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YoutubeBazaar Festival: SATURDAY BAZAAR Part 1
Presentations from future performances.
performance length: 240 min
The SATURDAY BAZAAR is the center of the 2017 Bazaar Festival. Over the course of the entire day at Studio ALTA, audiences can look forward to two blocks of works-in-progress by dance and theater artists from the Czech Republic, Poland, Germany, Israel, Serbia, Slovakia, and other countries. What does our physicality say about us, who are we in terms of evolution, how are our experiences and memories split between reality and virtual worlds, what utopias are possible today, and how does our identity change in relation to others?
TICKET FOR THE FIRST PART OF SATURDAY BAZAAR IS VALID FOR THE SECOND PART AS WELL.
Both blocks of performances will be followed by a public discussion from the RespondART* series, moderated by Alice Koubová. The Saturday Bazaar concludes with an after-party featuring DJ Johana.
Block 1: 2–6pm
HAZARD ZONE / Marta Bichisao (IT), Zdenka Brungot Svíteková (SK/NO/CZ) a Sylvain Sicaud (FR)
KEEP CALM / Ufftenživot (CZ)
STEREOPRESENCE / Cristina Maldonado (MEX)
+ RespondArt discussion with Alice Koubová
Block 2: 6:30–10pm
IN THE NAME OF KAR / Markéta Jandová a Jitka Tůmová (CZ)
THE ZIONIST-SOCIALIST REPUBLIC OF UGANDA: THE STATE OF THINGS TO COME (PRAGUE EMBASSY) / friendly fire (DE)
A DANCE IS A DANCE IS A DANCE / Agata Siniarska & Xenia Taniko Dwertmann
+ RespondArt discussion with Alice Koubová
+ DJ Johana
---
HAZARD ZONE / Marta Bichisao, Zdenka Brungot Svíteková and Sylvain Sicaud
Excerpt / 15 min. / no language barrier
The central theme of the work-in-progress HAZARD ZONE is vibration, looked at in its role as the primeval oscillation and origin of movement. Vibrations are a phenomenon closely tied to cycles in nature and rituals. In their performance, the artists are interested in integrating the artistic aspects of biology and anthropology.
The body is a medium for receiving, transmitting, and propagating waves through space and matter. Vibrations are created in relation to mass and gravity, and are then propagated through the language of choreography. They are transmitted in the form of information through the body itself, between bodies, and between the body and the surrounding environment. The performers explore states of activity and passivity, and the qualities of touch and of various physical tones.
The performance itself may thus turn into a vibrating cycle that comes and goes, full of constantly changing information that is immediately processed and re-transmitted into the surrounding structure, space, and the bodies of the dancers and the audience. Vibrations as a cycle of never-ending movement, a cycle that resembles an arc more than a straight line.
“Every structure, organic and nonorganic, has a special frequency at which it naturally vibrates when energized into motion [and thus] there are specific speeds at which every structure is predestined to vibrate. [Every object] has its own fundamental frequency [determined by its] mass and tension. In other words, the core physical truth of every structure determines the way it dances and shimmies off sound waves into the universe. An object’s fundamental frequency is a kind of naked snapshot of identity. By definition this snapshot also reveals the other structures that the object is most likely to mutually resonate with.”
George Prochnik, In Pursuit of Silence: Listening For Meaning in a World of Noise
Choreographer and dancer Marta Bichisao hails from Milan, Italy. She has been studying contemporary dance and somatic techniques since 1997, and also studied acting under C. Ronconi (2005) and clinical and experimental psychology (2006). She spent three years as a dancer and assistant choreographer at the ALTROEQUIPE Choreographic Laboratory in Rome under Lucie Latour, and later completed a two-year course in “Scriptures for Contemporary Dance” with Raffaella Giordano. In 2016, she completed Claude Coldy’s “Sensitive Dance” program. She also participated in the “Prototype III” program for choreographers organized by the Fondation Royaumont. Since 2005, she has been a choreographer and dancer with the OPERA dance and theater ensemble.
Zdenka Brungot Svíteková is a dancer, performer, educator and (since 2010) works also as an independent choreographer. After receiving her master’s degree in modern dance, she continued to study the performing arts and dance in Paris, Vienna, and the United States, and as part of various programs such as the Fondation Royaumont’s Prototypes III program. She works internationally as a freelance artist, having collaborated with artists from Slovakia, France, the Czech Republic, Norway, Germany, the USA, and South Korea. For the past six years, she has engaged in an intense creative dialogue with Barbora Látalová. She also explores multidisciplinary projects in which she works with visual artists, musicians, galleries, and museums, and regularly collaborates with Tanec Praha and the SE.S.TA Centre of Choreographic Development.
zdenkabrungotsvitekova.wordpress.com
Sylvain Sicaud is a choreographer and dancer who, after a short career as an engineer and translator, decided to dedicate himself to live art. In 2009, he co-founded the ensemble Quelque part. After starting out with the circus arts, he gradually made his way towards contemporary art and contact improvisation. He is the author of 100, chorégraphie à bicyclette and of a triptych of interactive performances entitled http://www. After visiting Bali to study the island’s traditional dances, he began to explore collective rituals, ethnology, and the social status of performances in various cultures. Sicaud collaborates with a diverse range of groups, with no limit in terms of genre or physicality. His interest in public art led him to study at FAIAR in Marseille (2013–2015) and to participate in the “Prototype III” program organized by the Fondation Royaumont. He is currently working on two performances, Déjà Vu and Lola est neige.
www.ciequelquepart.com
www.faiar.org/staff/sylvain-sicaud/
---
KEEP CALM / Ufftenživot
Excerpt / 15 min. / in Czech and English
In KEEP CALM, two parallel stories will explore the origin of the species known as homo sapiens sapiens, its cultural evolution, and the ups and downs of its history, all of it seen through the lens of contemporary cultural reality. In trying to find their own place in the story of mankind as a species, the performers and their stories are at the center of the performance as subjects of study.
KEEP CALM is based on the proposition that people base their own (cultural) reality on repeated patterns, routines, fictions, and rules. These have been continually changing over the course of human history and are not stable or set in stone. As a result, what we consider reality here and now demands to be deconstructed.
Every day, we are part of a story in which we follow well-known or familiar plot lines. We live according to rules that are subject to cultural norms called “values.” We are surrounded by words, mottos, quotes, slogans, and formulations that are an articulation of these norms/values.
Created by: Sára Arnstein, Jiří Šimek, Marianna Slováková, Štěpán Hejzlar, Ivo Sedláček, Marta Ljubková, Marie Gourdain
Ufftenživot is a performance ensemble dedicated to the creation of original theatre. Its two core members, Sára Arnstein and Jiří Šimek, both graduated from the Department of Alternative and Puppet Theatre at the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU), where they studied acting under Petra Tejnorová. To date, they have created three original performances: the puppet show The Rabbit (2013), GoG (2014), which combined slam poetry with multimedia and movement, most recently Loneliness & Stuff, a physical performance with words.
Ufftenživot sees theatre as an experience and a space for sharing, a place where we can find our way back to things that we forgot long ago – our natural spirituality, which is beaten down by today’s fast-paced, consumerist way of life. Ufftenživot aims to create experiences that encourage audiences to take a critical view of things, to expand their horizons, and to redefine the things around us. “Our inspiration is the absurdity and inconsistency of the world. We believe in the bigger picture, that theater is a good place for coming together, that simplification is a problem, that our era and the nature of the times are never black-and-white. We enjoy exploring the broad palette of reality by deconstructing it – this is where our ideas come from.”
Web: www.ufftenzivot.cz
Supported by: Czech Ministry of Culture, MOTUS (Alfred ve dvoře)
Co-produced by: Divadlo Na Cucky, Studio ALTA, Industra Stage, Kredance
---
STEREOPRESENCE / Cristina Maldonado
Work-in-progress / 25 min. / in English
Stereopresence will be a visual essay exploring the ambiguous boundaries between the physical and the immaterial, the real and the imagined, the present and the absent. The performance, inspired by early video art experimentation, captures a “dual-channel” presence that is simultaneously real and virtual, exploring the symptoms of degenerative memory that accompany senility and dementia and delving into imagined worlds, both private and collective.
When I was 9 years old I was woken up by my grandmother after midnight. She was walking in the hall, speaking. I went to bring her back to bed, but when she saw me she started pointing at the empty wall, describing all the pots and kitchen utensils that were hanging there. “What pots, grandma? There's nothing there.” “There, that one. That’s the one Mom uses for cooking beans.” I stood there, by her side, and decided not to pull her into my world, the real one. Oh, what a burden! I wanted to sleep, to go back to bed! But instead I remained in her world, the one she had pulled from the past and placed there in the exact proportions of the hall. I listened attentively to her descriptions, and for one moment I was tempted to believe that I could also see what she was seeing, as if her certainty was contagious... It was fantastic; somehow I felt so close to her, to what she had once been. I kept this intimate moment with grandma for myself, as if it had been a private journey into her land. This year, I found my 86-year-old father talking to microphotographs, addressing them as if they were people, not knowing he has five children.
Dementia and other degenerative symptoms related to senility are considered a disease in our society. There is no “cure” for them. Experts say with certainty that this world, our real world, is all there is. But let us imagine dementia as a supremely mysterious form of presence, the ability to inhabit multiple worlds; or perhaps it is nature’s way of helping us step away from the reality we all agree upon so that we may transit to the inner place from which we will depart, a place to which no one can accompany us.
Concept, video art: Cristina Maldonado
Performance: Cristina Maldonado, Sodja Zupanc Lotker
Dramaturgy: Sodja Zupanc Lotker
Lighting design and media: Vladimír Burian
Production: JEDEFRAU.ORG (& Erika Frančáková)
Supported by: Czech Ministry of Culture, Motus, producers of the Alfred ve dvoře theatre
Cristina Maldonado is a Mexican artist whose background in dance and body movement influences her unique approach to her visual and conceptual experiments in video, sound, collage and performance. Her work unites experimental theater, dance, participatory art, and new and old media. Since 2000 she has directed and created performances on her own and in collaboration with artists from different disciplines.
Sodja Zupanc Lotker works as a dramaturg for independent theatre, dance and site-specific projects (with Farm in the Cave, Lotte van den Berg, TAAT, and Kristýna Lhotáková). She is the course leader for the master’s program in “Directing Devised and Object Theatre” at the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU), and was the artistic director of the Prague Quadrennial of Performance Design and Space from 2008 to 2015 (where she collaborated with such artists as Claudia Bosse, Arpad Schilling, Societas Rafaello Sanzio, and Brett Bailey).
Maldonado and Lotker first worked together in 2003, and since then have created various interactive performances that challenge the forms and media by which experiences are delivered to the audience, for instance through headphone installations, mobile phones in the public space, and more.
---
PUBLIC DISCUSSION FROM THE RESPONDART SERIES, MODERATED BY ALICE KOUBOVÁ I.
The RespondART project is supported by the Czech-German Future Fund as part of the Czech-German Cultural Spring project. The 2017 Czech-German Cultural Spring is a cross-border cultural initiative of the German Embassy in Prague, the Goethe-Institut in Prague, the Czech-German Future Fund, and the Czech Centers in Berlin and Munich, in collaboration with the Czech Ministry of Culture and Ministry of Foreign Affairs.
Alice Koubová is a researcher at the Institute of Philosophy at the Czech Academy of Sciences and a lecturer at the Academy of Performing Arts in Prague. Her main focus is on the subjects of performative philosophy, post-phenomenology, the philosophy of physicality, and ethics. She is the author of Self-Identity and Powerlessness (Brill), and has written many other books and articles in the aforementioned fields. Besides traditional philosophy, she also teaches courses and organizes workshops mixing philosophy, art research, and original performance. She is the recipient of a Josef Hlávka Award, a Libellus Primus Award, and the Otto Wichterle Award.
TICKET FOR THE FIRST PART OF SATURDAY BAZAAR IS VALID FOR THE SECOND PART AS WELL.
Both blocks of performances will be followed by a public discussion from the RespondART* series, moderated by Alice Koubová. The Saturday Bazaar concludes with an after-party featuring DJ Johana.
Block 1: 2–6pm
HAZARD ZONE / Marta Bichisao (IT), Zdenka Brungot Svíteková (SK/NO/CZ) a Sylvain Sicaud (FR)
KEEP CALM / Ufftenživot (CZ)
STEREOPRESENCE / Cristina Maldonado (MEX)
+ RespondArt discussion with Alice Koubová
Block 2: 6:30–10pm
IN THE NAME OF KAR / Markéta Jandová a Jitka Tůmová (CZ)
THE ZIONIST-SOCIALIST REPUBLIC OF UGANDA: THE STATE OF THINGS TO COME (PRAGUE EMBASSY) / friendly fire (DE)
A DANCE IS A DANCE IS A DANCE / Agata Siniarska & Xenia Taniko Dwertmann
+ RespondArt discussion with Alice Koubová
+ DJ Johana
---
HAZARD ZONE / Marta Bichisao, Zdenka Brungot Svíteková and Sylvain Sicaud
Excerpt / 15 min. / no language barrier
The central theme of the work-in-progress HAZARD ZONE is vibration, looked at in its role as the primeval oscillation and origin of movement. Vibrations are a phenomenon closely tied to cycles in nature and rituals. In their performance, the artists are interested in integrating the artistic aspects of biology and anthropology.
The body is a medium for receiving, transmitting, and propagating waves through space and matter. Vibrations are created in relation to mass and gravity, and are then propagated through the language of choreography. They are transmitted in the form of information through the body itself, between bodies, and between the body and the surrounding environment. The performers explore states of activity and passivity, and the qualities of touch and of various physical tones.
The performance itself may thus turn into a vibrating cycle that comes and goes, full of constantly changing information that is immediately processed and re-transmitted into the surrounding structure, space, and the bodies of the dancers and the audience. Vibrations as a cycle of never-ending movement, a cycle that resembles an arc more than a straight line.
“Every structure, organic and nonorganic, has a special frequency at which it naturally vibrates when energized into motion [and thus] there are specific speeds at which every structure is predestined to vibrate. [Every object] has its own fundamental frequency [determined by its] mass and tension. In other words, the core physical truth of every structure determines the way it dances and shimmies off sound waves into the universe. An object’s fundamental frequency is a kind of naked snapshot of identity. By definition this snapshot also reveals the other structures that the object is most likely to mutually resonate with.”
George Prochnik, In Pursuit of Silence: Listening For Meaning in a World of Noise
Choreographer and dancer Marta Bichisao hails from Milan, Italy. She has been studying contemporary dance and somatic techniques since 1997, and also studied acting under C. Ronconi (2005) and clinical and experimental psychology (2006). She spent three years as a dancer and assistant choreographer at the ALTROEQUIPE Choreographic Laboratory in Rome under Lucie Latour, and later completed a two-year course in “Scriptures for Contemporary Dance” with Raffaella Giordano. In 2016, she completed Claude Coldy’s “Sensitive Dance” program. She also participated in the “Prototype III” program for choreographers organized by the Fondation Royaumont. Since 2005, she has been a choreographer and dancer with the OPERA dance and theater ensemble.
Zdenka Brungot Svíteková is a dancer, performer, educator and (since 2010) works also as an independent choreographer. After receiving her master’s degree in modern dance, she continued to study the performing arts and dance in Paris, Vienna, and the United States, and as part of various programs such as the Fondation Royaumont’s Prototypes III program. She works internationally as a freelance artist, having collaborated with artists from Slovakia, France, the Czech Republic, Norway, Germany, the USA, and South Korea. For the past six years, she has engaged in an intense creative dialogue with Barbora Látalová. She also explores multidisciplinary projects in which she works with visual artists, musicians, galleries, and museums, and regularly collaborates with Tanec Praha and the SE.S.TA Centre of Choreographic Development.
zdenkabrungotsvitekova.wordpress.com
Sylvain Sicaud is a choreographer and dancer who, after a short career as an engineer and translator, decided to dedicate himself to live art. In 2009, he co-founded the ensemble Quelque part. After starting out with the circus arts, he gradually made his way towards contemporary art and contact improvisation. He is the author of 100, chorégraphie à bicyclette and of a triptych of interactive performances entitled http://www. After visiting Bali to study the island’s traditional dances, he began to explore collective rituals, ethnology, and the social status of performances in various cultures. Sicaud collaborates with a diverse range of groups, with no limit in terms of genre or physicality. His interest in public art led him to study at FAIAR in Marseille (2013–2015) and to participate in the “Prototype III” program organized by the Fondation Royaumont. He is currently working on two performances, Déjà Vu and Lola est neige.
www.ciequelquepart.com
www.faiar.org/staff/sylvain-sicaud/
---
KEEP CALM / Ufftenživot
Excerpt / 15 min. / in Czech and English
In KEEP CALM, two parallel stories will explore the origin of the species known as homo sapiens sapiens, its cultural evolution, and the ups and downs of its history, all of it seen through the lens of contemporary cultural reality. In trying to find their own place in the story of mankind as a species, the performers and their stories are at the center of the performance as subjects of study.
KEEP CALM is based on the proposition that people base their own (cultural) reality on repeated patterns, routines, fictions, and rules. These have been continually changing over the course of human history and are not stable or set in stone. As a result, what we consider reality here and now demands to be deconstructed.
Every day, we are part of a story in which we follow well-known or familiar plot lines. We live according to rules that are subject to cultural norms called “values.” We are surrounded by words, mottos, quotes, slogans, and formulations that are an articulation of these norms/values.
Created by: Sára Arnstein, Jiří Šimek, Marianna Slováková, Štěpán Hejzlar, Ivo Sedláček, Marta Ljubková, Marie Gourdain
Ufftenživot is a performance ensemble dedicated to the creation of original theatre. Its two core members, Sára Arnstein and Jiří Šimek, both graduated from the Department of Alternative and Puppet Theatre at the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU), where they studied acting under Petra Tejnorová. To date, they have created three original performances: the puppet show The Rabbit (2013), GoG (2014), which combined slam poetry with multimedia and movement, most recently Loneliness & Stuff, a physical performance with words.
Ufftenživot sees theatre as an experience and a space for sharing, a place where we can find our way back to things that we forgot long ago – our natural spirituality, which is beaten down by today’s fast-paced, consumerist way of life. Ufftenživot aims to create experiences that encourage audiences to take a critical view of things, to expand their horizons, and to redefine the things around us. “Our inspiration is the absurdity and inconsistency of the world. We believe in the bigger picture, that theater is a good place for coming together, that simplification is a problem, that our era and the nature of the times are never black-and-white. We enjoy exploring the broad palette of reality by deconstructing it – this is where our ideas come from.”
Web: www.ufftenzivot.cz
Supported by: Czech Ministry of Culture, MOTUS (Alfred ve dvoře)
Co-produced by: Divadlo Na Cucky, Studio ALTA, Industra Stage, Kredance
---
STEREOPRESENCE / Cristina Maldonado
Work-in-progress / 25 min. / in English
Stereopresence will be a visual essay exploring the ambiguous boundaries between the physical and the immaterial, the real and the imagined, the present and the absent. The performance, inspired by early video art experimentation, captures a “dual-channel” presence that is simultaneously real and virtual, exploring the symptoms of degenerative memory that accompany senility and dementia and delving into imagined worlds, both private and collective.
When I was 9 years old I was woken up by my grandmother after midnight. She was walking in the hall, speaking. I went to bring her back to bed, but when she saw me she started pointing at the empty wall, describing all the pots and kitchen utensils that were hanging there. “What pots, grandma? There's nothing there.” “There, that one. That’s the one Mom uses for cooking beans.” I stood there, by her side, and decided not to pull her into my world, the real one. Oh, what a burden! I wanted to sleep, to go back to bed! But instead I remained in her world, the one she had pulled from the past and placed there in the exact proportions of the hall. I listened attentively to her descriptions, and for one moment I was tempted to believe that I could also see what she was seeing, as if her certainty was contagious... It was fantastic; somehow I felt so close to her, to what she had once been. I kept this intimate moment with grandma for myself, as if it had been a private journey into her land. This year, I found my 86-year-old father talking to microphotographs, addressing them as if they were people, not knowing he has five children.
Dementia and other degenerative symptoms related to senility are considered a disease in our society. There is no “cure” for them. Experts say with certainty that this world, our real world, is all there is. But let us imagine dementia as a supremely mysterious form of presence, the ability to inhabit multiple worlds; or perhaps it is nature’s way of helping us step away from the reality we all agree upon so that we may transit to the inner place from which we will depart, a place to which no one can accompany us.
Concept, video art: Cristina Maldonado
Performance: Cristina Maldonado, Sodja Zupanc Lotker
Dramaturgy: Sodja Zupanc Lotker
Lighting design and media: Vladimír Burian
Production: JEDEFRAU.ORG (& Erika Frančáková)
Supported by: Czech Ministry of Culture, Motus, producers of the Alfred ve dvoře theatre
Cristina Maldonado is a Mexican artist whose background in dance and body movement influences her unique approach to her visual and conceptual experiments in video, sound, collage and performance. Her work unites experimental theater, dance, participatory art, and new and old media. Since 2000 she has directed and created performances on her own and in collaboration with artists from different disciplines.
Sodja Zupanc Lotker works as a dramaturg for independent theatre, dance and site-specific projects (with Farm in the Cave, Lotte van den Berg, TAAT, and Kristýna Lhotáková). She is the course leader for the master’s program in “Directing Devised and Object Theatre” at the Theatre Faculty of the Academy of Performing Arts in Prague (DAMU), and was the artistic director of the Prague Quadrennial of Performance Design and Space from 2008 to 2015 (where she collaborated with such artists as Claudia Bosse, Arpad Schilling, Societas Rafaello Sanzio, and Brett Bailey).
Maldonado and Lotker first worked together in 2003, and since then have created various interactive performances that challenge the forms and media by which experiences are delivered to the audience, for instance through headphone installations, mobile phones in the public space, and more.
---
PUBLIC DISCUSSION FROM THE RESPONDART SERIES, MODERATED BY ALICE KOUBOVÁ I.
The RespondART project is supported by the Czech-German Future Fund as part of the Czech-German Cultural Spring project. The 2017 Czech-German Cultural Spring is a cross-border cultural initiative of the German Embassy in Prague, the Goethe-Institut in Prague, the Czech-German Future Fund, and the Czech Centers in Berlin and Munich, in collaboration with the Czech Ministry of Culture and Ministry of Foreign Affairs.
Alice Koubová is a researcher at the Institute of Philosophy at the Czech Academy of Sciences and a lecturer at the Academy of Performing Arts in Prague. Her main focus is on the subjects of performative philosophy, post-phenomenology, the philosophy of physicality, and ethics. She is the author of Self-Identity and Powerlessness (Brill), and has written many other books and articles in the aforementioned fields. Besides traditional philosophy, she also teaches courses and organizes workshops mixing philosophy, art research, and original performance. She is the recipient of a Josef Hlávka Award, a Libellus Primus Award, and the Otto Wichterle Award.
