Wed. - Sat. 20:00
1 h approx.
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06/03 audio description
Group of young performers provided with stage presence and a performance whose theme is the performance itself. Theatre of presence in presence. No story, not a theme but the own function here and now formed by the corpus scenic and fed by each performer. Fiction and no-fiction can be mixed, and we cannot know how. We can just observe what happens, and what happens to us as an audience. Emotion, action and word. A theatrical experience that escapes the determinants of actor status. And a stage experiment that is completed only in the presence of the audience.
Carte blanche to Anna Karasińska.
The Polish director Anna Karasińska, who has links to the Nowy Theater in Warsaw, made her debut in 2015 with Ewelina's Crying, a metatheatrical show full of humour. Her career has been dazzling in both film and the theatre since then. As a result, her participation in the Lliure's 21/22 Season involves a very unconventional project.
Anna Karasińska (born Łódź, 1978), is a stage director, playwright and filmmaker, and studied at the Władysław Strzemiński Academy of Fine Arts in Łódź and at the Faculty of Philosophy at the University in her home town, and graduated from the Faculty of Direction of the Leon Schiller National School of Film, Television and Theatre in Łódź. Her short films, feature films and student documentaries have been screened at several dozen festivals around the world, and have won international awards. She made her theatrical debut with her original production of Ewelina's Crying, which was staged in 2015 at TR Warszawa as part of the TR Territory project (TEREN TR). In 2016, she won the Kazimierz Krzanowski promotional award for Ewelina's Crying at the 51st KONTRAPUNKT Small-Theater-Forms Festival. In 2016, she also directed her second production at the Polish Theatre in Poznań (Teatr Polski w Poznaniu), which was followed that same year by Birthday, which was performed as a microtheatre play at the Komuna/Warszawa. She also directed another original piece at TR Warszawa in 2017: Fantasia, which was staged at the Dublin Theatre Festival in 2018, at the Trans-Americas Festival, Kunstenfestivaldesarts and the Zürcher Theater Spektakel in 2019. She directed 2118. Karasińska at the Nowy Theater in Warsaw in 2018.
The creation process according to Karasińska
I try to make my productions ‘have an impact’ rather than ‘tell a story’. To make them into events that play themselves out in the here and now. I break down the ‘viewer–play–actor’ narrative so that people can really see and interact with one another.
When I do a production, I plan what’s going to happen for each of those taking part; the audience; and how to achieve this. I don’t think too much about the topic – the topic is merely one of my devices, a ‘cover’ for the mechanism I am setting in motion.
I am interested in using art as a means of getting people to let go.
In my productions, I try to keep the viewer in a state of ambivalence, amusement and alarm, continually fooling their intellect. By setting up unobvious situations, I try to make viewers slide into the absurd and experience freedom from being controlled by the intellect, rock-solid concepts, binding narratives and meanings.
I think that loosening up the notions of what we consider real and obvious is the most powerful tool to change the world.
Working with process:
In process work, as opposed to the dramatic theatre tradition, we don’t begin with a text nor a topic. We’re not interested in topics that have been previously formulated by others.
We search for content that “wants” to be expressed in a given place and a given time.
Process works with everything that appears and treats everything as material. It doesn’t favour any of the ways by which material comes to us -text, space, emotions, relationships, body, memory, and context all have their equal part in process.
Process is a type of question asked in space whose answer manifests through the participants.
Process, however, doesn’t base itself on the conscious expectations of the people creating nor their ideas of the future audience’s preferences. The fruits of process are its independent and not always comfortable content, often incorrect and rebellious.
Process work gives the opportunity to stand up to the ways in which we are unconsciously formatted by recognizing the hierarchy in which only conventional topics and intersubjectively communicable content is accepted as relevant.
Working with process, we create an autonomous and organic statement free from rationalization and trendy ideologies.
This method of working allows one to express oneself beyond the desire to be seen and the need to fulfil expectations. It rearranges our borders – it allows us to open ourselves up to intimacy and not be afraid of a deep exchange, while simultaneously not allowing others to decide what is or isn’t worth saying.
SETTING AND LIGHTING
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