KLINGON OPERA OP REIS
De allereerste Klingon-opera U op aarde beleefde in september 2010 zijn premiere in Zeebelt, onder het toeziend oog van de pers, van SBS6 tot aan de VPRO, BBC en NBC.
Nu gaat de opera op reis. Kijk voor meer informatie over deze bijzondere voorstelling op de speciale U site of wordt vrienden van U op Facebook.
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PARA_SOL/Zeebelt productie
PARA_SOL is een samenwoonproject van danser Jack Gallagher en beeldend kunstenaar Gosse de Kort. Tien dagen was de theaterzaal van Zeebelt hun huis, al die tijd bleef de deur gesloten. Elke dag gaven ze een update van het proces tot aan de voorstelling op 9,10 en 11 februari. Speciaal voor het festival Prufrok in maart/april 2011 heeft het duo de performance een nieuwe interpretatie gegeven. Lees hier hun verslag.
3 februari 2011, 16:00 uur
dag 2
door Jack Gallagher
"Algemeen Dagblad journalist comes in at 2:15. Exactly on time. Unlike anything else we've accomplished, which emerges according to an organic logic we can not control. Multiple agendas course through us. Completely immersed in explaining 6 months of theoretical work. Takes a lot out of you switching focus between past and future, small and large scales, detail and clear message. Gosse is excellent at reducing it down to the key essentials.
We are investing in documentation as a tool for streamlining our ambitions...tracing, redoing, rethinking as a productive procedure, otherwise we'll spin out of control. Is this the work we wanted to do by now? I don't know. We promised the interviewer that we were serious about getting physical. We sketched a plan for 4 hour of physicality. I wish myself luck in getting out of the dialogue and into the body and into the space and into the form. 5 and ½ days to go before our first exposure."
New Script Pillars:
Opposing/Dialectic
Global Village
Navigation
Mind Map
4 februari 2011, 17:00 uur
dag 3
door Jack Gallagher
"Rise and Shine in a dark dusty theater. The magic machine we call it. (All theaters have a tremendous capacity for generating dust: it flows with all the electricity, all the magnetism and all the mini temperature changes which bombard my body). We sought to make a personal ecology here. All this humming and cracking stuff is a big part of it...and a crashing stream, our broken
window that let's in the cold of invisibility. Help!
46 hours ago, we imported all our previous theatrical experiences, knowing in the back of our minds that theater is not only magic and big toys but a microcosm of sensations, histories, policies, mythologies and especially rules. All this is tangible in the dust and the hum and the wafting flows of or natural spacing instincts. I want to say we're in the belly of the beast, but its more like the brain of a beast. A very small cross section of the universal theater brain with neural connections all over the world, stretching back through time and stuttering into the future like our live stream. Isn't it sentient, this theater machine? It must be the theater's brain waves that keeps us up dancing until 2 am (yes the body arrived) conceptualizing until 4 am...surfing the relentless waves of associations and veering here and there, avoiding the forced moves, the passionate consequences, the obvious psychology of theater, the A,B,C's of 'so then we could' thinking. Pure association is a kind of devil.
I am determined to avoid the typical forced moves. The dialogue checks and balances. Gosse has a kind tenacity entirely different from mine. I admire it and it's changing me. Without even seeming to try he burrows ever inward toward the center of our concept. I'm always dancing around this project, determined to avoid. Fun, entertaining, but not necessarily standing in the world. What will stand in a few days? What will move? How will it move? This project is a re-enactment of a piece which hasn't happened yet."
update 17:45 uur
door Jack Gallagher
"We read the preview article in the AD. Wonderful how journalist Maja caught the romance, the durational aspect, the banal actions-finding, assembling sending Eelco here and there...how we came here with 'empty hands'. Then my glee disapates rather quickly durring the first read. I had said something off the record in front of her. I looked her square in the eye..."off the record, Gosse and I should maybee consider something here now..." Never do that. The off the record part takes up the biggest chunk of the article. Ha! I guess she thought it was OK to betray that concept of "off the record" since she was in our house? Since we should know better? Is anything that escapes from your body in the presence of a journalist free game to be published? Are we that Voyeuristic now, it's happened...there is no distinction between public and private unless you build an impenetrable wall and hide behind it? Isn't this a bit of toxic populism?
It's not that the story about the difficulties financing this project are a secret. And as she reports it, she captures the typical fascination in the media culture of today. The psychological drive to be POSITIVE. The spin, now embodied to prove your enlightenment (media savvy). And yes, that's what happened. We turned it around. Instead of making a mini masterpiece together with a marvelous and intricate installation by Gosse and a hard core musician and dancer helping shape our original ideas- witnessing/interfering/syntheses- into golden and precise dance theater, we had to respond and mutate, evolve and revolve our concept in relation to our 'situation'.
We were already in The Cadance Festival. Cadance is not something you just fall out of or walk away from. And yet in Maya's story, we get only the 'attitude' carrying on, making it work etc....but not the real work. Instead of the endlessly redundant positivism, the same old story about the 'right way to spinyour circumstances' in dubious quotes attributed to me, she missed the opportunity to report on the artistic skill, the finesse. We evolved a rigorous concept over 6 months. The big twist, explained in detail; how we combine our living and working space into a place where our practices, aesthetics talents and ideals can free flow, cross breed, mutate- how the making of this piece is so compressed so as to force a certain kind of transparency, exposure, direct communication and context building and how that will literally shape a performance of the obviously hot item in the contemporary art world, namely the Trans-Disciplinary- our new intentions, our new forms...all of this remains outside the cheesy everyday description of a "required-to-be-in-public self-help-valt-reuze-mee" positivity spin/socially correct attitude. Am I the only one bored with this? Am I making things too complicated?
Everyone else tells me it a good article. Funny enough, I believe them."
5 februari 2011, 17:00 uur
dag 4
door Jack Gallagher en Gosse de Kort
"Today we got some discipline. We earned it by getting through the necessary critical thinking that defines the concept, frames the possible activities, guides the creative work and is the measuring stick for looking back at our performance 'supplies'. Today we're keeping a tight schedule based on a yesterday's forward progress in the selection of four categories (all based on our experiences here) :-)
Body/Scene/Composition/Re-Enactment.
Yoga was heavy. The third training day is a hump. But since we had the good fortune of finding our home/theater architecture, our scenic reality, our art space last night, (12:30 am up and down the genie, 2:30 the space is speaking to us volumes)
we are inside a piece now."
6 februari 2011, 12.45 uur
dag 5
door Gosse de Kort
"Waking up in a black box. It's hard to give measure to the space around you. Only with light, islands of focus appear. Last night we got fully immersed in such an island for the first time. With Jack telling bodily stories in a single light source. A big contrast with the moments when we turn on the tube lights, so that the whole theatre shows. Small or big? It's hard to tell. It became home though."
"Our energies collide regularly. Our being here has become more mental than I expected it to be. Small subtle parts of your personality can become massive. Jack told me about him realizing that after he asked me to dance, my behavior changed. Fascinating. We feel time passing by (ambitions/pressure/planning/schedule) and changing all the time. The space becomes smaller. And bigger again."
7 februari 2011, 13.50 uur
dag 6
door Gosse de Kort
"Yesterday we ended our day with fully cleaning up the theatre and bringing it back to its "day 1 state". I had to push myself to take away the things which finally made me feel home. Realizing that it was not simply about the nature of the material things, which made me feel a resident, but more about the sort of naturalness in which they got ordered by living here.
I was worried that we wouldn't have the time anymore to get back to a similar situation after our guests leave tomorrow, thought it was impressive to see how fast the space got back to being a theatre, again emphasizing the thin line between home and theatre in this project. Living in a theatre means opening your doors for guests. So we did the thing without further negotiation. Afterwards we found ourselves lying in our beds with our eyes wide open. It was 5:00 in the morning and this was sort of surprising after smoking a lot and being physical all day. The Bikram yoga truly is a gas station and I am planning to do this more often. Not to mention that living without day light makes your daily rhythm move gradually into the night.
We got up at 9:00 and moved our beds outside into the daylight to hide them from the theatre. It was weird to be outside again but the daylight was good. Then we retreated to our hide out upstairs, which also has daylight. Rik, the technician of Zeebelt, entered an hour later to prepare for the children's performance invasion. And bit by bit we moved our stuff up to the little yellow room, where we are sitting as I am speaking. Waiting for a coast clear sign to continue."
8 februari 2011, 17:00 uur
dag 7
door Gosse de Kort en Jack Gallagher
in beeld
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A.A.P: AVONDJE ALLES PRESENTEERT
nieuwe makers gepresenteerd
26 februari 2011
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AVONDJE ALLES: YOU ARE HERE:
Stephanie Pan
dond 25 en za 27 november 2010
foto: Guus Rijven
CINETOKO #15
Gast: Floris KaayK
24 november 2010
foto's: Michael Danker
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GUEST | HOST
Een dansvoorstelling van Karine Guizzo en Kenzo Kusuda, over de invloed van de omgeving op jouw beeld van de ander. Kusuda bracht in alle vrijheid een bezoek aan het huis van Guizzo, zijn indruk is omgezet in deze performance.
22 en 23 oktober 2010 opgevoerd in Zeebelt
Nog te zien: in april 2011 volgt het tweede deel van deze voorstelling, waarin Guizzo het huis van Kusuda bezoekt, waarna opnieuw een uitvoering van de indrukken volgt.
Foto's: Guus Rijven
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CINETOKO #13: Manhattan Short Film Festival
woensdag 29 september
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CINETOKO #12: JISKA RICKELS - Woensdag 19 mei, 21.00 uur
Inclusief! Gratis all-you-can-eat-popcorn - pop till you drop!!
Speciale gast van vanavond, Jiska Rickels, presenteert haar werk en vertelt over haar interesse voor bijzondere onderwerpen en het belang van sound design in films. In haar documentaire 4 Elements zijn unieke soundscapes ontworpen die de sfeer en ervaring versterken. Jiska's vader, Horst Rickels, is verantwoordelijk voor de soundtrack. Een niet te missen ontmoeten. Bekijk hier haar interview op Cinema.nl.
Jonge documentairemaakster in heftige mannenwereld
De films van Jiska Rickels gaan over de kracht van de mens die op het randje van de overleving balanceert. In 4 Elements volgt de jonge documentairemaakster mannen die bosbranden blussen of onder de grond werken: mannen die zwoegen onder loodzware fysieke omstandigheden. Zij houden het vol dankzij hun onderlinge vriendschappen. Na deze geprezen IDFA-docu maakte zij voor het programma Holland Doc Babaji, an Indian Love Story. Daarin blijkt een oude Indiase dorps-Shaman niet in staat zijn vrouw te genezen. Sindsdien ligt hij naast haar graf, wachtend op de dag waarop hij met haar herenigd wordt.
Meer info en reserveren via: cinetoko.com.
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Still Life performance - 23 en 24 Februari
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Views on the West
De waarheid over het Westen weten?
Bekijk hieronder de foto's van de eerste fase van Views on the West.
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Isolement van een reiziger en het lijden in een eenmansopera:
26 & 27 januari - Avondje Alles
Met Welcome to it van Sarah Manya en Matteo, opera in 16 Leitmotivs van Thijs Elich.
Terugblik op Avondje Alles - Welcome to it.
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De eerste editie van PRUFROK was drukbezocht en uiterst verlichtend. Bekijk hier een foto van de voorstelling van Michiel Pijpe door Rob Hogeslag ©, alsook hier.
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De tweede Blind Date in Zeebelt - BARST, een poging tot buigen - van Daniëlle van de Ven en Joëlke Sanderse kreeg van het publiek het cijfer 8. Bekijk de foto's hieronder (©Guus Rijven, Zeebelt).
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Avondje Alles met Family Matters van Jochen Stechmann was een succes.
Lees hier meer en bekijk de foto's van de voorstelling en het optreden van redtheplaneeet!!! van fotograaf Guus Rijven ©.
