theatrum philosophicum

please share with every body

(&&&[Deleuze])=-1...
...
advertisement
Ἀκαδήμεια
hommangerie
imarginaleiro
immedia
inanimadvertisement
infemmarie
τραῦμα
tagged
theatrum philosophicum
X

Comments (0)

Permalink

Stockholm, 2 – 3 July

DSC_0087-1

DSC_0088

DSC_0089

DSC_0090

DSC_0091-1

DSC_0092-1DSC_0093 DSC_0094 DSC_0095 DSC_0096 DSC_0097DSC_0098-1 DSC_0099-1 DSC_0100-1 DSC_0101-1 DSC_0103-1DSC_0105 DSC_0106-1 DSC_0107-1 DSC_0108-1 DSC_0109DSC_0111 DSC_0114-1 DSC_0115-1 DSC_0116-1 DSC_0119DSC_0118 DSC_0120 DSC_0121-1 DSC_0123 DSC_0124DSC_0125 DSC_0126 DSC_0127 DSC_0128 DSC_0130DSC_0131 DSC_0132 DSC_0135 DSC_0136 DSC_0138DSC_0139 DSC_0140 DSC_0141 DSC_0142 DSC_0143DSC_0145 DSC_0146 DSC_0147 DSC_0148 DSC_0149DSC_0150-1 DSC_0151 DSC_0152 DSC_0153 DSC_0154DSC_0155-1 DSC_0156 DSC_0157 DSC_0158 DSC_0159DSC_0160 DSC_0164 DSC_0165 DSC_0166 DSC_0168DSC_0169 DSC_0167 DSC_0170 DSC_0171 DSC_0172DSC_0173 DSC_0174 DSC_0175 DSC_0176 DSC_0177DSC_0178 DSC_0179 DSC_0180 DSC_0181 DSC_0182

(&&&[Deleuze])=-1...
...
detraque
immedia
on tour
porte-parole
theatrum philosophicum
Trans-European Express
X

Comments (0)

Permalink

Stockholm, 27 June – 1 July

DSC_0105 DSC_0106 DSC_0107 DSC_0108 DSC_0109 DSC_0110-1 DSC_0111 DSC_0113 DSC_0115 DSC_0117 DSC_0121 DSC_0122 DSC_0123 DSC_0124 DSC_0125 DSC_0141 DSC_0142 DSC_0143 DSC_0145 DSC_0146 DSC_0147 DSC_0148 DSC_0160 DSC_0161 DSC_0162 DSC_0181 DSC_0182 DSC_0116-1 DSC_0126 DSC_0163

(&&&[Deleuze])=-1...
...
Ἀκαδήμεια
luz es tiempo
on tour
snap
theatrum philosophicum
Trans-European Express
X

Comments (0)

Permalink

auditions / hearings, not readings / being given audience

2015 audition flier@700

...
advertisement
Ἀκαδήμεια
theatricality
theatrum philosophicum
thigein & conatus

Comments (0)

Permalink

MINUS THEATRE DAY OF FILMING 11 January 2015 (at Lot23, stills by Lernie Ang)

DSCF2282_c.jpg DSCF2292_c.jpg DSCF2316_e.jpg DSCF2314_c.jpg DSCF2304_c.jpg DSCF2303_c.jpg DSCF2301_c.jpg DSCF2323_e.jpg DSCF2334_c.jpg DSCF2336_c.jpg DSCF2339_c.jpg DSCF2390_e.jpg DSCF2384_e.jpg DSCF2376_e.jpg DSCF2359_c.jpg DSCF2345_c.jpg DSCF2394_e.jpg DSCF2402_e.jpg DSCF2406_c.jpg DSCF2410_e.jpg DSCF2420_c.jpgDSCF2428_e DSCF2439_c DSCF2443_e DSCF2448_c DSCF2454_e DSCF2455_c DSCF2457_c DSCF2458_c DSCF2463_c DSCF2467_e DSCF2475_e DSCF2481_c DSCF2486_c DSCF2492_c DSCF2497_c DSCF2498_c DSCF2522_c DSCF2527_c DSCF2554_c DSCF2572_c

...
advertisement
Ἀκαδήμεια
luz es tiempo
theatricality
theatrum philosophicum
thigein & conatus
X

Comments (0)

Permalink

Minus Theatre’s languages … Michel Foucault writes about Maurice Blanchot

Thus reflexive patience, always directed outside itself, and a fiction that cancels itself out in the void where it undoes its forms intersect to form a discourse appearing with no conclusion and no image, with no truth and no theater, with no proof, no mask, no affirmation, free of any center, unfettered to any native soil; a discourse that constitutes its own space as the outside toward which, and outside of which it speaks. This discourse, as speech of the outside whose words welcome the outside it addresses, has the openness of a commentary: the repetition of what continually murmurs outside.

– Michel Foucault, “The Thought of the Outside” (Trans. Brian Massumi), 1966

(&&&[Deleuze])=-1...
...
Ἀκαδήμεια
hommangerie
porte-parole
theatricality
theatrum philosophicum

Comments (0)

Permalink

Minus Theatre Research Group’s first public performance: 7 pm Friday June 13 2014 info@minustheatre.com

draft poster 2@700

...
advertisement
Ἀκαδήμεια
luz es tiempo
theatricality
theatrum philosophicum
thigein & conatus
X

Comments (0)

Permalink

profit and loss: Bruce Barber & Milo Moiré

Bruce Barber in his lecture yesterday, given as part of the Action and Delay conference hosted by AUT, raised for me the question – what is meant by performance in the ‘art world’, and in the institution in which I currently find myself? Why, indeed, would I want to align myself with it, if, as Bruce suggested, after Gregory Sholette, the vast pyramidal-base-sized majority of artists, those engaged in performance, he seemed to intimate, preeminently, are destined to become the ‘dark matter’, their efforts and their art invisible, that holds the Ponzi scheme together and keeps it from flying apart? While a few, as few as there are Russian oligarchs, profit from the existence of an art market, succeeding as artists, at the rarefied tip of the pyramid, they would hurtle off into non-existence without the infrastructural support of curators and managers, middle-men, critics, publications, research interest, courses and conferences that the vast and overwhelming mass of those who will never accede to such heights – or such success, failing inevitably – enables, the existence of which it feeds and feeds on, as an underwater milieu and vast sea-bottom.

What is at stake in ‘performance practice’ as used in this milieu? It seems on the face of it that performance practice is the last place to think about and reflect on performance or think through what it is. Even the documentation has a tendency to collapse into or onto the practice. Whatever thinking goes in to the practice occurs before the outcome which is generically the performance itself.

My understanding of a practice is however exactly the thinking through, about and reflection on the methods, beliefs and ideas that are brought to it, to itself think, and reflect on itself. The question, ‘how does performance think?’ seems to arise less in the milieu of performance than in theatre. The difference being that the performer thinks in theatre through the practice of performance – which is what is meant by technique, acting technique. While the performance artist expresses herself in acting, in an action, intervention, interaction, all the inter-s, she does not interrogate the practice except in research or theory – the technical practice being relegated to a position outside the performance.

The performance artist does not generally have the technical means to think in performance. The performance is an outcome of thought.

How the theatre actor thinks is in the technique of making transitions between states of being in performance, during performance. This insight is due to Esa Kirkkopelto.

Milo Moiré’s performance, PlopEgg #1, https://www.youtube.com/watch?v=wKFZOIv5sS0 and at her website http://www.milomoire.com/ has the theatrical components of a technical mise-en-scène – the trestles and scaffold platforms, the canvas support for the finished Rorschach – and the strangley improvised modesty curtain behind which the performer inserts paint-filled eggs into her vagina. She has a stage-manager manoeuvre the latter at several intervals allowing her to refill. But the performance as performance according to the art-world milieu and the tenets of its self-understanding is not and could not be acted – there is only one state of being in the performance, between which the transitions are of low interest in technical terms: between Milo in performance and Milo preparing, backstage, behind the modesty curtain; between Milo pushing out eggs and Milo taking care of the business – albeit nude – of rolling and folding the paint squibs in a canvas. The canvas, it might be said, folds into the performance as its documentation. But the performance is the one repeatable action or operation of plopping eggs.

Where in this performance would there be room to think? As Bruce Barber pointed out, with the Paypal price for the uncensored version of the video at 4.99 Euros and the YouTube views at over 4 million, the thought is, how much money could Milo Moiré potentially make? The success or failure of this performance as performance rests on its reproducibility and functional iterability (this is PlopEgg #1) and statistical and quantitive considerations.

...
Ἀκαδήμεια
CAPITAL CAPITAL CAPITAL
croydon
infemmarie
porte-parole
representationalism
theatricality
theatrum philosophicum
thigein & conatus

Comments (0)

Permalink

theatre stages place ////\\\\ cinema projects time >>><<< cinematic time & theatrical place

Il était hostile

aux amphitéâtres

dont il disait

qu’ils coupaient

tout échange.

from here

(&&&[Deleuze])=-1...
...
τραῦμα
pique-assiettes
representationalism
theatricality
theatrum philosophicum

Comments (0)

Permalink

Herbert Blau 1926 – 2013

– back dustcover, The Impossible Theater: A Manifesto, Herbert Blau

I had avoided looking but my friend Herb is dead.

…not a bad write-up, here in the New York Times, but hardly covering his academic career and many polemical interventions – the contribution to critique and scholarship of:

The Impossible Theater: A Manifesto. New York: Macmillan, 1964; rpt. Collier, 1965.

Blooded Thought: Occasions of Theater. New York: Performing Arts Journal Publications, 1982.

Take Up the Bodies: Theater at the Vanishing Point. Urbana: University of Illinois Press, 1982.

The Eye of Prey: Subversions of the Postmodern. Bloomington: Indiana University Press, 1987.

The Audience. Baltimore: Johns Hopkins University Press, 1990.

To All Appearances: Ideology and Performance. London/New York: Routledge,1992.

Nothing in Itself: Complexions of Fashion. Bloomington: Indiana University Press, 1999.

Sails of the Herring Fleet: Essays on Beckett. Ann Arbor: University of Michigan Press, 2000.

The Dubious Spectacle: Extremities of Theater, 1976-2000. Minneapolis: University of Minnesota Press, 2002

Reality Principles: From the Absurd to the Virtual. Ann Arbor: University of Michigan Press, 2011.

As If: An Autobiography, Volume 1. Ann Arbor: University of Michigan Press, 2011.

Programming Theater History: The Actor’s Workshop of San Francisco. New York: Routledge, 2013.

We began a correspondence in 2000. I’d read his Blooded Thought and The Eye of Prey and wrote him – subject line “Importunate Antipodean” – early one morning, before I rolled up the door at Brazil and began pulling coffee. An additional pretext was my response to Rt. Hon. Helen Clark’s call for submissions on cultural policy: a long letter to Helen … to which neither she nor her office, nor anyone I sent it to, replied. I attached it. Herbert Blau wrote back within 24 hours. The early years are lost on the hard-drive of the old Brazil PC but I remember he said that if our Prime Minister understood anything of what I’d written, we were doing a lot better than they in the US – in election year, the one ‘stolen’: Bush vs. Gore.

I was generally late writing to him to wish him a happy new year or happy birthday. In keeping, then, that I discover late he died on May 3, his 87th birthday. My last message from him arrived on April 17. I feel too sad to publish it here and it hardly represents the brilliance and bellicose intelligence of my friend. Only the generosity of his “run-on life” is there. Perhaps one day I will collect the correspondence such that I have still in my possession and present it together.

One story I recall: he was in Berlin, seeing Sasha Waltz’s Körper. After the show he was invited backstage to meet the dancers. One of them, he wrote to me, was also from New Zealand. Oh, he said to her, I only know one other person from there, Simon Taylor. Simon! replied Lisa, He’s a friend of mine.

Körper by Sasha Waltz – Trailer from Stephan Talneau on Vimeo.

 

Herb ended his final email: Really, all best, even if this ends with me,

hommangerie
theatricality
theatrum philosophicum
X

Comments (0)

Permalink