Keywords appearing from a loosely structured talk:
A time of transition - Transitions of Political Systems & Regimes = from one to another = being in-between
Post-Soviet, Post-dictatorship, Post-Regime
(however: we're living with ghosts for decades?)
Generation of Freedom = Freedom is also a responsibility
Hereditary violence - how does violence transfer?
The mother does not feed her child with her
milk to stop the transferring of violence.The
metaphore of eating your children so they don't
have to stay in the cage of the Soviet Union.
How do you make the violence stop?
How do you make sure that the oppressing
regime does not inherit onto the next
If I am like I am: full of anxiety, slave-mentality, anger, rage and fear, can we say that the occupation won?
If I have a list of he things that I would
take with me when I would be
deported, can we say that the
meeting virtually (july #2)
Key thoughts/interests that arose from
"Both theatre and dark tourism are haunted by absence and, each in their own manner, traffic in substitutes that attempt to make such absence present, to make it felt."
"Ethical spectatorship" Emma Willis
Coming back to the idea of transferring violence through mother's milk: women's holocaust = witch-trials
Practices of resistance:
Rest as resistance
Care as resistance
Togetherness as resistance
Radical intimacy as resistance
"Maleus maleficarum -
the hammer of witches"
The generations of motherless
The generations of fatherless
where is violence brewed?
“We are the granddaughters of the witches you weren't able to burn.” Tish Thawer
Negotiation of space
Negotiation of power
Negotation of the borders of truth and fiction
meeting virtually (august #1)
Engagement with the work as it unfolds in performance, then, involves maintaining and moving between both real and imagined, inhabited and projected spectator positions. In the process of negotiating these shifts and intensities spectators are prompted to develop a hyper-self-consciousness concerning the different ethical positions and ramifications of these differing versions or roles.
"Fiction as a method"
I am me and you are my grandmother. This is
our kitchentable. You are crying and I'm
watching you cry. I have no idea why you're
crying, but what I do know is that this
is the moment to be quiet and just slide
my hand towards yours and after a slight nod
given through your hand opening I understand that it's okay to put my hand in yours.
The form of "Physical fiction as method" =
re-positioning the bodies of the audience members into the imaginitive (story, place, moment)
Keywords: intimacy, proximity, negotiation
Togetherness not only in concept,
but also form:
how can we include the audience with consent without asking for direct consent?
of the piece/the work
is a dialogue between two or more people or parties intended to reach a beneficial outcome over one or more issues where a conflict exists with respect to at least one of these issues
meeting virtually (august #2)
Ways of creating collectiveness through actions by the audience Dramaturgy through the actions
Janis: Imagination Chains
Barbara: Focus on scenography and aesthetics; how much of it is set? How much of it can be built up through actions?
Nahuel: Participatory storytelling
Katrina: Surprise as a catalyst
"The practice of Dramaturgy:
Working on Actions in Performance"