Achei esse workshop incrível. O trabalho do Grupo Cabula 6 está em http://www.cabula6.com/. Mas vamos às palavras deles, sobre "THE GAME". Currículo deles, no final do texto.
The Game
are you ready to admit that you are an artist but you are not free?
are you ready to realise that there is nowhere to run?
are you ready to cheat your way around and out of…
THE GAME!? of production, promotion, presentation, interpretation...
recognise it!
reorganise it!
subvert, pervert, corrupt what you can not escape!
learn how to do work (instead of make work)
learn how to make time (instead of keep time)
learn how to keep what you can not earn
learn how to move, again
stay in between,
keep staying in between,
always in between arriving and departing
dance the system, play the game with us.
We have one week to figure out the game (of production, promotion, presentation, interpretation). Understand its rules and devise strategies for playing around those rules from inside and outside (i.e. manipulating the rules or breaking away from them) using all the necessary tools of cheating, seducing, inventing, etc...
The game (of production, promotion, presentation, interpretation) moves in concentric circles. It begins with the individuals who walk through the door, then moves on to the group they form, then the Coaching Project itself, then the festival then...well, the world. And once we have figured out the game (of production, promotion, presentation, interpretation), we can begin to play...or perhaps by playing it we figure out the game (of production, promotion, presentation, interpretation).
This Coaching Prohect takes as its focus the moment of encounter which itself is called “The Workshop.” What is each of us doing in this room? Why did we come here? What do we expect to happen or expect to gain? What does the festival expect of the workshop? Will we deliver? Are we going to be discovered? Be famous? Are we going to have an emotional breakthrough? Are we going to learn something? Beat someone? Find a lover? Experience a moment of beauty? Get drunk and wake up in places we never knew before? Are we going revel in the cult of personality at the centre of the festival or subsume our identities into the collective?
Our aim is to identify some of the Game(s) we are implicated in and locked into and then to open them into PLAY. At which point subversion and the principle of the trickster emerge and we begin to skate a very fine line between two extreme poles - the utopian notion of freedom on the one hand and the pragmatic practice of being “beyond the law” on the other.
This margin of manoeuvrability oscillates between the enlightened monk and the snake-oil salesman. And we will find ourselves somewhere in between attempting to release the spirit of Play out of the structure of the Game, while not totally abandoning a game we are locked into.
So what are we going to do in that room? This depends on the rules of the game we are going to uncover/stage as our starting point and the strategies that we are going to devise so that we can dance playfully around the rules of the game.
The Workshop might end in a public presentation. It might not. It depends on how we decide to play it.
Background
The difference between "the structure of a game" and "a spirit of play" point to the central dramaturgical problem of time critical both for a practice of performance and the performance of any social practice relevant in today’s globalised world. By focusing our attention toward this difference: between the time of game/structure and the time of play/spirit, we are in one and the same gesture examining artistic methodology and questioning political responsibility stemming from it.
With this in mind, we would like to facilitate a workshop environment conductive for a discursive and practical examination of a following set of assumptions:
1. In dramaturgical terms, time of the play and time of the game, although related to one another are essentially different.
2. Time of play has primary/originating value and time of a game has a secondary/emergent value.
3. In play we are inhabiting the spirit of time.
4. In a game we are performing the structure of time.
5. Spirit of time as it is embodied in play is an indeterminate, creative force.
6. Structure of time as it is disclosed in a game is a deterministic, conservative force.
7. Any game structure that is not emerging from a spirit of the play is a potential source of social, political and economic manipulation.
8. Any game structure that is performed in a spirit of a play is potentially subversive to a degree to which it creatively transcends its own fixed parameters.
What you will "get" from the Coaching Project
ImPulsTanz encouraged us to add a paragraph here at the end to explain what you will concretely "get" from this workshop. They explained that otherwise what we have written so far is too vague and that you might just pass over it and go on to the next workshop. Well, the pragmatists in us have wrestled with our inner idealists and while it might be against our better judgement, we accept the nature of this particular Game, so here you go:
In this workshop we will investigate strategies for how to subvert and invert the power of relationships into which we are locked while creating works of art. We will investigate the nature of:
- play (as a strategic tool)
- subterfuge (from the latin "subterfugere", to escape or evade or more precisely "to flee beneath")
- subversion (attempts to overthrow structures of authority)
- and creative/personal freedom in the face of the practical demands of the market place
We will offer you possibilities for understanding who you are, where you are and how to deal with all the contradictions.
We will enter the nexus between you as an artist and the festival you are taking part in and look for means of authentic expression emerging from this space.
We may or may not perform something publicly by the end of it all.
One way or the other, it might be a lot of fun.
Jeremy Xido
Originally from Detroit, graduated cum laude in Painting and Comparative Literature from Columbia University in New York and trained at the Actors Studio. Since 2003 he has been the artistic co-director of the performance and film company CABULA6, voted “company of the year 2009” by Europe’s most prestigious performance magazine, Ballettanz. CABULA6 have produced and presented stage and film work all over the world. In 2006 he directed the six part CRIME EUROPE documentary series and in 2007 the short documentary MACONDO about a refugee settlement on the outskirts of Vienna, in addition to several short fiction films. He is known in Europe as a performance artist with a unique artistic voice and approach to stage and film, blending emotionally gripping personal stories with the larger social contexts within which they emerge. Working as a dancer, actor and filmmaker, he has performed and presented work around the world on stage, TV and in Cinema.
Igor Dobricic
Igor Dobricic, studied dramaturgy at the Academy of Dramatic Arts in Belgrade, (former) Yugoslavia. Between 1995, and 1999 he worked as a dramaturge for the Belgrade International Theatre Festival (BITEF). From 1999 onwards he is living and working in Amsterdam. Between 2000 and 2004 he was a student of DasArts. Until December 2008 he was holding a position of the programme officer for the arts at the European Cultural Foundation. In that role he initiated the ALMOSTREAL project platform (www.almostreal.org). He is regularly collaborating as a dramaturge with a number of choreographers /theatre- & dance makers (Nicole Beutler, Diego Gil, Keren Levi, Katrina Brown, a.o). For the last three years he has been teaching concept development to students of the Amsterdam School for New Dance (SNDO). As a research fellow with the Amsterdam School of the Arts, Igor is realising a long-term research project called “Table Talks”.
His professional interests lie in the exploration of parameters of performative action in-between different fixed production contexts (theatre and visual arts, professional and non-professional status, individual and group work, aesthetics and ethics).
