theatercombinat | 24.11.2010 - 27.11.2010 - FFT düsseldorf, 8.12.2010 - 16.12.2010 - wien, 12.02.2011 - watermill center new york, 17./18./20.05.2011 - vienna vampires of the 21st century oder was also tun?
claudia bosse / theatercombinat
why the hell do we still use "theatre"?
how can theatre today confront
the relations of time - body - language of our "realities"? as a safe promise of representative "deLimitation"? as an edifiying "other", so everything can remain the same? or is the theatre the possibility of concentrated collective body Mentalspaces?" cb
identity, violence, alternatives. political visions, acting. economy. political, scientific and social sound documents from 1859 until today;
text fragments based on ovid, karl marx, bram stoker, jean baudrillard
and others; auto-fictional text performance by 4 actors.
a collective writing in space with bodies, sounds, voices.
a new series of theatre works by claudia bosse and theatercombinat. proliferating media hybrids. a fragmented present, a fragmented history. landscapes of sounds. documentary spaces. theatre as playing field and toolbox of the present. what is to be done, then?
photo: lorant racz, click to view series of the performance in düsseldorf
video: VAMPIRES of the 21st century oder was also tun?
concept/direction/space: claudia bosse, sound: günther auer, by/with caroline decker (d/at), frédéric leidgens (b/fr), yoshie maruoka (jp/at), nora steinig (ch), consultation/ communication: christine standfest, production management: annelie fritze, technical director/constructions: marco tölzer, assistant director: thomas köck, production assistant: anna feldbein, research sound archive: ana mirkovic, consultation: alexander schellow, lighting consultation: alexander wanko, photos: lorant racz, press: SKYunlimited
a production by theatercombinat in coproduction with FFT dusseldorf
supported by wien kultur, bezirkskultur josefstadt, erste bank, partner of hunger auf kunst und kultur
new york watermill center new york
a laboratory for performance
39 watermill towd road
water mill, new york 11976 usa
vienna kartographisches institut
krotenthalergasse 3
1080 wien
photo: lorant racz, click to view series of the space in vienna
clip: claudia bosse
working fragments of claudia bosse:
producing a space of history in the present.
struggling with questions of identity and political action, body and sexuality.
revolutionary monsters.
lust for blood.
the capital of survival.
touch.
collective actions.
interdependent activities.
physical actions processing time, rhythm, power.
acts of space.
acts of speech.
speech acting in the moment.
when theatre is looking at you
in the actions you are watching.
when theatre is looking back at you
with the fantasies that emerge
when
theatre is looking back at you
with its concepts of methods, techniques, precision, etc. etc.
click to enlarge
compositional narrative
acoustic architecture
interpreters
enables a different encounter of movements, biographies, sound documents, languages and textual fragments. the compositional narrative construes via rhythms, sound, moods and contents that interact with each other like a score of events. within the soundscape that encompasses the audience the four players relate their speeches and their acting to audio documents and sounds, entering into a dialogue with the acoustic architecture.
acoustic architecture the loudspeakers are identifiable spots, embodying the sound. an architecture of hearing. other spaces are introduced into this architecture, into this game of different possibilities: physical spaces by the performers and their dynamics, tunes, gestures. media spaces by the qualities and historical origins of the recordings. each time, the combination of the sources and their intensity and placing tells a different story.
the interpreters are the agents of this encounter of different material. they are the guidance system of perception. they initiate the relations, the space, the situation, the attention, etc. they are manipulating agents of themselves, at the same time initially creating themselves via their speaking, their moving, their sound space, their tension. autofictional self-disclosures are rhythmical games of suspense with themselves and with the others. not confessions, but games, where the conditions and possibilities of the self have to be identified and grasped.
