MDT Slupskjulsvägen Stockholm, Sweden T: +46 (0) E: /

Transkript

1

2 1. Pieter Ampe & Guilherme Garrido "Still Difficult Duet" & "Still Standing You" ( ) 2. TIR Performance "Kartlägger DEL 1" ( ) 3. Robin Jonsson "Simulations" ( ) 4. Mette Edvardsen "Black" ( ) 5. Aron Blom "SAM", Salka Ardal Rosengren & Mikko Hyvönen "Trash Talk" ( ) 6. Daniel AlmgrenRecén & Alma Söderberg "Abdikation Nu" ( ) 7. Mette Invartsen & Guillem Mont de Palol "All the way out there " ( ) 8. Dorte Olesen "The Bad The Good The Ugly" ( ) ± 9. Anna Källblad, Annette Taranto & Chrichan Larson "À une raison" ( ) The MDT program texts is a series of unedited fanzine-style magazines available on the MDT website and in a limited cost price edition, printed, folded and stapled on a Konica Minolta All-in-one Copier. MDT is an international co-production platform and a leading venue for contemporary choreography and performance situated in a reconstructed torpedo workshop in the Stockholm city center. MDT has since 1986 supported and collaborated with Swedish and international emerging artists. MDT is supported by Kulturrådet, Kulturförvaltningen Stockholm stad and Kulturförvaltningen Stockholms läns landsting. MDT Slupskjulsvägen Stockholm, Sweden T: +46 (0) E: info@mdtsthlm.se /

3 1

4 2

5 3

6 4

7 5

8 Idé: Anna Källblad, Chrichan Larson, Annette Taranto Koreografi, iscensättning: Anna Källblad Formkoncept, musikalisk komposition: Chrichan Larson Bearbetning av text Annette Taranto, Chrichan Larson Ljus: Karl Svensson Rådgivande dramaturg: Christine Fentz Medverkande: Anna Källblad, dans Annette Taranto, sång Das Orchester (Chrichan Larson, cello, Ivo Nilsson, trombon, Kerstin Frödin, blockflöjter) Produktion: Once Upon a Time Med stöd av: Kulturrådet, KKNord, Stockholms stad (studio 323), Transit Anna Källblad, Annette Taranto och Chrichan Larson möttes i arbetet m filminstalltionen Foldout (Katarina Eismann). Efter det åkte Anna och Annette till Palestina och Israel och de resorna resulterade i två verk: Close - din kropp, hennes röst (interaktiv installation) och Olivträd (dansfilm). Flera teman återkommer i dessa tidigare verk och sammanstrålar i À une Raison: vårt kollektiva arv och minne, ansvar och skuld, frustrationens förlamande tillstånd, vår plats i tiden, begränsande omständigheter, att bära vittnesbörd, att finna ett gemensamt språk och att börja om.

9 In the studio The dancing material/movement material that seems to come out is familiar to my body. I accept this. I want to stay away of proving or doing to be approved, so I accept the movements. Perhaps it is more about how to speak as opposed to which language. Quality of motion rather than shape. At times: comment in the movement about the movement. I am thinking a lot about point of view. Perhaps the movement material can have a focus of shifting the point of view in the body, so that they see the body differently, recognize it and then see it new. The dancing as a lonely foreigner or a melting in component.

10 notes from skype conversation with Christine, strengthen the awareness of different places being outside the frame, moving in to the frame audience crossing stage? something like that?? make aware of what you know but are not seeing make evident the holy, special place - how you relate, your actions "say" it is holy the different locations on stage, the different peoples musician, me/dancer, singer the way of air moving - music sound moving text where is the strong/weak place bounce off each other - the groups forming - key to what role? culture - nature, an idea that everything is culture ex bodies, quality of motion, ability of a cat - similar, no division culture and nature, the image who is who point of view, conceptual, literal, physicallly, shifts, what the audience see relational presence triangle, move turn missing partner asset if I am the sole of my kind, how show somebody is gone

11 Från: Anna Källblad Datum: 8 maj :07:32 CEST Till: "Christine Fentz - Secret Hotel" <mail@secrethotel.dk> Kopia: "annette@earsounds.com Taranto" <annette@earsounds.com> Ämne: Re: Hej kära du, allt kändes ok i fredags, med en vecka kvar, så spratt helgnerven till men allteftersom timmarna går mot söndags kväll verkar fokus återvända. rytm, mänsklig rytm... kan, vill du komma och titta i veckan? koreografin är i princip satt. lite arbete med ögonfokus samt en kort fras för musikerna vars placering fortfarande prövas. nu tänker jag mycker på vad som var min första känsla när jag kände att något funkade och vill tillbaka dit, en känsla som sitter ihop med kroppens form och som grupp, vad tänkte jag i början, the hunch nu ska allt samman, sätta sig och samtidigt vara öppet.. vi är på teatern. allt gott anna

12 À une raison project diary Witness We get stuck in our languages and stories. These small fragments that we share with the ones that were not there. Those stories that soon become more true than reality, but still much smaller. Some people seem to live lightly, not burdened with the mission to give witness. The whip of reaction not constantly beating their backs. I m not one of them. But language fails me in this witness-bearing. Not only do the superlatives pale and fade. Also the words for the terror and the unjust loose their sting. The feeling that there is a need for a new language or new tools is old. After the second world war there was a notion among artists and musicians that it had all been used, it was all stained by what had happened to the world. All the colors were infected, all the old ways of writing or painting were somehow marked. On a very personal level I can relate to them. By small means I m looking for tools and gestures that are not too infected. Trying to find ways to communicate important things, tools to help me give witness, that are not necessarily loaded with given meaning but leave a small space for actually feeling. This project has been an attempt.

13 À une raison project diary Free through paradoxes and conflicts We are stuck within boundaries. There are maps and there are real obstacles that limit our choices. In the piece that I m working on now, we have given ourselves a very strict map that forces us into positions and choices that we would not have thought of ourselves. How liberating! To for once not keep digging in that old cave of self. Like the zen meditation koan paradoxes. Created to twist the intellect to the point of releasing it s grip. Old curtains fall to the ground and new views appear.

14 À une raison project diary The unclear I m in love with the blurry kind of being. The unfixed state, the undefined stories. Sometimes in our work we find that state. I hope to catch it in this performance. We are moving around on those blurry grounds in the process. The beauty of it is never the most obvious but all of the sublimes. The sublimes come late. They re hard to fool...

15 "Sassnitz and attending in silence, the audience become witnesses to pertubated remebrance. Seated in a half-moon, descending into the hill like a partially exposed tomb, the entire city's population appears collectively to embody its own history, its total inheritance in one earthly, living symbol...the theatre was not defined by the design of its stage or its actors...but was an art dependant for meaning on the public's perception and ability to remember. First applied to the space occupied by the spectators, the world theatre is meant to imply a certain of audience; its spectators must learn to see and learn to act in terms of what they see. This is the first purpose of theatre in its Greek origins as tragedy: to structure the vision of the audience." Karen Hermassi, 1977, Polity and Theatre

16 Föreställningen realiserar ett formkoncept vars utgångspunkt är en inventering av gemensamma parametrar för dans, musik, sång, text och rörelse. Intensitet, densitet och modus (färg, läsart, rörelsemönster) har graderats enligt en skala som är densamma för alla uttryckssätt. Ensembleformerna i verket utnyttjar kombinationer som möjliggörs av att de medverkande aktörerna gör intrång i varandras världar. Ensemblekonstellationerna distribueras - på samma sätt som de gemensamma parametrarna - över den tid som står till förfogande. Denna fördelning över tidsaxeln sker i enlighet med ett mönster som är tillräckligt komplext för att vid sin tillblivelse inte gå att överblicka. Mönstret skapar ett antal scenarior eller avsnitt inom vilka dansen, sången, musiken, texten och rörelsen möter varandra i givna situationer. Scenarierna kan vara mer eller mindre motsägelsefulla, enkla, sammansatta, tydliga, ibland ogenomförbara. Verkets struktur går att avläsa i detta "modellbygge" som ger föreställningen dess form. Ensemblens realisering av verket är ett av flera möjliga resultat av en läsning av modellen. I skrivandet av musiken har jag använt formelement som modellen bygger på. Men jag har också - och framför allt - ägnat mig åt fritt associerande i mina försök att lösa de olika uppgifter och följa de instruktioner som modellen ger mig. Strukturen "frigör alla toner..." CL

17

18

19 MDT program texts MDT, Stockholm 2011

20