10 YEAR ANNIVERSARY OF UTOYA MASS SHOOTING IN NORWAY BY ANDERS BEHRING BREIVIK
- Dealing with sorrow
- Surviving as resisting
- Is grief allowed? Is sorrow allowed?
QUESTIONS EMERGING FROM DISCUSSION OF EVENT
- WHAT COULD BE AN APPROPRIATE WAY OF DEALING WITH TERMS SUCH AS HEIMAT TRADITION NATION?
- IS NATIONALISM BOTH A NECESSITY FOR SMALL NATIONS AND A DANGER FOR BIG NATIONS? CAN THIS IDEA BE APPLIED TO COMMUNITIES ALSO?
- WHY DO WE NEED IDENTITY? DO WE REALLY NEED IT? WHAT COULD A DIFFERENT TYPE OF UNIFIER BE?
Dramaturgy Workshop with Isabel Glatzke
- Automatic Writing: reflecting on previous discussion, specifically on link between folk dances and protest scenes
Visualizing the piece
- What is easy to imagine? What is hard to imagine?
- What is the order of the existing material (scenes)
- Exchanging in pairs: Talk non stop for 10 minutes, explaining the order of the piece
→ CONCENTRATED LISTENING : partner who is listening simply holds space, does not react verbally or mimically to what they hear
Anna Zett ‘Moods’ method
- Grouping of scenes/material under specific headlines/ keywords (moods)
- → gives overview of material, shows what might be missing, allows to play with order of scenes
Work on protest experience description scenes
- Trying out scenes in our mother tongues – KOREAN, TURKISH, GERMAN, FRENCH
- How can the description be enhanced/supported by adding bodies into the scene?
10 YEAR ANNIVERSARY OF UTOYA MASS SHOOTING IN NORWAY BY ANDERS BEHRING BREIVIK – CONTINUED
- Allowing grief
- Spaces for grief
- Spaces for sorrow
HOW CAN LOSS, GRIEF AND DEATH BE SPOKEN ABOUT WITHOUT AMPLIFYING THE PAIN OF THE AFFECTED?
READING AND DISCUSSING ‘MACHT UND MASSE’ BY ELIAS CANETTI
‘SPEAKING NEARBY’ APPROACH BY VIETNAMESE FILMMAKER TRINH T. MINH-HA
“The link is nicely done; especially between “speaking nearby” and indirect language. In other words, a speaking that does not objectify, does not point to an object as if it is distant from the speaking subject or absent from the speaking place. A speaking that reflects on itself and can come very close to a subject without, however, seizing or claiming it. A speaking in brief, whose closures are only moments of transition opening up to other possible moments of transition — these are forms of indirectness well understood by anyone in tune with poetic language… To say therefore that one prefers not to speak about but rather to speak nearby, is a great challenge. Because actually, this is not just a technique or a statement to be made verbally. It is an attitude in life, a way of positioning oneself in relation to the world. Thus, the challenge is to materialize it in all aspects of the film — verbally, musically, visually. That challenge is renewed with every work I realize, whether filmic or written.”
Source: Chen,N. (1992). ‘ “SPEAKING NEARBY:” A CONVERSATION WITH TRINH T. MINH-HA’. Visual Anthropology Review. 8(1) pp.82-91. https://docfilmhist.files.wordpress.com/2008/09/chen.pdf. (28.07.21.12:12)
Further work on existing material
- Ji Sun‘s first dance class
- Enis’ dream
- Envisioning future protests – what could they look like?
- Walking backwards in the streets of Marburg
- Moving back to Theater neben dem Turm from Landesbühne Marburg rehearsal space
- Experimenting with strobe lights
– applied to slow walking
– applied to thunder dance
LOOKING FOR FRAGMENTATION?
Experimenting with KINECT video camera
→ IN WHAT WAYS CAN THE CAMERA BE USED TO MULTIPLY AND TRANSFORM BODIES ON STAGE INTO A MASS/MASSES?
→ Live filming vs. pre-recorded material?
Preparing, setting up and rehearsing material
WHAT IF AN EXPLOSION AT AN INDUSTRIAL PLANT WOULD SPREAD BENEFICIAL RED FLUFFY PARTICLES INSTEAD OF TOXIC PARTICLES?
flausen+ makingOFF POST-SHARING TALK WITH AUDIENCE MEMBERS
- Do folk dances require historical and cultural references in order to ‘qualify’ as folk dances? If so, what does that say about our understanding of folk dances?
- Distinction between ‘performative’ character of folk dances and ‘personal’ character of ‘real’ folk dances such as ‘GANGGANSULLAE’
- Sensitivity of music as a source for new types of protests based on vulnerability and ‘softness’
- Glacial night atmosphere created by LED lights
- Slow build-up of Slow Walking/Thunder Dance scene → looking for the ‘right’ type of energy required for new types of protests