlin, has staged the
dramas of Shakespeare, Brecht, Aeschulus, Elfriede Jelinek and
Heiner Müller. There is, however, no script as such in her three-part
urban intervention art-project for the Prague Quadrennial — tears of
stalin and the two versions of explosion of silence, all of which premieres
simultaneously 5:00 to 6:00pm on June 21st in the Letná Hill area,
including Čechův Bridge and the city center. Of course, rehearsals will
be involved, because Bosse has announced a call for participation so that
regular Czech people are given an opportunity to perform outdoors.
Bosse’s script is radically different though. She wants to co-create with
participants from the Czech community a number of multi-track
performative texts to realize this triptych of experimental productions
that combine installation, performance, choreography and theoretical
discourse.
//// “You must understand that this project is not one performance —
it is three different levels of urban intervention,” Bosse says. “tears of
stalin is a visual intervention on Letná Hill. There is a concert with many
cars — and explosion of silence is a performance on Čechův Bridge. It is
all together: the performance intervention, the acoustical choreography
and the visual intervention of building huge white letters that read THE
TEARS OF STALIN on top of the metronom area of Letná Hill.”
//// Did you say that tourists in Prague are annoying? Wait until you
see and hear and experience the urban “irritation” that Bosse says she
has in mind. “For me, it is very important to inscribe or irritate public
spaces on three levels with three different elements that can
communicate with one another — and which can function independently. If it all works out, there will be a moment where all the three
elements overlap. You will see the words THE TEARS OF STALIN on the
hill. You will see a performance of a chorus of regular people on Čechův
Bridge. And you will see a line of acoustical cars passing by.”
//// “The intervention will be fascinating. What does it mean
psychologically for people to stand in the middle of the city center and
to be still for a period of time and then to suddenly talk after a while?”
Although Bosse refuses to answer her own question, she does talk about
the “unmeasured arm toward reality and how public life is organized.”
She says, “I am interested in how it is possible to take a silent chorus
and let them walk through the city to create a spatial intervention.”
//// Bosse is also preparing an acoustic intervention of urban space
via a choreographic composition of automobiles that produce sounds.
These sounds, the base material of sounds are generated by Milan
Guštar, the composition is done by Claudia Bosse in cooperation with
Günther Auer, based on the interrelations of tuning, rhythm and pauses,
come out of speakers that are mounted on top of around 9 moving cars.
“I was inspired by artists after the Russian revolution,” Bosse says. “The
car piece is an old dream of mine. What are the strategies so that the
cars are not just décor but instruments that produce this irritation of
public space?”
//// Bosse describes the sounds as “serene-like tones.” Of course, the
city center produces its own sounds. The way she has coordinated the
choreography of the car is also an aspect of this acoustical intervention.
Moreover, different people will hear different kinds of sounds, depending
on where they are located in the city.
//// Meanwhile, the gigantic white letters THE TEARS OF STALIN
installed on a sign on top of Letná Hill can be spotted from anywhere
near the vicinity or on Čechův Bridge. “The sign is a reference to the
Photo © Miroslav Halada
HOLLYWOOD sign which is visible in Los Angeles,” Bosse explains. “Here
in Prague, the letters are on placed on top of a Community story.”
//// Tourists today visit Letná Hill to enjoy the breathtaking view of
the Vltava River and the Old Town. More than 50 years ago, however
(May 1, 1995, to be exact), this very site of the large ticking metronome
had the world’s biggest monument ever to honor the Soviet communist
party chief Josif Stalin. For seven years — until it was blown to pieces in
1962 — the Soviet leader could follow every move of the resident of
Prague from the hill above.
//// “The monument was a mixture of megalomania and overrepresentation,” Bosse says. “The site is a terrific historical position. How
did the Czechs deal with its totalitarian history? How are they adapting
today to capitalist thought and are they clear about how they are doing
it? For a foreigner like me, it is a paradoxical question. Public space is
a place for the society, political and culture — and the rules that have
been established to use it. I believe that those rules should be verified
during each moment of this urban intervention. I have the impression
that the public today are only aware of the surfaces of Czech architecture
that reminds us of historical periods and consummation. It interests me
to confront with different levels this kind of authorization.”
//// In a city intervention, the participation of the regular public adds
a physical presence to the performative event. By filling various public
areas with sound and body, key questions are raised. How does a mass
choreography shape a particular space? How does a staged event
change the reality of a public space — and what happens when the
reverse situation is also true? “The question of how public participation
fails is an important one,” Bosse says. “Public participation fails when
state institutions and organizations only see the results of the project —
PQ GUIDE
SOUND KITCHEN
2 EUR / 50 CZK
PQ Guide will lead you through the
complete PQ, where to go and
what to see. Maps of all venues,
descriptions of expositions,
practical info, programs, social and
other hot tips. You can buy at all PQ
venues.
JUNE 16-20, 10 AM, 2 PM
NEW STAGE
LIGHT & SOUND
The Sound Kitchen performances
and presentations are an
exploration of new sound media
and how it affects us and ways of
using it in live performance. The
Sound Kitchen presents the works
of sound artists, sound designers,
musicians, and performers from 10
countries.
HANDA GOTE: URBAN
CAMPING
JUNE 20, WHOLE DAY
PIAZZETTA
INTERSECTION
A non-violent intervention in what
remains of a public space. The
Handa Gote performance ensemble
will spend 24 hours camping on the
piazzetta in homemade ceremonial
masks and clothing. Relaxation,
conversation, games.
when they do not understand what each particular part of the process
means. So in every part of the process, there needs to be a clear ethic of
communication — a clear style on how to deal with people. If the project
is only a marketing act, then it has to fail.”
Randy Gener
We could not find the number of people with
which the artistic project explosion of silence
is thinkable for Claudia Bosse to realise. So
we have to announce the cancellation of this
part of her city intervention the tears of stalin.
The installation the tears of stalin already
exists at Letná Hill and will remain there till
June 26, and the city concert choreography
with nine cars will take place on June 21
between 4:30 and 6:30 pm in the Old Town.
At âechÛv most, there will be a public
situation between 5 and 6 pm to follow the
concert and the sounds of the city. PQ
THIRD ACT
KAMPA SONATA
JUNE 20, 7.30 PM
SLOVANSK¯ ISLAND
SCENOFEST
The third Vltava act of L. A. Wilson
will start at the point where the city
meets the river. Its story is
developed from myths and facts
surrounding the location. Together
with ritual and insight from the
international student team, the
global will become local and the
local will become global.
JUNE 19, 9.30 PM
KAMPA PARK
INTERSECTION
Poetic dance-movement creation
for 40 dancers and 10 acoustic instruments in the dark in Kampa Park.
Author, Jan Komárek, works as
a director, choreographer and
lighting designer, primarily in Prague’s alternative scene.
Základním tématem je láska
pfiesahující hranice
Komorní opera Les enfants terribles (Pfií‰erné dûti) pfiedstavuje sv˘m charakterem ideální dílo pro uvedení v alternativním prostoru – b˘valé v˘vafiovnû Psychiatrické léãebny
v Bohnicích. K inscenaci byla pfiizvána v‰estranná divadelní a filmová reÏisérka a scénáristka Alice Nellis, která popisuje v rozhovoru nûkteré aspekty tohoto v˘jimeãného
projektu, jedné ze souãástí Intersekce.
//// Jedinečný prostor „Od prostoru k inscenaci Les enfants
terribles jsme vyžadovali něco více, než že se nachází mimo divadlo. Zároveň jsme z něj nechtěli divadlo zpětně vytvořit. Děj
příběhu se odehrává v několika vrstvách, kromě přítomnosti
i v minulosti, a pak je zde silná linie imaginárního světa. Proto
jsme hledali prostor, který toto cestování mezi zmíněnými rovinami umožňuje. A už jenom to, že onen prostor je součástí
psychiatrické léčebny, je pro diváka důležitá informace. Prostředí léčebny je dobrým východiskem pro vypravěče, jenž nás
příběhem provází. Tato rovina reality se před divákem otevírá
už s předpokladem, že se nachází v léčebně. Inscenovat Cocteaův příběh realisticky, to opravdu nelze, a pokud i ano, určitě
by mě to nebavilo. Vývařovna má své estetické kvality – klenutý strop, ochozy, autentickou patinu. Jediným podstatným
fyzickým zásahem je variabilní rozdělení díky bílými závěsy. Ty
v různých alternativách vytvářejí menší prostory, případně
v základní variantě jeden velký nemocniční pokoj. K dalšímu
modelování prostoru jsme využili zejména světelný design
a projekce. Prostor se mění jak tvarem, tak barvou a intenzitou
světla. Přestože dochází k těmto proměnám, zachovává si bývalá vývařovna svou původní jedinečnost.“
//// Projekce „Rovinu imaginárního světa hlavních hrdinů
formují hlavně projekce, pro které využíváme všechny zdi,
strop i prosklené dveře. Pokud mluvíme o projekcích, jejich základem je zmínka z libreta, věta o prolínajících se jezerech
představ Lise a Paula. Proto je část z nich pod vodou.“
//// Netradiční řešení „Díky otevřenosti sálu jsme museli
zvolit i netradiční umístění nápovědy. Tou je sbormistr Martin
Buchta, jenž stojí v první části zabalený do bílé pověšené plachty, která je součástí scénografie. V druhé části jsme se s tím
už nepárali a posadili ho před diváky. Znázorňuje pacienta,
který si prostě čte. Podobně jsme naložili s umístěním a kostý-
PQ
mem dirigenta a instrumentalistů. Každý má svou ústavní postel, je součástí inscenace. Jsme v imaginárním světě, kde je
všechno možné, pokud to má smysl.“
//// Dvojrole „Role Dargelose a potažmo Agathy může být
obsazena jako kalhotková. Pro mne je ale zajímavější uvažovat, co ty postavy ztvárňují, zejména, co o nich píše literární
předloha. Paul je na začátku platonicky zamilován nebo zamilován do svého spolužáka Dargelose. Pak se na scéně objeví
tatáž osoba jako žena, Agathe a Paul se do ní opět zamiluje.
Tato hranice přesahující láska je pro mě základním tématem
opery. Obrácení této role, tedy obsazení kontratenoristou
místo altistky, nejprve do role Dargelose a pak Agathe, mi
v tomto duchu přijde logičtější herecky i hudebně. Je to přiznaná proměna, vokálně navíc přináší další nervozitu a přiměřenou tenzi. Podobný postup by Jean Cocteau použil zajisté
i v případě svého Lidského hlasu, pokud by na to byla doba připravená.“
//// Režie „Nejpodstatnějším rozdílem v režii činoherní
a operní je pochopitelně hudba. Samotný scénář k činohře neposkytuje tolik expresivity jako operní partitura. Zatímco v činohře musím motivace nejprve vystavět, v opeře působí hudba
jako katalyzátor, který emoce zrychlí. Díky tomu lze třeba
měnit obrazy rychleji a expresivněji. Další rozdíl spatřuji v připravenosti protagonistů. V činohře se první čtenou zkouškou
teprve začíná. V opeře už přijde na aranžovací zkoušky sólista
zcela připraven, má za sebou korepetice.“
//// Zkoušky „Období zkoušek bylo pro mě natolik zajímavé, že
bych v nich klidně pokračovala i po generálce. A každopádně, pokud
budu ještě někdy operu režírovat, budu vyžadovat alespoň takovéto
nasazení. Hned na počátku mě vaši pěvci rozmazlili.“
Výňatky z diskuse s Alicí Nellis, Divadlo Kolowrat, 8. května 2011.
PORTRAITS
Pat Oleszko
A multi-disciplined artist Pat Olezsko (USA) has created lithe performances, films, and
installations, utilizing elaborate costumes and props. At the PQ 2011 you can see her costume
Betty Boop in the section Extreme Costume and her performance GreenPiece: Walking
Talking Topiary (June 17, 5 pm; June 19, 21, 23, 25, 12 am; Veletržní Palace, Exposition of
the USA), which she describe as an uprooting of the landscape featuring ten fabulous flora
taking leaf of their senses and branching out to find their way into life as a peripatetic Garden of
Eden.” She will also take part in the Costume Talk named Extreme Performance: The
Spectacle of the Personal (June 19, 2 pm; Veletržní Palace, Lecture Hall).
Richard Sennett
Richard Sennett (USA) teaches Sociology at the London School of Economics, at the MIT
(USA), and at the New York University. He is known for his studies of social ties in cities, and the
effects of urban living on individuals in the modern world. He is the author of many books,
including The Uses of Disorder: Personal Identity & City Life (1970), The Fall of Public Man
(1977) or The Craftsman (2008). On the PQ 2011 he will held a talk Where is a Theatre?
Politics and Performing Publics and a discussion with Kathleen Irwin (CN), Carol Brown (NZ),
Fabrizio Crisafulli (IT) (June 19, 2 pm; Prague Crossroads).
PQ
JP.CO.DE DIARY
Krétakör:
balancing between reality and fiction
After a week-long preparation for our show here at the Právo printing
house with our volunteers we have reached a certain limit. Our
imagination has been fulfilled by the courage of our collaborators.
Since the beginning of our intellectual, social and artistic journey we
have been balancing between fiction and reality. Krétakör’s
conception was to involve the 12 international volunteers into our
scenically project by filming them and recording the process of their
development of becoming a community. After a while they have been
reacting and acting very spontaneously and it was predictable that
at some point they would start to make clear sing of their feelings.
Practically they dethroned Balazs, our half fictional, half real person,
who was orchestrating their daily activities according to his game’s
rule. Our volunteers realized the idea that may the time has come to
step big and put the storyline in to their own hands! During our time
here we have been encouraging them since days one in order to be
more and more autonomous in this project. They listened to the
guidance: slowly but surely by taking over the control. Balazs’s
pseudo reality show was finished, and eventually all the participants
could become full and professional members of the PQ’s artistic
community. From now on they can focus on their own creations: the
sculptures, the installations, the decorations and the rehearsals of
their performance. Their activeness and creativity have boomed with
the celebration taking over the original creators of this whole project.
Our volunteers rock!
Róbert Vágó Wallenstein
Krétakör: Trilogy of Crisis /
Part 1: jp.co.de
Free entrance for visitors with PQ
accreditation
JUNE 22–24, 3 PM, 6 PM, 9 PM
FORMER BUILDING OF RUDÉ PRÁVO NEWSPAPERS
NA FLORENCI STREET 19
PQ
Workshop of Julian Crouch: Puppetry and the Gap // Scenography: Performance (Design) // Scenography: Environments (of the Future) // Workshop of Ho
Hsiao-Mei: How to Make Dance Costumes from Bamboo
PQ
EDITORIAL
It seems to me that the Prague Quadrennial not only reflects what's foremost in design for performance and space but also
what's best in human nature. A gathering of creative people who explore and reflect our world through investigating and
reacting to time, space, the human soul and condition with sound, light and all matter of visual stimulus. For ten days, every
bleary eyed morning is the start of a day which is always full of discovery and challenges. PQ is about meeting old and making
new friends, it's about sharing, collaborating and exploring, it's a wonderful place to be. // It's perhaps difficult to comprehend
why so many of those, from all around the world, who come to Prague in order to create and share so many tremendous things
at PQ are also, usually, the first to suffer financially when the world crashes into austere times and Governments make the
decision to spend our taxes more 'carefully'. PQ provides a welcome respite from the rigours of trying to earn a living as an
artist, or creator, and if any Government official ever needs real proof of (and also experience the real importance of) exactly
how art, theatre and performance can improve the quality of everyone’s lives, whoever they are, whatever they do and
wherever they live, they'd be foolish not to attend these fantastic ten days in Prague. They'd then surely discover the
contribution that so many skilled and talented people make to all of us as they tirelessly work towards enhancing our lives
and helping us all to understand and make sense of the world we all share. // Sound is playing an even more important part
in PQ this year and it was an enormous honour for me to be asked to be the Sound Design Curator, a role that has been both
daunting and exciting. I wanted to be able to explore and imagine our future and the role which sound will play. I wanted to
reinforce the fact that Sound Design and Art isn't about technology, musical instruments, or spoken words, but is about
exploring an energy which vibrates the air, a physical action which, however created, will always cause some kind of emotional
response within all of us. These waves of constantly changing air pressure define our perceptual, emotional, spiritual, and
psychological spaces, they help us to understand our environment and most importantly ourselves. // I sought to invite sound
practitioners who have not only played an enormous part in influencing my own work but have also been prominent in laying
solid foundations for future generations of sonic artists and sound designers. I struck lucky, because my first three choices,
Robin Rimbaud (AKA Scanner), Tod Machover and Hans Peter Kuhn all immediately accepted my invitation and agreed to find
the time in their busy schedules to join us all here in Prague. All three are, in my opinion, amongst the finest sound practitioners
the world has to offer and they've influenced all of our lives in some way, whether we aware of the fact, or not. // I also wanted
to be able to offer those, wanting to contribute in other ways, a platform so they had the opportunity to share their work with
us all. A call was put out for sound designers and artists to create a piece to be played, or activated by, a mobile device, such
as a mobile telephone, laptop, iPad or even perhaps a cassette recorder the response was fantastic and many of these will
be heard in the Sound Kitchen, an area in the foyer of Nova Scena everyday between the 19th and 25th June between 10 am
and 11.30 am and 2 pm and 3 pm. There’s some quite spectacular performances on the menu and I personally can't wait to
experience them! // As you walk around Prague exploring this great city and all that PQ has to offer I ask you to do just one
thing...listen, because every object has a sound which it wants to share with you. Enjoy.
Steven Brown, Sound Design Curator
Interstices and Constellations
At the invitation of Sodja Lotker, Oren Sagiv designed the structure of Intersection.
Going blond mere compatibility, the dramatic discourse and the spacial awareness
of the exhibition generate, as they merge, a variety of interpretations.
Photo © Hana Smejkalová
PHOTO REPORT
Photo © Petr Jedinák, Miroslav Halada
Photo © Miroslav Halada
//// What was the starting point of Intersection? — Sodja
Lotker came to me in October 2008 during a symposium
entitled “Monitoring Scenography: Space and Truth” at the
Zurich School of Design (ZHDK) with the concept of exhibiting
scenography and performance design as an interdisciplinary
field. We started to discuss possible presentations of
scenography. I understand scenography as an ephemeral
architecture. The starting point of Intersection was this phrase,
“intimacy and spectacle”. Those terms are a priori paradoxical:
the spectacular calls for distance and frontality as opposed to
the intimate and the private. From this tension, the design of
Intersection was elaborated by adding successive layers, like
an accumulation of dimensions. I quickly imagined narrow and
confined spaces to translate the notion of intimacy. Then,
scenography is at the junction of performing arts and visual
arts. As highlighted by Sodja, this ostensible dichotomy is
reflected within the vocabulary of each disciplines; the theater
space is called the “black box”, and the gallery or museum space
is called the “white cube”. Sodja and I decided to approach this
coarse cliché literally and to work with a maze of boxes which
welcome installations and performances. That is where we
stood a few months after beginning the work, when the foretold
site for the project burnt down. Intersection was meant to take
place in the Art Nouveau Industrial Palace in Prague, built out
of glass and iron at the end of the 19th century. It was
devastated by fire. Faced with this very sudden event, we had to
quickly find another site. We chose this squared outdoor space,
between the 19th century National Theater and the Laterna
Magika of the communist era.
//// What a symbolic site! Moving from an indoor to an
outdoor space must have transformed the project... —
Absolutely. The fire is regrettable, but it forced me to sharpen
the project. Concretely, the space is different and this is
a fundamental data for an architect. I am always committed to
respect the occupied site, its integrity, its functions and its
original purposes. Here, the site is squared and semi-public. It
is a thoroughfare in the middle of the city, a shortcut used by
people commuting from different routes; departing and
finishing points vary but the patterns are fixed. Those
movements are not diminished by the disposition of
Intersection. The exhibition space has two fixed points: an
entrance and an exit. In the interval, the visitor determines his
own path without following any prescribed order. The physical
proposition of the exhibition presents crossings and
congregated thresholds, similar to the layout of village streets.
It consists of the random or at least unexpected accumulation
of experiences.
//// The metaphor of the village works even better with this
social space built on top of the boxes: the Public Shell. — Yes.
Once the boxes were designed and because the configuration
was now outdoors, all this available space above the cubes
appeared. I didn’t want to confiscate this passageway and its
social dimension in order to replace it with an enclosed
exhibition space. The idea of transforming it into another type
of public space with a café and a cinema became obvious. Each
box’s dimensions respond to the artistic proposition displayed:
heights are variable and there are floor level gaps. A wooden
structure unveils a space composed by multiple volumes of
various sizes and shapes: stairs, cubes and rectangles. There is
no predefined or recommended path as the visitor is left to
decide for himself whether the volume is a step to negotiate,
a place to sit or an obstacle to circle. The mobility of the body is
constantly questioned: one needs to find its own way of coping
with this environment to make it one’s own.
//// This interpretation of space by the body clearly echoes
what is happening in the boxes, where one experiences
scenographic spaces often individually. Beyond this theoretical
coincidence, what is the relationship between the two floors:
the boxes beneath and the public space above? — The
relationship is permanent. The structure which annexes the
public space to the exhibition space is made out of detached
wooden boards; this means that the two floors communicate
constantly. The light passes between the boards and the people
inside and above see and hear each other. The visitors
experiencing art – and moreover, the treatment of intimacy in
art – within the boxes are enveloped by the murmur of life while
the customers of the café above glimpse at the visitors in the
boxes. There is this constant dialogue, a proximity and porosity
which mirror the relationships between art space / public space
and intimacy / anonymity of city life. Through the juxtaposition
of these two spaces, the structure of Intersection emphasizes
separations and distinctions. However, it does not hold
a comment: there is no conflict to denounce or to resolve. It is
not a matter of integrating art in the daily life or of coercing the
intimate into the public space; it reveals the cohabitation of
these fields and their permanent interaction.
The full interview was published in the Mouvement magazine and
conducted by Léa Lescure.
PQ
QUESTIONNAIRE
As student designers, what are
the challenges and excitement
of exhibiting in PQ?
Dinesh Yadav
curator of the student exhibit from India
Coming from India to Prague, the traveling costs were very
high. Raising money to present in Prague is the most
difficult. Because we are exhibiting for the first time, there
are questions that needed to be clarified. Next time, we
might start preparations maybe one year before. As for the
change of the PQ theme, for me, “scenography” and
“performance design”… these are just words. Being
a scenographer and designer — whatever you call it —
I believe that the most essential point is that if you can bring
the hidden meaning of the text or the concept through the
design or the scenography — and if you can reach to the
audience, I think that is the real meaning of performance
design. It is always good to broaden your boundaries. I feel
that if crime can be organized, why not art? If criminals are
able to organize together, then why not the artists?
Studenti objevují
zapomenutá
zákoutí Prahy
V rámci Scenofestu se uskuteãní pfiedstavení
zaloÏená na zvuku a svûtle, pouliãní pfiedstavení
na Jungmannovû námûstí, dílny a pfiedná‰ky
a site-specific projekty v zahradách, na
ostrovech, v zapomenut˘ch uliãkách a v kryptách
celého centra Prahy. O cílech Scenofestu hovofií
jeho kurátorka Jessica Bowles.
Maxie Götze
curator of the student exhibit from Germany
PQ is the most international event I’ve ever been. You meet
so many interesting people from all over the world. For me,
at the moment, that’s the most amazing thing about PQ. The
change of theme to “performance design,” I think, is going
with the times. It is hard to have borders between
scenography, design and art. A collaborator in this student
exhibit, called play bauhaus – move the space, Moritz
Wehrmann, is studying media art, and I come from visual art
background. We work with space. I think it is a good
combination to have people from different background work
together. Even in the gallery it is really hard to see the
separate things. It is all coming together to become one.
Lada Kopřivová
designer from Czech Republic’s student exhibition,
“Wash Your ... Wash Your Feet”
PQ
Dorita Hannah & Olav
Harsløf (eds.),
Performance Design.
Publisher: Museum
Tusculanum Press
Celý rozhovor Markéty Horešovské s Jessicou Bowles si můžete přečíst na
http://www.pq.cz/cs/rozhovory-s-organizatory.html. //
You can find the interview with Jessica Bowles in English at
http://www.pq.cz/en/interviews.html.
Photo © Miroslav Halada
REKLAMA
I am a student of scenography. I come to PQ because I want
to look at the different traditions, and I wanted to feel the
tendencies in stage design of other students from the other
world. It is very interesting that every culture has its own
approaches and experiences. For me, personally, as a
scenographer, I like to create a connection between
scenography and feeling of the space. I believe that stage
design can be simply about the body moving in space.
“Performance design” is quite a good expression. In our
exhibit, the main viewpoint is water. A lot of students have
the feeling of water in their work. This exhibition is based on
that concept — how water is connected to the body and
with the space.
//// Jaký účel plní v rámci Pražského Quadriennale Scenofest? —
Scenofest vznikl v roce 2003 se záměrem dát dohromady tisíce
studentů z celého světa s nejinspirativnějšími umělci a inovátory
současného divadla. Program Scenofestu se s postupujícími ročníky
postupně vyvíjel, ale jeho podstatou zůstává záměr poskytnout
studentům osobní zkušenost, což letos platí ještě více než v minulých
ročnících díky sociálním médiím, která využíváme ke sdílení a diskuzi
o projektech, které studenti uvidí a kterých se zúčastní.
//// Jaké je hlavní téma letošního Scenofestu? — Letošní Scenofest
reaguje na široké téma intersekce, které pro nás znamenají intersekci
studentů s učiteli, intersekci kultur, i intersekci specifických
národních způsobů myšlení a perspektiv. Toto téma se odráží
v projektu Šest jednání, v rámci kterého mezinárodní tvůrčí skupiny
složené ze studentů uměleckých oborů z celého světa několik měsíců
spolupracovaly prostřednictvím internetu na přípravě šesti
představení, která budou reagovat na prostředí Prahy a jsou založená
na setkávání studentů jako „uměleckých turistů“ a obyvatel Prahy.
//// Jak se vám líbí nápad přesunout velkou část studentských
projektů do ulic a na další místa po celé Praze? — Myslím, že přesun
z Průmyslového paláce na DAMU, Jungmannovo náměstí a místa
v historickém centru města, kde se představení projektu Šest jednání
odehrávají, je jednou z nejvíce vzrušujících novinek Scenofestu.
Konkrétně projekt Šest jednání vznikl jako přímá reakce na tuto
příležitost. Chtěli jsme vytvořit představení, která by nemohla
vzniknout nikde jinde, která by byla neoddělitelně spojená s dějinami,
příběhy a kulturou Prahy. Proto jsme sestavili mezinárodní pracovní
skupiny, které pod vedením českých i zahraničních umělců podrobně
prozkoumávají místa, kde se jejich performance odehrávají, a pak
přímo tam vytvářejí představení vyprávějící příběh, kterému porozumí
obyvatel Prahy stejně dobře, jako člověk, který je ve městě poprvé.
//// Jak probíhal výběr umělců a studentů, kteří se Scenofestu
zúčastní? — Výzva k účasti na projektech Scenofestu se setkala
s úžasnou odezvou z celého světa. Workshopy vedou přední
mezinárodní umělci, kteří přivezli své nejnovější nápady a přístupy,
takže studenti získají jedinečný přístup nejen k jejich myšlenkám
a radám, ale i k novým technologiím, koncepcím a diskuzím
o scénografii.
Série Pouliční příběhy představuje práce studentů z celého světa, kteří
přijeli až z Koreje, Austrálie, Brazílie, Macaa a mnoha dalších zemí.
Šestice vedoucích projektu Šest jednání sestává z nejpřednějších sitespecific umělců a jsme nadšeni, že s námi spolupracují. Tento projekt
také velmi tvůrčím způsobem využil sociální média a studenti své
nápady rozvíjeli už předem ze svých domovů, rozsetých po celé
zeměkouli.
S obrovským ohlasem se setkala i výzva k podání návrhů na Příběhy
z DISKu. Spektrum zemí, které je v nich, i v dalších částech Scenofestu
zastoupeno, je širší než kdykoli dříve. Příběhy z DISKu představí
fantastické performance z Bulharska, Gruzie, Nizozemí, USA, Velké
Británie, Německa, Polska a dalších zemí.
BOOKS
This book orchestrates a new
social dramaturgy. It contains
theoretical essays and realized projects that seek to create a new music: “an
aesthetic practice that harnesses the dynamic forces of
the lived world, as well as the
participatory role of a co-creative audience.” – Gener
LIVE EVENTS IN
EXPOSITIONS
JUNE 19–20
VELETRÎNÍ PALACE
From Within, Penetrable
Work, an exhibitive performance in exposition of Portugal;
June 19 & 20, 10 am // Day of
Hong Kong; June 19, 2 pm //
New Zealand Designers,
anticipating the live event,
New Zealand designers
discuss the Fly-Tower
exhibition; June 20, 2 pm.
REKLAMA
Book Signing: Book Shop at
Veletržní Palace, June 20th, 6
pm