[oberlist] BADco. // PREMIJERA // Dodatak histerije, ubrzanja… / A Pound of Hysteria, Acceleration... - melodrama - / 03.-06.10.2013. POGON Jedinstvo, Zagreb

Tue Sep 24 13:07:14 CEST 2013

BADco. newsletter

/scroll down for English/

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BADco. vas poziva na zagrebacku premijeru naseg najnovijeg projekta!

*Dodatak histerije, ubrzanja...*
- melodrama -

03., 05. i 06. listopada 2013. 19:30 @ POGON Jedinstvo, Trnjanski nasip bb,
Zagreb

Niste jos bili u dvorani POGON Jedinstvo? Link na kartu:
http://tinyurl.com/Jedinstvo-Zagreb

Cijena pojedinacne ulaznice 40 kn (25 kn za studente i umirovljenike, 20kn
za grupe).

Rezervacije i ostale informacije:
Lovro Rumiha, lovro at badco.hr, 098/9691474

U televizijskom razgovoru iz 1989. o raspadu Sovjetskog Saveza Heiner
Müller i Alexander Kluge vracaju se na Brechtovu recenicu "Nafta se opire
petocinki". U toj recenici sazet je problem pred kojim se nalazi epski
teatar. Kako kroz dramski materijal prikazati historijske procese sa svim
njihovim unutarnjim kontradikcijama, napredovanjima i nazadovanjima koji
nadilaze likove i njihove medjusobne odnose? To isto pitanje - sto je
prikazivanju organizirajucih nacela danasnjice adekvatan dramski materijal
- problemski je ulog i predstave "Dodatak histerije, ubrzanja..."

Nafta jest i dalje problem epskog prikazivanja, ali ona je iz danasnje
perspektive i nevidljivi supstrat kolanja energija i materije u suvremenom
drustvu. Podloga za trajnu ekspanziju proizvodnje i konzumacije u cilju
akumuliranja kapitala koja prijeti da planetu dovede do antropogenog
uskuhavanja. Zitka tekucina koja nas nepregorivo vezuje uz ocuvanje
trenutnog nacina zivota.

Povlacenje kocnice lokomotive povijesti Benjaminova je metafora
revolucionarnog prekida nepodnosljivog razvoja moderne. Metodolosko pitanje
katapulta za metafore, dakle formalnog registra u kojem dramsko zbivanje
moze uprizoriti historijske procese, okosnica je razgovora izmedju Heinera
Müllera i Alexandera Klugea. Scenski postaviti kompleksnost povijesnih
previranja i drustvenih odnosa nije pitanje teatarskog dokumentiranja
zbilje, vec brehtijansko pitanje funkcionalne transformacije sredstava
kojima predstavljamo tu zbilju. Polemizirajuci s tendencijama u danasnjem
teatru, tu Müllerovu intuiciju mogli bismo prevesti u kritiku da politicki
ulog teatra nije u tome da prikaze drukciju drustvenu zbilju, vec da
postojecu drustvenu zbilju prikaze pod drukcijim uvjetima.

Predstava je postavljena u alternativno televizijsko okruzenje, u drukciji
ciklus kolanja slika i drustvenog komentara zbilje. Ako je televizija bila
suputnik zlatnog doba drustva blagostanja, posttelevizijsko vrijeme novih
ekranskih tehnologija suputnik je njegovog razaranja. Posttelevizijsko
vrijeme, u kojem se medijatizirani horizont drustvenog trenutka atomizira,
istodobno je i stanje nove agonije tzv. srednje klase, novo melodramatsko
stanje kojim dominira opci osjecaj nezadovoljstva jednom naizgled temeljito
blokiranom drustvenom zbiljom koju treba mijenjati - iako iz svakodnevnog
iskustva ostaje nedokucivo kako je mijenjati. Naboj tog agonijskog
rastrojstva i predreflektirane ideologije nemoci ova predstava gradi i
razgradjuje, dovodeci izvedbom intenzitet tog naboja do nuznosti njegovog
prekida: "Kada sva ta masa stvari ne kola sve brze i brze, postojece stvari
pretvaraju se u duhove."

Koreografija i izvedba: Pravdan Devlahovic, Ana Kreitmeyer / Darija Dozdor,
Nikolina Pristas i Zrinka Uzbinec

Koncept i dramaturgija: Tomislav Medak

Oblikovanje dramskog materijala: Goran Sergej Pristas

Dramaturgija: Ivana Ivkovic

Produkcija: Lovro Rumiha

Softver za algoritamsku video montazu ALVES: Daniel Turing

Dizajn kostima: Silvio Vujicic

Oblikovanje svjetla: Alan Vukelic

Oblikovanje zvuka: Jasmin Dasovic

Scenografija: Miljenko Sekulic Sarma

Rekvizita: Ana Ogrizovic

Glazba: Alban Berg, "Wozzeck"

Prijevod: Tomislav Medak

Fotografije: Dinko Rupcic

Oblikovanje tiskanih materijala: Dejan Dragosavac Ruta

U predstavi koristimo razgovor Alexandera Klugea s Heinerom Müller pod
naslovom "Pjesnik kao katapult za metafore". Zahvaljujemo Alexanderu Klugeu
na dopustenju da ga upotrijebimo. Predstava je nadahnuta djelom Douglasa
Sirka, Rainera Wernera Fassbindera, Pine Bausch, Michaela Heinricha,
Timothyija Mitchella, Nannija Balestrinija i kolektiva Midnight Notes.

Predstava je pripremana u Centru za kulturu Novi Zagreb, Centru za kulturu
i informacije Maksimir i POGON - centru za nezavisnu kulturu i mlade.

Projekt je podrzan od: Gradskog ureda za obrazovanje, kulturu i sport Grada
Zagreba i Ministarstva kulture RH.

Predstava je dio projekta "TIMeSCAPES – slike i izvedbe vremena u kasnom
kapitalizmu" - partnera BADco. (Zagreb), Maska (Ljubljana), Science
Communications Research (Bec), Teorija koja hoda – TkH (Beograd) i
Film-protufilm (Zagreb). Platforma TIMeSCAPES je podrzana od programa
Kultura Evropske unije.

Hvala: AVC Zagreb

Za vise informacija:
http://badco.hr/a-pound-of-hysteria/

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BADco. invites you to the Zagreb premiere of our newest project!

*A Pound of Hysteria, Acceleration...*
- melodrama -

03., 05. and 06. October 2013 19:30 @ POGON Jedinstvo, Trnjanski nasip bb,
Zagreb

Don't know where POGON Jedinstvo is? Click to see map:
http://tinyurl.com/Jedinstvo-Zagreb

Tickets 40 kn (25 kn reduced, 20kn groups).

Reservations and other information:
Lovro Rumiha, lovro at badco.hr, +385(0)989691474

While discussing the disintegration of the Soviet Union in a 1989 televised
interview, Heiner Müller and Alexander Kluge return to Brecht's sentence
"Petroleum resists five acts". That sentence sums up the problem that faces
epic theater. How can dramatic material depict historical processes with
all their inner contradictions, progressions and setbacks that transcend
characters and their relationships? The same question - what dramatic
material is an adequate means of representation of the organizing
principles of today’s reality - is the speculative problem of "A Pound of
Hysteria, Acceleration..." BADco.'s new performance attempts to find the
answer in the historical dialogue of two artists, the playwright Heiner
Müller and the film director Alexander Kluge. At the end of the eighties
two artists speculate about politics and social upheaval, yet today that
speculation resounds as a document of our own present.

Oil remains a problem of epic representation, but from today's perspective
it is also as an invisible substrate of the circulation of energy and
matter in modern society. The basis for permanent expansion of production
and consumption for the purposes of accumulation of capital that threatens
to bring the planet to an anthropogenic boiling point. A viscous fluid that
incombustibly fetters us to the preservation of our current lifestyle.

Grabbing for the emergency brake of the locomotive of world history is
Benjamin's metaphor of revolutionary rupture in the unbearable progress of
modernity. The methodological question of a catapult for metaphors, a
formal register that enables dramatic representation of historic processes,
is the foundation of a conversation between Heiner Müller and Alexander
Kluge. Staging complexities of political turmoils and social relations, of
circulation of matter and affect, is not a matter of documentary
representation of reality through theatre but a Brechtian question of the
functional transformation of means we use to represent that reality. If we
were to argue with a certain tendency in contemporary theater, Müller's
intuition against the documentary material into criticism: the political
stake of theatre is not to present a different social reality, but rather
to stage the existing, melodramatic social reality under different terms.

"A Pound of Hysteria, Acceleration..." is set in an alternative television
environment, in a different cycle of circulation of images and social
commentary of reality. If the television was a companion to the golden age
of welfare state, the post-televison age of new screen technologies are a
companion to its dismantling. And that post-television age is marked by a
new agony of the so-called middle class, a new melodramatic condition
dominated by a generalized feeling of discontent with what seems to be a
completely blocked social reality that screams for change - although what
change that may be remains completely intransparent from the everyday
experience of that reality. This performance reconstructs and deconstructs
the affective charge of that agonized confusion and ideology of
helplessness by performatively pushing its intensity to its needed point of
interruption: "When all that mass of things does not circulate ever faster
and faster, existing things turn into ghosts."

Choreography and performance: Pravdan Devlahovic, Ana Kreitmeyer / Darija
Dozdor, Nikolina Pristas and Zrinka Uzbinec

Concept and dramaturgy: Tomislav Medak

Recasting of dramatic material: Goran Sergej Pristas

Dramaturgy: Ivana Ivkovic

Production: Lovro Rumiha

Software for algorithmic video editing ALVES : Daniel Turing

Costume design : Silvio Vujicic

Light design: Alan Vukelic

Sound design: Jasmin Dasovic

Set design: Miljenko Sekulic Sarma

Props: Ana Ogrizovic

Music: Alban Berg, "Wozzeck"

Translation: Tomislav Medak

Photography: Dinko Rupcic

Graphic design: Dejan Dragosavac Ruta

The production includes a conversation between Alexander Kluge and Heiner
Müller titled "The Poet as a Catapult for Metaphors". We thank Alexander
Kluge for the permission to use it. The production is inspired by the works
of Douglas Sirk, Rainer Werner Fassbinder, Pina Bausch, Michael Heinrich,
Timothy Mitchell, Nanni Balestrini and the Midnight Notes collective.

The production was rehearsed at the Culture Centre Novi Zagreb, Culture and
Information Centre Maksimir and POGON - Center for Independent Culture and
Youth.

Supported by: Zagreb City Council for Education, Culture and Sport;
Ministry of Culture of Republic of Croatia

The production is a part of "TIMeSCAPES – Images and performances of time
in late capitalism" - a partner project of BADco. (Zagreb), Maska
(Ljubljana), Science Communications Research (Vienna), Walking Theory
(Belgrade) and Film-protufilm (Zagreb). With the support of the Culture
Programme of the European Union.

Thanks to: AVC Zagreb

For more information:
http://badco.hr/a-pound-of-hysteria/

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BADco.

http://badco.hr

badco at badco.hr

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BADco. podrzali / BADco. is supported by:

Gradski ured za kulturu Grada Zagreba
City Office for Culture Zagreb

Ministarstvo kulture RH
Ministry of Culture, Croatia

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BADco. je suorganizator LABO21 - Evropske platforme za interdisciplinarna
istrazivanja umjetnickih metodologija partnera BADco. (Zagreb), Random
Dance (London), Troubleyn (Antwerp) i
International Choreographic Arts Centre (Amsterdam). Platforma LABO21 je
podrzana od programa Kultura Evropske zajednice.

BADco. is co-organizer of LABO21 - European Platform for Interdisciplinary
Research on Artistic Methodologies, a partner project of BADco. (Zagreb),
Random Dance (London), Troubleyn (Antwerp)
and International Choreographic Arts Centre (Amsterdam). With the support
of the Culture Programme of the European Union.

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BADco. je koordinator platforme TIMeSCAPES, slike i izvedbe vremena u
kasnom kapitalizmu partnera BADco. (Zagreb), Maska (Ljubljana), Science
Communications Research (Bec), Teorija koja hoda - TkH (Beograd) i
Film-protufilm (Zagreb). Platforma TIMeSCAPES je podrzana od programa
Kultura Evropske zajednice.

BADco. is coordinator of TIMeSCAPES, Images and performances of time in
late capitalism, a partner project of BADco. (Zagreb), Maska (Ljubljana),
Science Communications Research (Vienna), Walking Theory (Belgrade) and
Film-protufilm (Zagreb). With the support of the Culture Programme of the
European Union.

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