[zwin]For the past three months, STUDIO teatrgaleria functioned in a purely virtual dimension, but we have been dreaming of bringing audiences back into our theatre for a long time now. Our audiences have been able to watch broadcasts of live and archived performances free of charge on-line, along with readings of novels, live concerts, educational programmes, involving not just Polish artists, but also some remarkable international names responsible for shaping contemporary theatre. All in all, we produced 67 events as part of 14 separate projects, viewed a total of more than 350,000 times. None the less, we believe virtual forms will never replace the real life experience of actors and audiences interacting with each other.
Towards the end of this season, we thus return to our theatre with a week-long Open Studios programme, a project by Natalia Korczakowska, which is a continuation of the virtual workspaces we organised for artists working with Studio. Workspaces created as part of Open Studios, in both virtual and real-life dimensions, will be open by the following: director Łukasz Twarkowski; Daniel Wetzel, one of the founders of the renowned German collective Rimini Protokoll; pianist Marcin Masecki; Zbyszek Bzymek and Andrew Maillet of The Wooster Group in NYC; visual artist and scenographer Michał Korchowiec; opera singer Szymon Komasa; Lebanese visual artist and director Rabih Mroué along with their guests: Mary Komasa and VTSS, one of the more important names in Europe's underground club scene. The programme includes: concerts on the large stage, installations, projects, meetings with artists, live and online – a detailed programme follows:
Natalia Korczakowska about OPEN STUDIOS:
“When the regular work of an institution is interrupted, and its ability to produce performances and deliver programmes is blocked, we are faced with a crisis – but also with a new, symbolic space for alternative activities which is based not around production by itself, but also education and the creation of an identity for specific places. For me, the key realisation was that during the time of the pandemic the Show moved to the streets, hospitals, media outlets, etc... where it exceeded all our expectations, where we could all become involved, watching it all without interruption. Not unlike the artists in the show La Boheme by Jerzy Grzegorzewski, who sit in a cafe beneath an empty stage and discuss politics. In my experience, every crisis holds the promise of artistic utopia and so I decided to hand this new, symbolic space over to artists for a given time, opening the STUDIO’s studios to them during the pandemic – allowing the development of a range of virtual artistic workspaces. Something akin to an art squat, where artists take over our institution as if it were an abandoned building. This sort of gesture – in a place Szajna called Studio which is now named after Witkacy, deeply influenced by Grzegorzewski and his legend – is in some way a continuation of its inherent traditions.
Ever since Andy Warhol established his famous “factory” workspace in New York, we have enjoyed the tradition of artists in any given district of any given city opening their workspaces and studios to the public, who can then wander from atelier to atelier, conversing with artists about their craft, seeing their works in the context they were created, works which are completed, but also those which have been abandoned, sketches. This is why we had the idea of summing up the first stage of this new form of operating in STUDIO as part of our Open Studios programme between 22 and 28 of June 2020. Subsequent days will be dedicated to one of the artists, audiences each day being able to watch them work and to meet them online and in the Theatre itself.
Open Studios has been established in partnership with the interdisciplinary Greek institution Onassis Stegi.
The finale of the first edition will be a performative conference planned in STUDIO for spring of 2021”.[/zwin]
OPEN CALL: VIRTUAL WORKSPACE BY
TOSHIKI OKADA (JP)
How imaginations work
Dates: 5, 8, 12, 15 October 2020
Application deadline: 20 September 2020 (The open call has closed)
“I always put the biggest emphasis on the imagination while creating performances. Why? One reason is that I believe the imagination actors have can be seen by audiences, as to say, to experience theater is to relate with the imagination actors produce. They are almost the same thing, at least for me. And another big reason is that I see the imagination as a kind of choreographer. I trust them a lot in terms of that. I know the imagination is very often wonderful at finding crazy movements you cannot get to in theoretical ways of thinking. I always ask actors to have as many interesting imaginary ideas as possible and to develop them. And I ask them to ask their imaginations to make them move.
I’d like to share these kinds of ways and ideas with you. We are going to start by observing how you can be affected by the imagination you have, or how it moves your body through certain workshops. And we are eventually going to try to build fictional imaginations, such as when you are given some lines to say, trying to develop your imaginations to make movements more interesting.”
is an innovator of form and a key figure in Japanese contemporary theatre, and one of the world’s most recognized theatre-makers of today as well.
Born in Yokohama in 1973. Playwright / Director / Novelist. He formed the theater company chelfitsch in 1997. Since then he has written and directed all of the company's productions, practicing a distinctive methodology for creating plays, and has come to be known for his use of hyper-colloquial Japanese and unique choreography.
chelfitsch made its debut abroad with a performance of Five Days in March in 2007 and has since performed works in more than 70 cities around the world.
With that show the company began to juxtapose a noisy choreography derived from everyday mannerisms to the text. They continue to develop its distinct methodology, which revolves around the relationship between speech and body. Toshiki’s performances emerge on the basis of a specific trial-and-error methodology, whereas the surprising and also exciting expressiveness in his performances functions as a humorous pas de deux in a fluid arena of theatre and dance elements.
What makes Okada’s work so unique is the astute way in which it captures the times. He questions what it means to be in the ‘now’ and how to adequately articulate this in (his) theatre. In his theatre, past, present and future are interlaced.
Toshiki Okada belongs to the new generation of Japanese directors whose work conveys a predominant preoccupation with contemporary Japanese society, its pitfalls and shortcomings.
In 2016, he began a commission to direct works in a repertory program at the Munich Kammerspiele, one of foremost public theaters in Germany, for three consecutive seasons.
Meanwhile, he is engaged in the creation of works by the new technique of "video theater”.
Sara Jansen writes in The theatre times “In What Time Do We Live? Time and Distance in The Work of Toshiki Okada”:
Okada effectively staggers words and gestures and overstresses the glitches, (involuntary) movements, and awkward postures people tend to produce while speaking. He probes the boundary where common patterns of speech and gesture turn strange. Rather than to split their “consciousness,” or their focus, between spoken lines and bodily movements, he asks his performers to concentrate on the image or idea that, he asserts, comes before both words and gestures. (…)
The corporeality is awkward but there is an authenticity to it. Movements reference everyday actions and are bound up with the individuality of the performer. By desynchronizing speech and gesture, Okada puts into relief both aspects of communication, and calls attention to the indissoluble connection between them as well as to the power language tends to exercise over the body.
For Okada, this approach in the first place reflects reality. He posits that we are not very articulate in everyday life and that our words and gestures rarely directly correspond. However, there is a sense of excess in both. Words keep on coming in an unstoppable flow, and sentences remain unformed or unfinished. Gestures are blown up, disproportionate, and mismatched. This slippage produces an uncanny and humorous effect, as well as an attractive and fascinating rhythm.
Dates: 5, 8, 12, 15 October 2020
Time: 2:00PM CET (GMT +2)
Duration: 2 hours each session
Place: ZOOM platform
Applications from actors and non-performers are welcome.
A group of participants will be selected to take part in the workshops, as well as a separate group which will be able to observe the whole process.
Persons chosen to take part will be notified by 25 September 2020.
There is no charge for taking part in the Workspace meetings.
The meetings will be held in English.
The workspace will be recorded and result possibly with a public show of selected fragments from these recordings.
Deadline: Sunday, 20 September 2020
(The open call has closed)
STUDIO teathregallery: www.teatrstudio.pl
Onassis Stegi (Athens): www.onassis.org
for STUDIO teatrgaleria: Anna Lewanowicz (Initiator and Head of the Project)
for Onassis Stegi: Christina Liata [/zwin]
Transforming the Archive: Improvising Across Media/Medea
Improvising the Archive/Archiving the Improvisatory
Application deadline: 8 September 2020
[zwin]As part of our STUDIO teatrgaleria virtual workspaces project, we have invited renowned artists from around the world to work with us – those who have shaped contemporary thinking about theatre. At first, we have been working with Rabih Mroué (Lebanon), Rimini Protokoll (Germany), Toshiki Okada/chelfitsch (Japan). Our international workspaces are part of our STUDIO activities, wishing to invest in the development of theatrical languages during the time of pandemic, seeking alternative ways of communicating with audiences. Our theatregallery becomes a symbolic space for artists to create virtual “workspaces”, in the belief that in this way we are following in the footsteps of those who named our theatre as “studio”.
WORKSPACE BY MEDEA ELECTRONIQUE
The workspace aims to explore collaboratively an artistic, theoretical and methodological framework with regards to new media art and art archives. In particular we will focus on translating previous archival content into new media, aim reached through:
Workspace’s leaders wish to collaborate with the participants in order to exchange good practices and to produce artistic and theoretical dialogue. Participants will be invited to create new works of art, based on art archives by Medea Electronique, or other archives that they will suggest. The artistic experimentation, follows an exploratory approach for understanding the creative potential of these processes/interventions and seeks for originality and innovation, demonstrating and supporting value creation for academic, artistic and other communities.
DATES: 22-25 SEPTEMBER 2020
TIME: 2:00PM CET (GMT +2)
DURATION: 3 HOURS EACH SESSION
PLACE: ZOOM PLATFORM
Applications from artists, musicians, composers, performers, philosophers, anthropologists, archivists/researchers, video artists, designers, dancers and anyone who designs, builds and/or employs new interfaces or pre-existing interfaces in innovative ways, and performers who are excited by the prospect of working with new interfaces, or becoming one. Medea Electronique, being an eclectic art collective, is interested in people from diverse cultural and artistic backgrounds. While assorted nationalities and ethnicities have been represented, the common language of the workspace is English (although fluency is not necessary, an ability to interact with other artists in English is necessary).
Given the theme, we are looking for artists/researchers excited by the idea of collaborative artistic creation, grounded in an improvisatory spirit and practice, who are excited by the thought of reanimating archived works. We hope this call will be of interest not only to new and mixed media artists, but also to archivists excited by the idea of thinking about the archive itself, and methodologies for its creation and access, in new ways.
A group of participants will be selected to take part in the workshops, as well as a separate group which will be able to observe the whole process. Please select the desired group in your application.
Persons chosen to take part will be notified by Monday, September 14th.
There is no charge for taking part in the Workspace meetings.
The meetings will be held in English.
The workspace will be recorded and result possibly with a public show of selected fragments from these recordings.
Deadline for applications: Monday, September 8th, 2020
ABOUT THE WORKSPACE
Medea Electronique wish to collaborate with the participants in order to exchange good practices and to produce artistic and theoretical dialogue. Members of Medea Electronique will be guiding the overall direction of the workspace meetings. While these members will be able to lend their expertise in assorted new media practices, having great knowledge of the area, they are equal partners with the participants. In other words, this WORKSPACE is not a school, or workshop in new media art production run or taught by Medea Electronique, but the applicants/participants are expected to be experienced in their chosen media/field area. Medea Electronique does not aspire to a one-way communication or to a reproduction of the "transmitter-receiver" model, but faithful to its collective / improvisational profile, wishes the equal involvement of all participants: In their turn, they are expected to produce/present a series of presentations on specific issues. Participants will be invited to create new works of art, based on art archives by Medea Electronique, or other archives that they will suggest.
The meetings will be inaugurated with a theoretical presentation on ARCHIVE and its political / philosophical / anthropological debates, and later on they will develop / embrace the art of sound and image, interaction, interface, user experience, the methodology of meta-tagging, and so on. The Medea Electronique Archive will be also presented, an archive produced since 2009 at Koumaria Residency: Medea Electronique Art Collective has collected documentation (audio, video, photos, text, image) of its past 11 new media art residencies, in and about the village of Sellasia, approx. 10 km north of Sparta, where the residency takes place. Focusing on site-specific mixed media performance, this material not only traces the history and development of the residency, but also that of Sellasia—stories told, histories revealed, places explored, narratives uncovered.
Manolis Manousakis, Angeliki Poulou and Eric Lewis will be present throughout the meetings, holding a transdisciplinary role, while in each meeting a different member of Medea Electronique will deliver a mini presentation / intervention addressing intriguing issues (improvisation, sound art, web app design, interaction design, meta-tagging, community development, the archive seen through philosophy and anthropology).
In discussion with:
Onassis Stegi (Athens) www.onassis.org
STUDIO teatrgaleria www.teatrstudio.pl
for Onassis Stegi: Christina Liata
for STUDIO teatrgaleria: Anna Lewanowicz (Initiator and Head of the Project)[/zwin]
22-25 June, 11:00am-10:00 pm | THEATRE: Malarnia Stage
TWARKOWSKI_STUDIO guest VTSS
Rave simulatorTickets: 20 zł (standard), 10 zł (discount)
As part of his workspace at STUDIO teatrgaleria, Łukasz Twarkowski is using the Malarnia stage to develop an immersive installation as a rave simulator. A special music set dedicated to this event will be created by VTSS – one of the most important artists on the European underground club scene. The event architecture and visual design is the work of Łukasz Twarkowski, in partnership with Jakub Lech. The Simulator has been designed in a way which allows each audience member to have a personalised experience of the event – one by one, they go into a simulator erected up on the stage for up to 45 minutes.
“Recent weeks have made us aware of how quickly our bodies demand certain inputs, and how optic fibre connections are not able to replace the human touch. Can a rave simulator become an aid in sustaining these life functions? An answer to the cyclical need to expose our bodies to rhythmic sounds involving low frequencies?” Łukasz Twarkowski
The installation uses strobe lighting, smoke machines and low frequency sounds.
Krzysztof Kwiatkowski will host a meeting with the artists following the screening.
23 June, 7.30 pm, online FB
[zwin]Michał Korchowiec (visual artist and scenographer) has been working in his own Studio on a series of projects, including an original form of footage shot with a smartphone at close-up range, edited in a way unique to this artist. Korchowiec is interested in the very fact of setting up a symbolic workspace in STUDIO teatrgaleria, as the subject of a range of performative actions, which include:
-planting a tree on the roof of the Warsaw building where the artist lives;
-reading Propaganda by E. Bernays, a book about manipulation and herd management, in which knowledge about human beings developed by Freud is turned against the interests of minority groups;
-editing together a documentary film about invisible rule from materials he has gathered during his journeys around the world and various spheres of exclusion. Fragments of this film will be screened in studio_online.
“Today, I am opening up my workspace, totally thrilled about this. I planted a tree yesterday, maybe tomorrow we can plant a forest...”
Krzysztof Kwiatkowski will host a meeting with the artist following the screening.
24 June, 7.30 pm, Zoom, online FB
“If I was where you are”
[zwin] Rimini Protokoll is the best known German collective, celebrating 20 years of existence in 2020. Its founders Helgard Haug, Stefan Kaegi and Daniel Wetzel focus their work on constantly developing theatrical tools, facilitating the presentation of reality from unexpected perspectives. They create interventions, performative installations and audio plays, as well as documentary shows involving ordinary people, who co-create the performance scripts and then appear on stage, relating their personal life experiences.
Rimini Protokoll translate social spaces and arrangements into theatrical formats.
Many of their works are characterised by innovative use of interactive technologies.
“It is high time, after 3000 years of existing in a format where one group of people work to delight a second group by performing a range of actions, that theatre began to present things which are interesting, rather than just showing off skills. For it to busy itself with processes which have real influence on our society.” Rimini Protokoll
Over the years, the collective has taken its projects to many festivals and theatres all over the world; in Poland this includes Malta Festival, Krakow Theatrical Reminiscences and Nowy Teatr in Warsaw.
Having received numerous awards, it is the recipient of the European Theatre Award, Silver Lion - La Biennale di Venezia.
“If I were where you are” is an online workspace led by Daniel Wetzel.
The aim of the workspace is to use current affairs and events of the day in performative experiments.
In a project they have been developing for a couple of months, the format involves conferences in which speakers are replaced by members of the audience, who follow their briefing how to perform their presentation on their behalf. The emphatic interest in the variety of viewpoints and biographic perspectives on our times in the foremost cases of their more than 100 projects is the starting point for this online workspace.
Whatever rules and regulations are imposed upon us in May – we will certainly be expected to stay in our homes, limiting our contact with people who are not in our immediate circle of family and friends. Hence our wish to experiment with conversations and presentations involving people who are “furthest” from us – in all senses of this word.
If you had to leave your own bubble and reach out to somebody else on this planet – whom would you choose to speak with? A beehive farmer in Nigeria? An emergency nurse in LA? A Guru in Kerala or else a ballet dancer in Kazakhstan? And why them indeed? At present, globally we’re all much more radically in our own bubbles than is usually the case.
This workspace aims to explore the potential of a performative parliament of the separated bubbles. What means will you use to represent this person then – and your experiences with the encounter? Let’s create our performative version of the Globe and of the “now” we’ll be in. Let’s enjoy the basic potential of theatre and performance – sharing space and time in reflections which configure our experiences.
One of the most interesting artists at work today, offering a new and unique theatrical language, Mroué is a theatre director, actor, visual artist and playwright. Born in Beirut, he currently lives in Berlin. His work covers ground between theatre and visual arts, often combining mundane, real-life material with the fictitious narratives he develops for his performances. His work often plays on the tensions between the live physical presence of the body on stage and images which come to stand in for that body. Mroué’s ambition, as he puts it, to 'de-sacralize' the image rather than produce more imagery. The artist explains that the central component in this process is the exploration of how narrative – through elision, selection and rhetoric – functions as a device for inflecting and refracting realities. His work is characterised by the use of political themes told through personal stories, the political situation in Lebanon frequently featuring in his works, to ask larger questions about representation, the power of images, and the subjective nature of history. Theater, for Mroué is a means to present unfinished ideas and doubts about the state of humanity.
Rabih Mroué is the co-founder of Beirut Art Center, co-publisher of TDR: The Drama Review (New York) and permanent director at the Münchner Kammerspiele theatre in Germany. His works have been staged all over the world, in theatres, at festivals and contemporary art galleries, including the Tate Modern in London, MOMA in New York, DOCUMENTA 13 in Kassel and the Centre Pompidou in Paris. In 2016, Berlin's Hebbel am Ufer organised a festival dedicated to Mroué, centred around a retrospective of pieces created in partnership with Lina Majdalanie. His works have previously been staged at various festivals in Poland, at first at the Krakow Theatrical Reminiscences in 2013 and the WRO Media Art Biennale, where he was awarded the main ex aequo prize.
This workspace focuses on the human body during the current period of confinement – the characteristics of it being on the one hand isolated in order to protect it from others and to keep it as healthy as possible, and on the other hand still being present as a ‘live’ image on social media to meet with others and keep our human relations active.
What kind of body do we need today in order to meet with the world? What preparations do we need to make? What kind of care should we take?
The fact that the My body-Image meetings will take place in the virtual world of the worldwide internet, where each participant will be in her/his private space, will in itself be good material to work on together, to reflect upon this phenomenon and to work through it, trying to bring up some alternative thoughts and ideas for today’s artistic practices.
Co-organiser: Onassis Stegi (Greece) www.onassis.org
26 June, 7.30 pm | THEATRE: Main Stage + streaming FB/YT
End of the World
Tickets: 50 zł
Szymon Komasa used his studio to work on a new form of recital dictated by the events occurring over the past few months. The first step is to give it a dramaturgical direction. The artist has split the evening into four parts: catastrophe, fall, acceptance and new life, inviting audiences to take part in a ritualistic experience: moving from the world before to the world after the pandemic. This will be related by works he has selected by Bach, Brahms, Rachmaninov, Wagner, Karłowicz, Adams and Mykietyn. Szymon Komasa invited the director Natalia Korczakowska to assist in delivering the project. On the piano: Marcin Kozieł; lights: Sasza Prowaliński; narration: Jacek Marczyński.
“I want to go on a new journey with the audience – one now dictated by the world, as it lifts itself up after the tragic events of recent months”
Meeting with the artists follows the concert: Duża Scena + streaming FB/YT
Host: Jacek Marczyński
Collaboration with the Polish Institute in Vienna.
27 June, 7.30 pm | THEATRE: Main Stage + streaming FB/YT
BZYMEK & AMAI_STUDIO gość MARY KOMASA
Songwriter as social alien
[zwin]Tickets: 50 zł
Andy Maillet and Zbigniew Bzymek, who met while performing with The Wooster Group in A Pink Chair (In Place of a Fake Antique) , a performance inspired by the work and life of Tadeusz Kantor, have invited Berlin-based singer-songwriter Mary Komasa to participate in a one-time, live-physical, interactive experimental concert in which Bzymek, a 12-year veteran of The Wooster Group, will project a series of questions, designed to demographically demask a surgically-masked audience. Komasa and Maillet interject with intimate performances of songs chosen for their interior emotionality and written in spaces hermetically-sealed off from society. The performance attempts to “open the studio” to a process that is by nature deeply personal and closed, and inquires what it means to“share” outside of the digital social information space, creating instead a temporary utopian community attending to an individually-based song art.
music: Mary Komasa and Andy Maillet (Amai); videoart/ direction: Zbigniew Bzymek; guest: Mary Komasa; costumes: Zosia Komasa; lights: Aleksandr Prowaliński
28 June, 6.00 pm | THEATRE: Main Stage + streaming FB/YT
Marcin Masecki Jazz Trio
[zwin] Tickets: 50 zł
On April and May afternoons, during the time of the pandemic, Marcin Masecki invited audiences and listeners to his home for a series of unique interpretations of classic works and discussions surrounding them (“The golden period of European classical music”), and then for a similar adventure with jazz music (Series “Golden age of American jazz”). On the 28th of June he will play live, no longer from his apartment, but on the Duża / Large Stage at STUDIO teatrgaleria with the percussionist Jerzy Rogiewicz and contrabassist Piotr Domagalski, with whom he created the Marcin Masecki Jazz Trio. This band, which does not play often, but sounds like it has been performing for ever and a day, will play Masecki's own compositions. This unique concert is a symbolic closing of Marcin Masecki's virtual workspace and the finale of our theatrical season.
Concert followed by a meeting with the artists: Duża Scena + streaming FB/YT
Host: Krzysztof Kwiatkowski