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[predstava] BADco: “DODATAK HISTERIJE, UBRZANJA...” u Beogradu / 20. 10. 2013. / 20.00

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| english below | 
 
Nedelja, 20. oktobar u 20.00
Dom omladine Beograda – sala Amerikana
 
 
DODATAK HISTERIJE, UBRZANJA...
- melodrama -
 
U televizijskom razgovoru iz 1989. o raspadu Sovjetskog Saveza Hajner Miler (Heiner Müller) i Aleksander Klug (Alexander Kluge) vraćaju se na Brehtovoj rečenici "Nafta se opire petočinki".
U toj rečenici sažet je problem pred kojim se nalazi epski teatar. Kako kroz dramski materijal prikazati istorijske procese sa svim njihovim unutrašnjim kontradikcijama, napredovanjima i nazadovanjima koji nadilaze likove i njihove međusobne odnose? To isto pitanje - šta je prikazivanju načela po kojima se organizuje današnjica adekvatan dramski materijal - problemski je ulog i predstave "Dodatak histerije, ubrzanja..."
 
Nafta jeste i dalje problem epskog prikazivanja, ali ona je iz današnje perspektive i nevidljivi supstrat kretanja energija i materije u savremenom društvu. Podloga za trajnu ekspanziju proizvodnje i konzumacije u cilju akumuliranja kapitala koja preti da planetu dovede do antropogenog ključanja. Retka tečnost koja nas nepregorivo vezuje za očuvanje trenutnog načina života.
 
Povlačenje kočnice lokomotive istorije je Benjaminova metafora revolucionarnog prekida nepodnošljivog razvoja moderne.
Metodološko pitanje katapulta za metafore, dakle formalnog registra u kome dramsko zbivanje može prikazati istorijske procese, okosnica je razgovora između Milera i Kluga.
Scenski postaviti kompleksnost istorijskih previranja i društvenih odnosa nije pitanje teatarskog dokumentovanja stvarnosti, već brehtijansko pitanje funkcionalne transformacije sredstava kojima predstavljamo tu stvarnost. Polemišući s tendencijama u današnjem teatru, tu Milerovu intuiciju mogli bismo prevesti u kritiku da politički ulog teatra nije u tome da prikaže drugačiju društvenu stvarnost već da postojeću društvenu stvarnost prikaže pod drugačijim uslovima.
 
Predstava je postavljena u alternativno televizijsko okruženje, u drugačiji ciklus kolanja slika i društvenog komentara stvarnosti. Ako je televizija bila saputnik zlatnog doba društva blagostanja, posttelevizijsko vreme novih ekranskih tehnologija saputnik je njegovog razaranja. Posttelevizijsko vreme istovremeno je i stanje nove agonije tzv. srednje klase, novo melodramatsko stanje kojim dominira opšti osećaj nezadovoljstva jednom naizgled temeljno blokiranom društvenom stvarnosti koju treba menjati - iako iz svakodnevnog iskustva ostaje nedokučivo kako je menjati. Naboj tog agonijskog rastrojstva i predreflektirane ideologije nemoći ova predstava gradi i razgrađuje, dovodeći izvedbom intenzitet tog naboja do nužnosti njegovog prekida: "Kada sva ta masa stvari ne teče sve brže i brže, postojeće stvari pretvaraju se u duhove."
 
Koreografija i izvođenje: Pravdan Devlahović, Ana Kreitmeyer / Darija Dozdor, Nikolina Pristaš i Zrinka Užbinec
Koncept i dramaturgija: Tomislav Medak
Oblikovanje dramskog materijala: Goran Sergej Pristaš
Dramaturgija: Ivana Ivković
Produkcija: Lovro Rumiha
Softver za algoritamsku video montažu ALVES: Daniel Turing
Dizajn kostima: Silvio Vujičić
Oblikovanje svetla: Alan Vukelić
Oblikovanje zvuka: Jasmin Dasović
Scenografija: Miljenko Sekulić Sarma
Rekvizita: Ana Ogrizović
Muzika: Alban Berg, "Wozzeck"
Prevod: Tomislav Medak
Fotografije: Dinko Rupčić
Oblikovanje štampanih materijala: Dejan Dragosavac Ruta
 
U predstavi se koristi razgovor Aleksandera Kluga sa Hajnerom Milerom pod nazivom "Pesnik kao katapult za metafore".  
Badco. zahvaljuje Aleksanderu Klugu na dozvoli za korišćenje teksta razgovora.
Predstava je inspirisana i delom Daglasa Sirka (Douglas), Rajnera Vernera Fasbnidera (Rainer Werner Fassbinder), Pine Bauš (Bausch), Mihaela Hajnriha (Michael Heinrich), Timotija Mičela (Timothy Mitchell), Nanija Balestrinija i kolektiva Midnight Notes.
 
Predstava je pripremana u Centru za kulturu Novi Zagreb, Centru za kulturu i informacije Maksimir i POGON - centru za nezavisnu kulturu i mlade.
 
Projekt je podržan od: Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture RH.
 
Predstava je deo projekta "TIMeSCAPES – slike i izvedbe vremena u kasnom kapitalizmu" - partnera BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Bec), Teorija koja Hoda – TkH (Beograd) i Film-protufilm (Zagreb), podržanog od strane Programa Kultura Evropske Unije.
 
Hvala: AVC Zagreb
 
Za više informacija:
http://badco.hr/a-pound-of-hysteria/
 
Predstavu u Beogradu saradnički organizuju Teorija koja Hoda (TkH) i Stanica Servis za savremeni ples / Kondenz Festival.
Partner u organizaciji: Dom omladine Beograda
 
BADco. je kolaborativni izvođački kolektiv koja radi u Zagrebu. Jezgro kolektiva čine: Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha i Zrinka Užbinec. Od svog osnivanja u 2000. godini, BADco. se kroz saradnju četvero koreografa/plesača, dvoje dramaturga i jednog filozofa, uz producenta trupe, sistematski bavi istraživanjem protokola izvođenja, predstavljanja i gledanja strukturirajući svoje projekte unutar različitih formalnih i percepcijskih odnosa i sklopova. Rekonfiguracija etabliranih odnosa izvedbe i publike, propitivanje perspektivnih datosti i arhitekture izvedbe, problematizacija komunikacijskih struktura – sve to čini BADco. međunarodno relevantnim umetničkim fenomenom i jedinstvenim izvedbenim doživljajem. Trupa je do sada napravila sledeće predstave: Čovjek.Stolac (2000.), 2tri4 (2001.),Diderotov nećak ili krv nije voda (2001.), Solo Me (2002.), Rebro kao zeleni zidovi(2002.), Walk This Way (2003.), Misa (za predizbornu šutnju) (2003.), Deleted messages (2004.), Fleshdance (2004.), Memories are made of this… izvedbene bilješke (2006.), Stanje br. 2 (2006.), Promjene (2007), 1 siromašan i jedna 0 (2008), Liga vremena (2009.), POLUINTERPRETACIJE ili kako objasniti suvremeni ples nemrtvom zecu (2010.), Točka sabiranja (2010.). Predstave BADco. igrane su u Zagrebu, Dubrovniku, Rijeci, Puli, Osijeku, Umagu, Pragu, Varšavi, Londonu, Greifswaldu, Amsterdamu, Luxemburgu, Sibiuu, Bergenu, New Yorku, San Diegu, Berlinu, Beču, Ljubljani, Sarajevu, Novom Sadu, Beogradu, Piranu, Ateni, Tallinu, Klaipedi, Gdansku, Liepaji, Kopru, Stockholmu, Podgorici, Skopju, Sttutgartu, Rigi, Constanti, Grazu, Odesi, Istanbulu, Madridu, Zadru, Berlinu, Bergenu, Tromsou,, Exeteru, Bathu, Lincolnu, Ankari, Roubaixu, Copenhagenu, Göteborgu, Skegnessu, Ghentu, Akçakoci, Ünye, Çamlıhemşinu, Hopi, Batumiju…
 

 

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A POUND OF HYSTERIA, ACCELERATION...
- melodrama -
 
While discussing the disintegration of the Soviet Union in a 1989 televised interview, Heiner Müller and Alexander Kluge return to Brecht's sentence "Petroleum resists five acts". That sentence sums up the problem that faces epic theater. How can dramatic material depict historical processes with all their inner contradictions, progressions and setbacks that transcend characters and their relationships? The same question - what dramatic material is an adequate means of representation of the organizing principles of today’s reality - is the speculative problem of "A Pound of Hysteria, Acceleration..." BADco.'s new performance attempts to find the answer in the historical dialogue of two artists, the playwright Heiner Müller and the film director Alexander Kluge. At the end of the eighties two artists speculate about politics and social upheaval, yet today that speculation resounds as a document of our own present.
 
Oil remains a problem of epic representation, but from today's perspective it is also as an invisible substrate of the circulation of energy and matter in modern society. The basis for permanent expansion of production and consumption for the purposes of accumulation of capital that threatens to bring the planet to an anthropogenic boiling point. A viscous fluid that incombustibly fetters us to the preservation of our current lifestyle.
 
Grabbing for the emergency brake of the locomotive of world history is Benjamin's metaphor of revolutionary rupture in the unbearable progress of modernity. The methodological question of a catapult for metaphors, a formal register that enables dramatic representation of historic processes, is the foundation of a conversation between Heiner Müller and Alexander Kluge. Staging complexities of political turmoils and social relations, of circulation of matter and affect, is not a matter of documentary representation of reality through theatre but a Brechtian question of the functional transformation of means we use to represent that reality. If we were to argue with a certain tendency in contemporary theater, Müller's intuition against the documentary material into criticism: the political stake of theatre is not to present a different social reality, but rather to stage the existing, melodramatic social reality under different terms.
 
"A Pound of Hysteria, Acceleration..." is set in an alternative television environment, in a different cycle of circulation of images and social commentary of reality. If the television was a companion to the golden age of welfare state, the post-televison age of new screen technologies are a companion to its dismantling. And that post-television age is marked by a new agony of the so-called middle class, a new melodramatic condition dominated by a generalized feeling of discontent with what seems to be a completely blocked social reality that screams for change - although what change that may be remains completely intransparent from the everyday experience of that reality. This performance reconstructs and deconstructs the affective charge of that agonized confusion and ideology of helplessness by performatively pushing its intensity to its needed point of interruption: "When all that mass of things does not circulate ever faster and faster, existing things turn into ghosts."
 
 
Choreography and performance: Pravdan Devlahovic, Ana Kreitmeyer / Darija Dozdor, Nikolina Pristas and Zrinka Uzbinec
Concept and dramaturgy: Tomislav Medak
Recasting of dramatic material: Goran Sergej Pristas
Dramaturgy: Ivana Ivkovic
Production: Lovro Rumiha
Software for algorithmic video editing ALVES : Daniel Turing
Costume design : Silvio Vujicic
Light design: Alan Vukelic
Sound design: Jasmin Dasovic
Set design: Miljenko Sekulic Sarma
Props: Ana Ogrizovic
Music: Alban Berg, "Wozzeck"
Translation: Tomislav Medak
Photography: Dinko Rupcic
Graphic design: Dejan Dragosavac Ruta
 
 
The production includes a conversation between Alexander Kluge and Heiner Müller titled "The Poet as a Catapult for Metaphors". We thank Alexander Kluge for the permission to use it. The production is inspired by the works of Douglas Sirk, Rainer Werner Fassbinder, Pina Bausch, Michael Heinrich, Timothy Mitchell, Nanni Balestrini and the Midnight Notes collective.
 
The production was rehearsed at the Culture Centre Novi Zagreb, Culture and Information Centre Maksimir and POGON - Center for Independent Culture and Youth.
 
Supported by: Zagreb City Council for Education, Culture and Sport; Ministry of Culture of Republic of Croatia
The production is a part of "TIMeSCAPES – Images and performances of time in late capitalism" - a partner project of BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Vienna), Walking Theory (Belgrade) and Film-protufilm (Zagreb). With the support of the Culture Programme of the European Union.
 
Thanks to: AVC Zagreb
 
For more information:
http://badco.hr/a-pound-of-hysteria/
 

The showing in Belgrade is organized by Walking Theory (TkH) and Station, Service for Contemporary Dance / Kondenz Festival, in partnership with Belgrade Youth Center.

 
BADco. is a collaborative performance collective based in Zagreb, Croatia. The artistic core of the collective are Pravdan Devlahović, Ivana Ivković, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Lovro Rumiha and Zrinka Užbinec. As a combination of four choreographers / dancers, two dramaturgs and one philosopher, plus the company production manager, since its beginning (2000), BADco. systematically focuses on the research of protocols of performing, presenting and observing by structuring its projects around diverse formal and perceptual relations and contexts. Reconfiguring established relations between performance and audience, challenging perspectival givens and architectonics of performance, problematizing of communicational structures – all of that makes BADco. an internationally significant artistic phenomenon and one of the most differentiated performance experiences. So far the group has produced the following performances: Man.Chair (2000), 2tri4(2001), Diderot’s Nephew or Blood is Thicker than Water (2001), Solo Me (2002),RibCage (2002), Walk This Way (2003), Mass (for Election Day Silence) (2003),Deleted Messages (2004), Fleshdance (2004), memories are made of this… performance notes (2006), Gravidation (2006), Changes (2007), 1 poor and one 0(2008), The League of Time (2009), SEMI-INTERPRETATIONS or how to explain contemporary dance to an undead hare (2010), Point of Convergence (2010). BADco’s performances were presented in Zagreb, Dubrovnik, Rijeka, Pula Osijek, Umag, Prague, Warsaw, London, Greifswald, Amsterdam, Luxemburg, Sibiu, Bergen, New York, San Diego, Berlin, Vienna, Ljubljana, Sarajevo, Novi Sad, Belgrade, Piran, Athens, Tallin, Klaipeda, Gdansk, Liepaja, Koper, Stockholm, Podgorica, Skopje, Sttutgart, Riga, Constanta, Graz, Odessa,Istanbul,  Madrid,  Zadar, Bergen, Tromso, London, Exeter, Bath, Lincoln, Ankara, Roubaix,, Copenhagen, Gothenburg,, Skegness, Ghent, Stockholm