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Wednesday 23.04.
18.00
Distance and Participation: Comments on the Modern Theatre Building
Ulrich Müller
In 1921/22 Walter Gropius completely reconstructed the theatre building in Jena. There was much won for architecture but few for the constitution of the theatre. With his draft for the "total theatre" for Erwin Piscator in 1927 he finally succeeded in integrating all architectural modern comforts into a theatre project.
Thursday 24.04.
17.00
Dejstwennaja szenografija - Affective scenography
Victor Shilkrot
The term 'affective scenography' was developed by the theorist Viktor Berjozkin in his research on 'Art of scenography of world theatre' and considers technologies as inherent to scenographical design. Victor Shilkrot is going to describe, how Berjozkin conceived this system of staging design and will introduce works of some important scenographers of Russian contemporary theatre contexts. Famous historical russian avantgardists names like Eisenstein, Tyschler, Ryndin, Wassiljew and Lawinski are also contextualized.
18.00
Colors and sounds: realisations of space between Bauhaus and Black Mountain College
Ute Holl
20:00
Theatre machine - From the magical machine to "mechanical eccentricity" (Moholy-Nagy)
Jan Lazardzig
The 'spectacular machine' of early modern times is related to an understanding of machines, which is beyond phantasms of usefullness and usability. It aims for the entertainment of the spectator exclusively. This 'unproductive' understanding of machines, which baroque stage machines exemplary show, is still existent in the theatre of early industrialisation times. Not accidentally the stage is starting point of historical avantgards for searching the radical difference, searching an understanding of the machine not based upon function, usage and effectiveness.
Friday 25.04.
17:00
following the white rabbit
Manuel Fabritz
By means of historical development and concepts the lecture tries to describe the genesis of motion space images and its enabling apparatusses. Coming from historical panorama and diorama it wants to trace ways towards todays concepts of scenography. Opposing to this historical technical report some examples from science fiction literature are put forward which deal with mental and fictional spaces. There e.g. mind-exanding and psychedelic substances play a decisive role which work as initial for an expanded term of space. The question comes up, to what extent scientific examination and development of these substances influenced technical progress or else: Is there a way from the mechanical space apparatus to the mental dream apparatus and back?
18:00
Strange extensions - Oskar Schlemmers stage costumes vs. fashion designs of Hussein Chalayan
Katharina Tietze
20:00
City in motion
film presentation by Schröter & Berger
Schröter & Berger realised a film manuscript of Moholy-Nagy named 'City in motion' by means of collage and usage of own footage. Moholy-Nagy developed it as avantgardistic typo-photographic work and literal film. His nowadays topicality appears in rapid strings of animated, urban symbols textually, visually and auditive.
"In this evening you will get to know the story of the script and our film. Within an amusing small lecture with following readiness for discussion Schroeter & Berger try to convey their love for revolutionary constructivism, dadaism... Like always we hope that after this art quits to be art and life is going to be theatrical."
Saturday 26.04.
17:00
Physical modeling for music theatre - beam dance in real and virtual spaces
Johanna Dombois
Johanna Dombois is going to talk about production and interferences of technical, machinical und musical parameters in her virtual Fidelio production on the New-Media-Stage of the Beethoven-House Bonn. Designed by abstract figurines, the production bases on the one hand on principles of music visualisation and is interactively assessible on the other. Her workshop report concentrates especially on the choreography of the figure Pizarro, which is formed as well achitectural and figurative. Something, which is not possible on a regular stage, was transferredinto a virtual environment and programmed in a way that it could be performed as precisely as the score demands it:The Prison of the second act (the staves model) is morphing procedurally into the protagonist (the staves figure) and if necessary, back into the configuration of the prison.
Physical modeling becomes the drive of the dramaturgical proceeding and decisions.
In regards to the question about possible structural similarities between analog and digital directing,following references relate to the virtual staves choreography in Pizarro:
They range form Schlemmer's Bauhaus dances (1927-29) and their reinterpretation of Gerhard Bohner (1976/77ff.) to elements of the Butoh dance in the performances of a-ha (1993/4) Grosso modo is about the specific scenographical parameter, which let
space, body and mechanics influence each other.
20:00
Remote spatialities. For discussing about telematic space: (theatre)practice and theory
Birgit Wiens
In my lecture i would like to discuss phenomena which had been described as 'distal spatiality' in theatre science. The term sounds a bit antiquated; Max Herrmann one of the founding fathers of the discipline used it in his programmatic writing 'Das theatralische Raumerlebnis' /The theatrical experience of space in 1931. In contrary to the theatrical space, to stage and also to the environment of the site of the play or the architecture and its mostly urban context 'distal space' is a quite ambiguous category. It's describing geographically distant spaces we know from remembrance or imagination or which are utopian spaces, in other words: virtual spaces you have a sense or vision of. Such spaces are not without historical theatre scientific tradition. For instance the landscape, percepted by the antique theatre visitor behind or surround the orchestra and scene was such a 'distal space' which was percepted - as Bruno Snell wrote - as alive 'mental' space. (In the ancient world one considered nature as the home of gods, satyrn and nymphs) So space became part of the theatrical play and added its significance. In contrast the theatre tradition of Modern times since Renaissance
set up theatre in enclosed spaces. Distal spatialities had been only mediated either through description or pictured representations. Play within scenographical surrounding was limited to the 'here and now'.
First the 20th century theatre has left again this closed raree show case. By means of media technologies at first film and video 'windows' had been opened towards other, virtual spaces.
The lecture attends to question contemporary, intermedia scenographies under consideration of especially Christopher Kondeks project „Dead Cat Bounce“. Particularly the lecture is about intermedia stages which open up in real time to other telematic spaces . (For instance „Dead Cat Bounce“ tunes in online stocktrading) The 'space' of the internet could be also understood as 'remote spaces' today. Though left for questioning: Is internet at all considerable as 'space'? And how we interpret 'cyberspace': as communicative space? As high energy or even magical space? As 'global village' or space of exclusions and segmentations which are economically and politically motivated? In which way this territory is connected to theatre respectively how it affects dramaturgy, scenography and performance practice?
Sunday 27.04.
17:00
Art and Synthesis
Jewgenia Orlowa
Jewgenia Orlowa wants to follow up the influence of new technologies upon arts and the development of perception strategies from Western European art of the 19th and early 20th century until contemporary state descriptions. Hereby she will especially focus on ideas of synthesis, searches for media correspondents in music, color, impression, form and figure as significant elements of artistic practices.' Painting, drawing, sculpture, photography, light and video projection in contemporary Russian theatre architecture don't offer entirely opuses and are living on the reaction of the spectator.'
