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2012-09-10

WORKSHOP SCHEDULE


20 SEPTEMBER (Thursday), 10:00-11:30 and 14:00-15:30
led by Milan Zvada (SK)

WORDS AND TIMES LIKE THESE

Before-the-workshop tasks:

TASK 1: Theatrical top-experience

NOTE: [Do this before anything else! – please do not read up on the subject or talk about it]
Describe a theatrical top-experience; a personal experience (preferably but not necessarily a recent one) with a visit to the theatre that resulted in the performance acquiring a special meaning for you. Try to describe the performance or scene as specifically as possible as well as the context/circumstances of your visit. What did you experience personally? Did your experience change during /after you visit? And why do you think the experience is so memorable? The task is not about giving a complete description of the performance or moments/parts within it, but it is much more about your own personal reaction to the performance and about what you think caused this reaction.

Finally, try to indicate whether you have these kind of experiences more often and if so whether this happens in an art-context. What is it that these experiences have in common? What makes these experiences in a theatrical context (perhaps the experience as described above) specific with regard to other experiences?

NOTE: [Please do not exceed 500 words]

TASK 2: Please watch the film „BEING THERE“ (1979) directed by Hal Ashby
This inspiring film piece will serve us as a reference point in our intellectual journey to exploring the notions of performance, text and context, interpretation, sense perception and other. Just watch it, think about it and be inspired.:-)

You will find some basic info on http://www.imdb.com/title/tt0078841/
MOVIE file download available at: http://www.ulozto.sk/hledej/?q=being%20there%201979 
Then choose an appropriate file for your media player.

21 SEPTEMBER (Friday), 10:00-11:30 and 14:00-15:30
led by Markéta Faustová (CZ)

DANCE CRITICISM is tricky ART

The workshop should let the participants think about the fragility of the interpretation of contemporary art with the focus on contemporary dance. 
Contemporary dance opens a wide field for imagination and allows the viewers to project their subjective experiences, individual emotions and their own character more than other art forms. It´s not only about what we are looking at but who we are.
We ask then: How to perceive the contemporary dance? Is it really possible to be objective as critics? Is it possible to find the truth, reveal the true nature of the piece?
Abstract forms were familiar to the people already since the beginning of the mankind - how can we   open this pure perspective of perceiving art?
Main theme of the workshop is the interpretation. We will think about the interpretation in different ways (personality of the viewer, political aspects of the period…). We will stop by the topic of subjectivity and objectivity of the viewer, talk about the difficulties of perception of contemporary art and consider the critic as an experienced viewer. We will try to find the arguments for the problems of interpretation looking at some pieces of visual art and reading critics on them.
Secondly we will explore how we can write about dance. Does dance criticism differ from other analytical texts?
We will try to look at our own individual style of writing. Discuss the creativity of the interpretation and the different point of views. 

STRUCTURE
The workshop will start with a short keynote lecture. In the practical part we will watch short audiovisual materials - extract of the dance pieces. The participants are expected to write short texts during the workshop, share ideas, create dialogue. We will also read excerpts of reviews written by other professionals.

22 SEPTEMBER (Saturday), 10:00-11:30 and 14:00-15:30
led by Witold Mrozek (PL)

The Case of Biography. Dance, Discourse and Ideology

Dance can be perceived  as a discourse – performance refers to another performance, tells a story of a body located in other discourses – political, social, artistic. During the workshop we will work with autobiographical dance performances – pieces of art specifically involved in crossing different languages and perspectives. Individual story of  life is being revealed as strictly related to political history and transformation of aesthetics, institutional frames of theater and social determinations.

The aim of the workshop is to try to combine critical workshop of a dance reviewer with the political perspective of culture criticism. Dance critic is always in danger of being seduced by formal, visual or specifically “corporal” qualities of performance – and then losing suspiciousness and distance. The opposite risk is to become just a columnist, writing about different social problems without relation to specific, exact piece of art, its own mechanisms and structure. We'll try to avoid both these risks.

After theoretical introduction, the participants of the workshop will discuss performances by Eszter Salamon, Ladjánszki Márta and  Daniel AlmgrenRecén – and try to develop a piece of own text. Next step will be based on comparative analysis of reviews of previously discussed selected performances. What are the ideological presumptions, made by critic before writing  - even if she/he is not aware of that? 

23 SEPTEMBER (Sunday), 10:00-11:30 and 14:00-15:30
led by Ivana Ivkovic (HR)

On the role of dramaturgy in contemporary dance

The workshop will focus on examples of choreography, both seen in the framework of the festival and other examples, with an accent on the role of dramaturgy in contemporary dance.

Questions that will shape the discussion are:
What are innovative practices in the field of choreography today?
Which performances excite us, and which loose our interest as audience members?
How do authors take into consideration the role of the spectator in the act of live performance?
Do we focus more on form or procedure when making/watching choreographic work?
Is there narrative in choreography?
Do procedures of fictionalizing movement interest us?
Is the body always already mediated by image?
How does choreography appropriate procedures from other artistic disciplines?
Can we ever think of the spectator as just a passive consumer left on the outside of the live event?

We will question roles of making and spectating live performance. We will also take time to reflect on the particularly precarious position of contemporary dance and choreography as a field that often lacks resources and adequate support.

First part of workshop:
- introduction
- watching video of performance not included in festival with tasks for participants while watching
- discussion
- conclusion

Second part:
- discussion of what has already been seen at festival
- joint choosing (with argumentation from participants) of single work to discuss
- discussion
- writing exercise: how to express key observations in a review
- final conclusion 

24 SEPTEMBER (Monday), 10:00-11:30 and 14:00-15:30
led by Annamária Szoboszlai (HU)

Freedom and responsibility 

When I meet an art-piece – which is dedicating itself as art – I always ask myself: what was the wish of the artist with his piece? And - according to the wish of the artist – where do I as the spectator come in? These explicit questions raise further (implicit) questions: How does the artist think about art, and through the art what does he think about human beings?

In the first 25-30 minutes of the morning-workshop, I describe briefly a possible way of understanding, in relation to the interpretation of the piece that we have seen/heard. I speak about the (historical, spiritual) process through artists achieved their freedom (the total artistic freedom); I touch on the shifted, novel relation of spirit and material; I talk about Duchamp and his Fountain; I explain what I mean on spiritual materialism.  It may happen that talking about the typical definitions of the art history (for example: What is real? What is natural?), I use a very different angle. My aim is to highlight on the responsibility of the artist (who achieved his total freedom) – in the society. 

The time is short, so I don’t observe genres with “special” aesthetic criteria (happening, performance-art, installation…), but the participants will have the chance to query my proposal about the way of understanding, which is based on a sole, general – maybe utopian - idea, that doesn’t distinguish the genres. 

In the other part of the workshop we talk about those short articles (2500 characters) which will have been written by the participants about one of the previous evening’s shows. The participants analyze each others text; they give their opinion about the style, the content, and the structure. (The articles should be sent to me ‘till 10am, on my workshop day.)



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