1. 26/1 -6/2 VIDEO STORY-TELLING AND EDITING
Miguel Clara Vasconcelos
a.pt
The
workshop aimed at setting up a film shoot and editing process out of
the personal stories of the participants. Every participant constructed a
personal story (out of objects, memories and scars) and throughout the
first week re-constructed this story into a workable film script. During
this first week the workshop mentor also provided film excerpts and
examples and went deeper into the theoretical approach of script writing
and construction.
In
the second week, the participants worked on a collaborative shoot and
editing of the script, assembled out of the different stories. Central
issues were here: use of the camera, camera angles, camera movement, use
of Final Cut Pro, collaborative editing, etc...
2. Light & Design (+ Berlin rehearsals Meg Stuart)
Jan Maertens
a.s
In his workshop on light design Jan Maertens sketched
out the light designer�s tools, reviewing the technical light
equipment of a theatre. He tackled the �functionality� of
light design as part of the scenic environment and then focused on light
design as an independent co-actor in the artistic process. The workshop
consisted of three sections : a general introduction, from the
principles of visual perception and light as a medium to the toolbox the
theatre provides for the light designer, and a reflection on the
position of the light designer as an artistic player in the multimedia
performance field. Secondly, the participants got a close view on the
development of a light design with all possible practicalities and
artistic discussions in the concrete context of the working process for
Meg Stuart�s creation 2009. Third, there was the photo shoot of the light design for Maybe Forever with photographer David Berger : a try-out on the documentation and archiving of light design.
3. Concept & Design I
Stefan Heinrich
a.s
Scenographer
Stefan Heinrich coached the a.s participants in the development of a
scenography based on a personal fascination, for Fien Wauters Hercules 2 or the Hydra (text by Heiner Muller) and for Jozef Wouters Encounters at the End of the World (the
documentary by Werner Herzog). The idea was to take this personal
relation as a motor for a scenography without interference of a
director's concept, dramaturgy, historical context,... For Heinrich the
translation of a first fascination into a coherent story and concept and
the technical development of the stage design (for a concrete theatre
space) were the axes of the workshop.
4. 16/2 � 20/2 Low Tech Performance
Dora Garcia
a.pt
The
workshop proposes to research strategies and contents that need nothing
but a performer to create the work. Specific attention is given to
keywords such as audience, duration, visibility, infiltration,
subversion and commitment.
The
workshop starts out of mutual interest, discussion, and information. In
the first days, Dora Garcia gave a short presentation of her work and
added by some "affinities" with other artists that she feel close to.
Then the group discussed the concept of the workshop, "LOW TECH
performances", the title, LOW TECH refers to a type of performance
stressing the content over the appearance, disliking complicated
scenographies and props, re-thinking conventions such as audience,
stage, backstage, duration, character-playing, and using the technology
that is available to everybody (this is the academic definition of LOW
TECH: technology that is used at home by any user).
5. 2-6/3 Consequences.
Tom Plischke-Kattrin Deufert
collaboration with de Singel
a.pt
Tom
Plischke: 'The most important element of our working process is writing
and transference. It allows all participants to work in silence and not
to be bothered by producibility. The constant passing on of written
material and the permanent reformulating, contextualizing, expanding,
and reflecting of the written material serve as a basis for the creation
and composition of movements, texts, sounds, or images. But within this
procedure all realizations are based on temporary decisions depending
from the material that is handed over from the other and not because the
medium of realization is chosen beforehand. Our working procedure could
best fit into the motto: Give me your material and I show you what
you're not doing with it.
Sourcing
the creation-act out and to render oneself into the pendency of writing
instead permits a disciplined work in silence, in which each
participant and partner can raise her/his voice on the paper
independently from its volume or the amount and position of knowledge.
Participation starts with a conspiracy of partaking, and not by the
self-positioning of the speaker. With (Re)formulating we describe a
process that can enable a discourse in silence, in the writing with each
other. The place of the individual argument, the singular voice is
taken by an instance of polyphony, similar to the Cadavre Exquis, which
is a game that was invented by Surrealists in 1925. It is quite similar
to an old english parlor game called Consequences in which players write
in turn on a sheet of paper, fold it to conceal part of the writing,
and then pass it to the next player for a further contribution. Unlike
the surrealists, we don't hide what has been written previously. For us
it is a downright challenge to deal with the input of the others and to
come into thinking with it, to expand ideas and suggestions, to combine
sketches, to suggest a possible proceeding. It is only very late in the
working procedure that we ask about the medium in which this material is
to be realized. In this sense, the medium becomes a part in the
decision making, in the claim of form (or format). It is not set a
priori and thus has to be in reference, translation, transference to the
material: it has to be a decision and not a choice.
Because of this
it is fundamental in this principle of formal strictness to take the
responsibility of one's decisions and to constantly confront the other
with claims in order to develop a communication, a circulation and
production in the community of strangers. (Re)formulating should enable
everybody to partake in the process. Just as in knitting from a single
thread (the shared theme) and a knitting pattern (the permanent passing
on), a complex texture evolves that formulates a possible work.'
6. APRIL: Tools for Transdisciplinarity
DRAMATURGY IN REAL-TIME
a.pt on tour - Buda Kunstencentrum - university of Ghent - university of Antwerp
This workshop is open for three different groups of participants:
-aspiring dramaturges from the Theatre Sciences department of the university of Ghent and Antwerp
-scenographers/sound designers/light designers
-'professional' dramaturges, accompanier by the artists they regularly work with.
Mentors of the project:
theatre maker Kris Verdonck
dramaturg Marianne Van Kerckhove
theatre maker Tine Van Aerschot
dramaturg Elke Van Campenhout
theatre maker: Yosi Wanunu (Toxic Dreams)
dramaturg: Peter Stamer
In
de Buda Tacktoren, we make little groups of one artist/dramaturg, one
scenographer/../.., and one aspiring dramaturge, each one occupying one
studio of the Tacktoren.
In
preparation every one of the participants has received the initial
idea, or starting point (a text, a choreographic phrase, a political
issue, a question), from the prof team. Starting from this basic
material they already come to the workshop weaponed with some initial
ideas, images, related texts etcetera,... (which we can call 'mood
boards), to start the discussion. During the first week, the
participants discuss and work out ideas with the artist in question, and
get feedback from the prof dramaturge in the evening. Scenographers
work on scenographic proposals, but work also closely together with the
aspirant dramaturges, and the other way around.
Every day they share
their results with the rest of the group. At the end of the week, we
decided where every project was going to lead to: a short performance,
an exhibition of the drawings, ideas, concepts, a discussion...
In
the second week, the results were prepared and shared with the public.
APT provided the necessary contextualization of the project to
communicate its status to the public
7. 4-8/5 Romeo Castellucci
Wunderkammer
a.pt - deSingel
In
this week we work around the video material of the Tragedia
Endogonidia-cycle of Romeo Castellucci. During the first two days we
watch the eleven performance and discuss the esthetic choices, and the
semiotics of the work. On wednesday we try to build up a 'wunderkammer'
on the principles of Castellucci's 'ars combinatoria'. As guests we have
that day academic Thomas Crombez and journalist/critic Wouter Hillaert.
After that we work two days with Romeo Castellucci and some of his
performers on the new trilogy 'The Divine Comedy'.
On
Sunday the working week results in a colloquium in de Singel with
international experts and collaborators of the Rafaello Sanzio-company.
8. Concept & Design II
Niek Kortekaas
a.s
Scenographer
Niek Kortekaas coached the a.s participants in the development of a
scenography based on King Lear / William Shakespeare. The idea was to
take a major work from the world repertoire and develop with a
dramaturgical coaching by the coordinator (Bart Van den Eynde) and the
scenographic (artistic and technical) guidance of Kortekaas a
scenographic design for the big stage.
9. 12-22/5 Res&Ref �
Kunstenfestivaldesarts
Brussel, Les Bains
a.pt
Res&Ref
(Residence and Reflection) was a research project, organized during the
international Kunstenfestivaldesarts in Brussels. Three groups of
artists resided together in the arts house Les Bains (an old bathing
house/swimming pool in Brussels): the res&ref-group itself is an
international group of (non)-western artists, chosen by the
kunstenfestivaldesarts. The working group 'Art&Humour' is an
international group of researchers, working on the theme of the
subversitity of humour as an artistic strategy of resistance. The
a.pass-group joins in the group, preparing reading sessions on art and
humour, but they can also join the discussions and toolkit sessions. In
the evening all participants go and see the same performances at the
festival, and after ten days the workshop ended with an informal public
showing of the results.
10. artist talk Valentine Kempinck
a.s
Costume
and set designer and visual artist Valentine Kempinck discussed her
carrier, development as an artist, the evolution in her work and how she
wanders from medium to medium. She discussed her onorthodox vision on
theatre costumes and how she sees costume design in relation to the
other performance components. Later she went into detail about her
latest work: scenographic interventions in the public sphere which
reproduce themselves, taking on different meanings through this process
of reproduction.
11. Luc Van den Dries
theory sessions history of theatre/scenography
a.s
In
this lecture course Luc Van den Dries discussed the relation between
space and theatrality. First he explored historical answers to the
tension between theatre and reality. He dealt with four prototypical
dimensions:
-theatre as an imitation of reality
-theatre as a utopian project to reality
-theatre as playful counterpart to reality
-theatre as a metaphysical dimension within realityAfter
scanning (20th century) theatre history related to the questions above,
he discussed space-related tendencies in contemporary performing art.
12. 11-21/6 In Transit - Berlin
Reading Sessions & Lab In Transit-festival
André Lepecki
In preparation for the Berlin LAB, we read a selection of texts, proposed to us by curator André Lepecki:
-Fred Moten, The Resistance of the Object (chapter 2 of 'In the Break')
-Michael Fried, Art and Objecthood
-Frantz Fanon, Black Skin White Masks
This
first week we discussed the texts and the post-colonial themes of the
festival, and tried to build up a solid base for the upcoming
discussions and confrontations. Out of these discussions every one of
the participants developed a personal research project to be fulfilled
during the festival.
Always a central element of In Transit since its first edition in 2002, the LAB has gone through many formats throughout the years. For this edition, we decided to concentrate the LAB around the offering of a space for all who are interested in gathering, talking, meeting,exchanging, experimenting, asking, provoking, dancing, writing, showing, displaying, performing, teaching, learning, sharing. And more. The space is room K2 and its surroundings. The time is from 10.00 AM to 18.00PM. The LAB�s life and its events will be determined by you.
The LAB hosted a day meeting, and all LAB participants were expected to attend this day-long gathering (closed to the general public) which specifically addressed some projects presented in the festival as points of departure for further and concrete debates on art and politics, as these relate to performance and its effects on creating and thinking today. This wias be a highly mixed group: performers,dancers, scholars, theater directors, choreographers, writers, dramaturges, philosophers, all participating in IN TRANSIT 09. Special guest was Tania Bruguera, who offered to discuss her most recent work on the politics of art and migration. Other important guests were the current fellows at the Institute Interweaving Performance Cultures, Freie Universität, Berlin.
Concretely:
the apt students followed the lab day, and then each of them worked on
the development of their own project, linked to the theme of the
festival, combining this work with daily meetings with artists, lectures
and performances.
13. 29/6-4/7 & 13-27/07 Ways of Seeing and Forced Perspectives/The Listening City
Vladimir Miller
WP Zimmer
a.s
Vladimir's
workshop was structured in two parts and was aimed at researching the
city as a model for spectator involvement in a performance space.
Connecting spectatorship and questions of teaching and learning to the
city was also a model for the workshop structure itself as a space for knowledge production.
The first part was a centered around of the political aspects of space design and a phenomenological understanding of the spectators experience of space.
Vladimir Miller used three key texts (among others): The practice of everyday life by de Certeau, Charles Curtis' essay on Incomprehensible space and Jacques Rancières The emancipated spectator.
To
establish an alternative small system of knowledge production for our
workshop, the participants built a space of learning and research where
everyone would be able to produce on his own terms. The idea of the city
gave us a model for this kind of space, which the participants could
equally enter and explore.
The
research theme for the city was listening and sound. The question was
how to shape space for listening, having in mind a moving listener and
spectator. A violinist was invited to create a continuing presence of
sound in in this city of listening. The space research concentrated
around question of shaping the performative space (from a scenographic
point of view) around that continuum of sound.
Starting
with an empty space at WP Zimmer, each participant was to build his/her
place of research on that theme. Without making any further planning or
divisions, these separate constructions/places evolved towards a city
of listening during the second week of the workshop.
14. July Spatial Research & Performance/art
Lars Frers & Alexander Schellow
The workshop of the sociologist Lars Frers and the visual artist Alexander Schellow focuses on strategies and practices of spatial research. The starting point is that any space we can perceive and engage with is already a complex and in itself relational constellation of several aspects. It is a concrete context of a very specific materiality and an embodied spectator. Both are depending on each other. Together they both realise the conditions, that govern the way the/a world is constructed, for instance by directing attention. Or: They draw the borderlines � may that be in public space with its everyday-life interactions or in the art-world frame of a theatre � which guide, influence and limit our actual abilities to perceive and to act. Because of this impact on perception and action the question of analysis and intervention is always at the same time a political and aesthetic question � both in field research in public space as well as in the use of any artistically framed space like a black box or a white cube.
First, we want to discuss some terms and tools of our own research- and intervention-practice in and with spaces/places. We will then question, develop and adapt these terms and tools in the context of the examination, analysis, and shaping of spaces in performance practices. How to question, understand, use and not neglect or cover up spatial structures? Together with the participants of the workshop we want to choose a concrete spatial context (a building, a street, a theatre �) and then concentrate on possible frames for practical research. This research should be related to the specific interests and wishes of the participant!s own projects and from their individual practices. The main part of the workshop will focus on doing concrete spatial analyses within a frame and using formats we select together. We will prescribe as little as possible, instead relying on our own perception � looking for places of surprises, for modifications of movement patterns, for boredom, exitement and anxiety� Coming together at the end, we will share the singular results and research-experiences.
Additionally and in parallel, we will offer one-to-one or one-to-two talks about specific spatial ideas and setups of projects and works, where single participants can discuss questions related to their work together with us.
15. July Lilia Mestre & Els Viaene
Sense Radio workshop
The
Sense Radio was a first step in the research project initiated by Lilia
Mestre in a.rc on the Social-Emotional body, (q project that would
result in the research performance Live-In Room, shown at the Workspace
festival in Brussels in December 2010).
This
workshop was a practical try-out for the participants to try to set p
emotional audio-spaces in the room, using the spatialisation of sound as
their main material.
Each of them was taught how to use audio
recording material, how to edit sound, and how to set the sound out on
the space, combine is, arrange it.
16. 31/8 - 4/9 Opening week during Theaterfestival
Performance in public Space
Reading sessions & artist talks
The Theaterfestival offers a perfect occasion to make the a.pass traing more visible in the Flemish performance field. Three participants showed their research in the context of the festival (ariane Loze, Michel Yang and Jozef Wauters)
and the reading sessions were open to outsiders. Several artists were
invited to discuss the theme of performance in public space with the
participants (Benjamin Verdonck,
Moritz Kuhn and Lotte van den Berg), combined with a close reading of
theoretical texts. And of course the festival is a speed introduction
into the Flemish performance scene with discussions on the performances.
17. Concept & Design III
Arco Renz & Stefan Heinrich
a.s
A scenography workshop with a choreographer seemed an necessity for a.s. Working on a new project, Arco Renz worked
with the participants on the development of a - hypothetical - stage
design for his choreography. Without the help of a 'performance text'
the participants where obliged to enter his world find connections with
their own interests, measure up the artistic and practical limitations
of the project and find a scenographic vision that inscribed itself in Arco Renz' universe.Scenographer Stefan Heinrich was the technical coach for this project.
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