July 22nd

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

PART 1

• Automatic Writing: reflecting on previous discussion, specifically on link between folk dances and protest scenes

PART 2
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

PART 3

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?

July 23rd

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?

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READING AND DISCUSSING ‘MACHT UND MASSE’ BY ELIAS CANETTI

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‘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?

July 26th

• 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?

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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?

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July 27th

makingOFF
Preparing, setting up and rehearsing material

COLLECTIVE DREAMING

WHAT IF AN EXPLOSION AT AN INDUSTRIAL PLANT WOULD SPREAD BENEFICIAL RED FLUFFY PARTICLES INSTEAD OF TOXIC PARTICLES?

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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