Resistance, mutiny, power relations – what is the new project

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Looking into power relations.
I understand that authority usually uses its power when it believes something that contradicts its values acts out.

Looking at different power relations and ones that may be more contraversial are countries (police/army), mental institutes. I think that these are the more obvious.
The reason of looking at the above authority is pdoblematic because the patients or citicens dont necessrily support their authority, but on the other hand ther are external powers that give them the legitimancy to use diferent kind of force and violence against its subordinates. In both cases they can use the argument that it is for tbe individual favor and the favor of tbe public.
I wonder if in the case of mental institutes or prisons there may be a larger concensus on the use of such kind of force.

Us, general public, people get the information on the benefits of each. Mainly from the authorities and the press or media. In the case of ,countries its possible to find an organisatios that will promote counter agenda. And the subjective opinion of people which we may find in blogs or other social media give, i would question its reach out.
When there is a news article, how many of you check its validity and objectivity? How can u be sure that there might be informion that is missing? How much time are you wiling to invest in such checks, as it can be endless research and not necessarily within reach? What are the values that according to them you find an action as legitimate (i would put under this action forced mental treatment, prisoning a person, terror attack, army operation)?

What do you do on a daily basis? When does force / authority have legitimacy?
How does this legitimacy afect the way information and agenda are being delivered by authorities or public and he way it is being recieved by the general public?

Just to give it the link for performance: my next project looks into these relations. Where and how does the media play this relations ?

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Online perfomances-events this week

two interesting events are happening this week regarding digital performances:

Remote Encounters – a conferenc, you can find more details here:

http://remote-encounters.tumblr.com/schedule

you can enjoy 1 of the performances that is online:  Love by Annie Abrahams in a conference name Remote Encounters (in Cardiff). which will be online Thursday 11th of April at 8pm UK time:
http://www.bram.org/onLove/index.html

The Second is “we have situation”:
This is the second situation as part of a series of situation that has started in London 3 weeks ago.
This online performance will be Friday 12th of April, 8.30pm
It uses an online application for online performances called upstage.
more info about the performance and the link for the performance – http://www.wehaveasituation.net/

EXPLORE AND ENJOY

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Start Operation Systems – online and onsite theatrical and magical journey

online-onsite magical and theatrical journey

online-onsite magical and theatrical journey

Start Operation Systems

Performers in London and around the world on the web guide their audiences in a playful exploration of a technologically cutting-edge and emotionally magical journey.

Do you know the legend of the full moon? There will be ships, stars, the sea, the full moon, and you!

What is real? What is the space around us made of? Where are we now? Who are we? Can we share a body?

We invite you to come and Start Operating the System.

The work in progress performances will take place on:

Thursday 10th of January
Friday 11th of January
Saturday 12th of January

At 7.30pm UK time

Suggested donation at the door: £5

Onsite location:
Mostart, 86 Stoke Newington High St, N16 7PA

Online location:
http://water-wheel.net/taps/dock/350

About Start Operation Systems (S.O.S):
S.O.S aims to bring together online and onsite performers and audiences by taking advantage of the Internet and creating a sense of community using cooperation in order to explore means of communication between remote places while using different media.

During the devised process we explore different connections in different media. The first challenge is to bridge the onsite performative language with the performative language online. Mediating 3D space into a 2D image that moves in a 2D world and vice versa.

S.O.S uses TAP (online performance application, which was developed by Suzon Fuks during a fellowship in Australia; water-wheel.net). The rehearsal process introduced performers and theatre makers in London to the TAP and challenged them to work with it and discover different interactions and connections with multi-national performers in worldwide locations.

The project is initiated and lead by Hedva Eltanani, a performance practitioner and the founder of Steer, a method and tools provider for performance making.

websport –

www.water-wheel.net

http://www.water-wheel.net

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Back to Idealism

Allow me to have an idealist post.  A post that calls for the impossible, that calls to bring back the significance of any art project, that is higher than our ego, knowledge and ambition. In other words, I elevate the importance of collaboration towards one communal purpose. I’m going to question the importance of roles division in a creative process taking the ideal of “Total of The Art” (Gesamtkunstwerk), that was presented by Richard Wagner, and afterwards (with slight variations) by Jerzy Grotowski, Gordon Craig, Peter Brook, Vosoveld Meyerhold and others. I must say that even if this idea exists for a long time, it seems that it has yet to be embedded fully in the practice, if such insertion can be possible. It may be considered as a total devotion or letting the creation “lead” itself. But here I would like to bring forward how the intention of the artist is the steering wheel and the point with which the artist examines and practices the “Total of The Art”.

Looking at the definition of Gesamtkumstwerk simply refers to the usage of all kind of art forms, and I specifically refer to the crafts in performance making. It is important that all are equal in importance and significance when creating the final project.  It is the collaboration among the different disciplines that makes the project what it is. It is combined with the understanding among the people and their work; it is developing a shared language on stage or at the event; and finally it is aiming for the same purpose. It also means that at times a particular art form leads and at other times, a combination of the other disciplines come forward. It is the “Total of The Art” as a whole that allows the artist to decide and bring the suitable relations and dynamics within the project.

Personally, I believe purpose means shared intention. More importantly I argue that in art that is aimed for an audience, this intention should include the intention towards the audience: the kind of experience they have; the expectations that are built and their role at the event. In other words, I suggest that the reference point of “total of the art” should be in relation to the intention of the artist/creator and the way audience experiences the event.

I would like to emphasize a little bit – in performance all art forms are being used in any case, and the audience experiences them. It is the way the artist highlights each discipline, and the way the different disciplines are mixed together, which, I believe, is necessary to overlook and have conscious decisions about it.

The idea of Steer, and the practice behind it came about because I feel that artists don’t necessarily understand the concept of “Total of The Art”. And even when artists understand it, agree with it and want to bring it into the making, they do not necessarily have the tools to create it. Steer aims to give tools and enable the artist to know how and when to give a stronger presence to a particular craft or a combination of crafts.

The division of the roles/disciplines, the leak among them and the intention of the artist are linked together. I can suggest that this leak is essential and may bring in a better collaboration process and a stronger experience for the audience. This is simply because all members work towards the same one goal, and the different point of views pushes forward ideas and creativity. This is possible only if all members understand each other and share the same performative language.

Defining the roles of: dramaturge, scenographer, director, stage design, sound design and light design, is a task for another post, article and a research. There are many debates and discussions regarding the creativity and the input of each discipline. These discussions clearly refer to the role and the scope of responsibilities.  However, in this post I suggest that the purpose and the aim of the project should be more on the focus than the specialty that one has, with hope that the expert takes the suggested idea and develops it within his/her own field. This intention allows all members to point to the same direction. It is the “Total of The Art” as a whole, the scenography as a whole, which includes design, dramaturgy, staging, performative language etc.

I would like to remind briefly again the differences between the practice and the theory. And clearly, even if I would have defined the disciplines or a formula of work, in practice the character of the people and their profession changes the dynamic and the creation of a particular project. Therefore – I bring out the following question – what is the advantage with creating an absolute definition? If I may bring out a provocation I can argue that instead of defining roles, the definition should be for requirements of an event. And I would argue that these requirements are dependent on the artist intention and the way the audience experiences it. Which brings me back to Steer as a tool to help the collaboration process.

Putting Steer aside and calling back to the Idealism – The art has a cultural role and I just want to share and remind with this post, that it is important to put the project first, rather than the professions that the art is made of. Or in other words, I would like to remind us when we work to think what will serve the piece better, rather than what shows my skills more, what is more cool, or even what sells more.

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Digital online performance – Face the Facts and Steer

I would like to use the 1 year anniversary of waterwheel for two things: the first – www.Water-Wheel.net. It is a great platform and initiative to raise awareness of water and online performance platform. The second, and closer to my heart, is digital performance and audience experience and explaining how Steer helps.

I am proud to be part of the Water-Wheel collective that helped to feedback and be the first to workshop with the TAP application. We work for more than a year now, maybe almost two…. Part of the fellowship Suzon had with the Australian council we have created online and onsite performances that work with the theme of water and use Water as a theme and a metaphor.

Waterwheel is a collaborative online venue for streaming, mixing and sharing media & ideas about water. It has its own library of media, articles and forums. The most unique and relevant for this blog is the TAP. The TAP is an online application that allows live streaming at the same time of using the screen as an online stage for images, media, interaction between the performers online and interaction in the chat with the audience members. It’s quite a lot to understand and to summarise in few words.  So I strongly recommend you to go to the website, and look at “how it works” page which explain in more details. I really believe that TAP has a break through with live digital performance. It is still the first year, so there are still things it can imporve, but no doubt offers quite a lot already.

We celebrated the anniversary with few performances that were also projected in Argentina. Personally I was part of “Face The Facts”, which is a scene from The Waterwheel Installation Performance, the culmination of Suzon Fuks’ artist’s residency at Brisbane’s Judith Wright Centre for the Arts in December 2011. This scene brings together fragments of the faces and voices of 5 online performers from around the globe. The voices bring recent news and facts about water from different places around the world and in different languages. All was live streaming and live operated, we were people who performed from Tunisia, Holland, Serbia, UK and Australia. All of us have different languages and from different nationalities.

As my research focus on audience experience and how digital media affect this connection, I must say that any of the acts that were played in the anniversary did not clearly invite the audience to participate. On the one hand I’m very surprised, but on the other hand, it makes sense. WaterWheel’s advantage (or any online performance platform) is the connection, collaboration, and the option to work together and create together with people from remote places. It also potentially allows to reach a bigger audience from all over the world.

It is only the first stages of this kind of art, it is still emergent. When I say to people that I perform online, it usually follows a long explanation of how it works, where I am, and how they can watch it. Personally, I feel that the “real” advantage is the connection among people. I put on the flag of the human connection that is being created on the “here and now”. If I’ll refer a bit to Steer tools and the kinds of audience experience, it is not only the community/spiritual experience, but also the social/political activism and also the sensual experience. On the one hand it is being in your own room (or wherever it is) in front of a computer, and also be able to relate and connect to others. I believe that the presence of people and their interaction in the performance venue (not necessarily interactive performance) makes theatre and live performance unique.

I ask – what is expected from the audience during live online performance? is it a cinematic event, which means that they are only spectators?  What kind of role, you as a creator give your audience? how does the chat (if there is one) affect the performance, if at all? does it matter that they might be “drifting” and chatting about something else like “where are you now?”, “how is the weather at your place?”, “what is the time for you?”, “how did you hear about this?”, “this reminds me….. ” and so on….

In order to be able to answer this questions, Steer suggests that you as an artist will have an intention towards the audience. What do you want the audience to experience? what do you want them to gain during and at the end of this performance? Having this decision will easily direct the importance of their presence and the way they are present/engage with the performance.

I argue that because online performances are still new, and the rules are not necessarily clear (at any point they can log out and browse something else), it is the responsibility of the director/creator, to guide the audience and explain them how they should be engaged with this performance. If they know what they gain from it, most likely they will follow and participate rather than being suspicious or question what ever is happens in front of them.

Steer gives tools for the artist that can help with the rehearsal process and decision-making regarding audience engagement, proximity with the audience, choice of venue/s and clearer choice of performative genre and language on stage using design of sound, set, costumes and light. I am leading workshops of Steer now. So will not say extensively about it. But there is a lot to explain in each of the elements above.

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After the first introduction workshops

Steer WorkshopFrankly I will say that the workshops were very successful. Just to link it to this blog a bit more I will explain that this stage of workshops is only the first part. It is essential to establish the understanding of the audience experience in performance where we use environment that the audience is a bit more familiar, and then it will be possible to introduce how digital media affect this. So speaking of digital performances, this is the foundation of researching the affect digital media has on audience experience.

Personally I felt that the workshop is  clear and it is beneficial. The feedback and the good response from the participants was very positive. It encouraged me to continue and spread the word.

I’m a person who tries to improve and see how things can be better for next time. My aim is to be MORE successful and to reach more PEOPLE. So I would like to use this post in order to reflect, think and maybe even get your feedback on how things can be better. So I’ll spread before you what I want to have more and what is the main issue that I’m dealing with now in order to achieve it.

I would like to be more clear in what this workshop do and to find an EFFECTIVE way of advertising it. These days, marketing is 95% of the reasons of making something (what ever it is) successful. I believe that Steer method applies to most artists, but yet it seems to reach specifically to people who are dealing with interactive theatre and are interested specifically the discourse of audience/performance relationship. I want to open it more and show how it is relevant and beneficial to more disciplines in performance making (even including video and perhaps maybe fine art, but just maybe).

Steer WorkshopI’m looking to coin :

  1. Steer – It is a name of a technique and set of tools. Similar technique is Laban (with its efforts) it gives tools to look at movement of people. It defines efforts, but as a choreographer you choose how it helps you.
  2. An Artist Intention –  This is the main point of Steer, its essence and foundation. It practices how it affects the whole process of making an event. It is a White Cane that gives the creator information with which one chooses how to go.
  3. Audience/Performance Relationship – Steer defines 4 kinds of audience experience and refers to patterns and all elements in performance. Steer brings back the point of view of Gordon Craig, Wilhelm Richard Wagner, Voseveld Meyrhold and others and emphasizes that all “ingredients” of performance are important and contributes to a particular intention and therefore encourages a specific experience for the audience.

So, what words do I use to get to all performance makers – designers, performers, directors, dramaturges, live artists ?

Steer Wrokshops

What simple words can I use to establish a technique?

The 4 kinds of audience experience that Steer defines is based on patterns that exist in performances.  The definition of the expeirences are according to what was felt by audience had portrayed this relationship or the other.

At the moment the blurb of the workshop is:

Steer – An Artist Intention

Steer workshops looks at the audience/performance relationship and breaks with the convention of audience/performer relationship. It brings out the importance of the scenography and emphasizes the advantage of collaboration and clear communication with the audience.

Steer workshop gives practical tools for having better understanding of how we as creators affect the audience experience.
It defines 4 kinds of audience experience and shows how the performative elements direct a particular dynamic with the audience. In the workshop we create acts, discuss them and make them again in a different light by challenge one of the elements.

This blurb is too specific, and the general public cannot understand what it is. Therefore, why would they invest of their time. I’m looking to make it more simple, accessible and attractive. It should be inspiring and exciting.

You are welcome to join the effort. please contact me.

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Steer – An Artists Inention AUGUST

Facebook EVENT page

Eventbrite EVENT  link – REGISTERATION for the FREE introduction workshops

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