1. 26/1 -6/2 VIDEO STORY-TELLING AND EDITING
Miguel Clara Vasconcelos
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)
In his workshop on light design Jan Maertens sketched out the light designerÃ¢ï¿½ï¿½s tools, reviewing the technical light equipment of a theatre. He tackled the Ã¢ï¿½ï¿½functionalityÃ¢ï¿½ï¿½ 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 StuartÃ¢ï¿½ï¿½s 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
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 Ã¢ï¿½ï¿½ 20/2 Low Tech Performance
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
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.
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.
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
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
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 Ã¢ï¿½ï¿½
Brussel, Les Bains
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
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
12. 11-21/6 In Transit - Berlin
Reading Sessions & Lab In Transit-festival
In preparation for the Berlin LAB, we read a selection of texts, proposed to us by curator AndrÃÂ© Lepecki:
13. 29/6-4/7 & 13-27/07 Ways of Seeing and Forced Perspectives/The Listening City
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 RanciÃÂ¨res 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
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).
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 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.