¿y ustedes qué son?
Episodios infiltrados en un universo de cosplayers y fans de historietas, superhéroes, videojuegos, animé.
8 de junio en el Auditorio Nacional del SODRE
Fotografía: Nacho Correa
domingo, 22 de junio de 2014
¡Episodios en Montevideo Comics 2014!
8 de junio en el Auditorio Nacional del SODRE
Fotografía: Nacho Correa
sábado, 21 de junio de 2014
otras formas de telepatía
We think we like that. A piece together
APT we think we like that
http://apiecetogether.blogspot.com/2010/08/we-think-we-like-that.html
Until the moment when God is destroyed by the extreme exercise of beauty
Vera Mantero
video vimeo
"Until the moment when God is destroyed by the extreme exercise of beauty" (Promo) by Vera Mantero & Guests / 2006
Six seated persons. Their bodies have the word. Their “becoming together” is announced through an unstable language, an English with particular sonorities. Their communication capacities are constantly challenged. They float between transparency and opacity; they exercise themselves between the knots weaving, suspended by a thread.
How to exercise the theatrical situation until exhaustion? To choose a language that is common to us, but that we do not dominate. The “here and now” that we look for is so lengthened that there is no longer a belonging. It is destroyed. We always restart, without ever returning to the same point.
Bojana Bauer
A light and recalcitrant work, Vera Mantero and five performers explore a single proposition that revolves almost completely around language, or better around speech, but also mumbling, grumbling, growling, meowing, humming, stammering and singing. Gestures and dance emerge where the body transforms into an ear or a peculiar soundboard. The piece embraces with theatrical joy an (im)probable future social body and doesn’t shun from the literal or kitsch. Language as a possibility to say ‘we’ and thereby affirm or ‘speak out’ the actual difference of the world we live in – on a political level the work reminds me of Jean-Luc Nancy’s writings. Since collaboration and creation are a social process itself, The extreme exercise has travelled a great distance between its première in Brest and the performances in Brussels: from a strict version that stresses the group as an outlandish choreographic machine, to a loose, ‘juicy’ one that takes as a point of departure the performer’s freedom in dialogue with the public, as yet another social body. Yet potentially it still commutes between these two extremes, voicing the lingering energies and imaginations of a vast spectrum.
Jeroen Peeters
“Almost unisono, but with different accents and facial expressions, they hold a speech about profound and banal ideas alike, without any distinction. No wonder that even after one hour they don’t reach a conclusion. Because of that, the only aim of this piece seems to be to celebrate the bare fact that public and performers are together, contemplating each other. “We are a group, you are a group...” returns as a refrain in the mash of words. As such, the acting of the six performers, their eccentric dresses and the way the public reacts to all this “make” the piece…
…the speech itself does not take place in an indifferent space but on a stage. And a stage is different from a street or a square. It is an empty space, without preconceived meanings or uses, but that is exactly why it arouses great expectations. When the curtain goes up we expect that everything that is there to be seen has a Meaning with a large M. Nobody stumbles on a stage like as they would do on the street. Certainly not if the title of the piece announces such concerns as the Death of God or “the extreme exercise of Beauty”.
Now, this is of course a grotesque speech. Who has still anything significant to add after all that has already been said or written about this? Don't we postulate the terms of God and Beauty above all to seal a breach in our worldview? Are these therefore not empty spaces, onto which everyone projects, after his own taste, his own “meaning of life”? The empty space of the stage meets in Vera Mantero’s work the empty space of words: she takes hold of the emptiness of the stage to hint at the emptiness of any significance. But she does this without despair. The meandering chat that the performers all produce in their own singular way, shows that a group of people “works”, even without God or Beauty. This is the meaning of the casual variant of “we are a group, you are a group...”. All of a sudden it becomes: “we are, you are... a theory, full of life”. Nothing has been proved, but “it works”.
Lauro’s mise-en-scène expresses this convincingly. A strong battery of spotlights frames the big stage, and in this way almost reduces the actors to a detail in the bigger picture. A huge brown object, a kind of a deformed globe, fills the emptiness behind them. The tension between the colossal object in the just as colossal emptiness and the mumbling of the performers is what creates meaning. Each by itself means nothing…”
Pieter T’Jonck
Artistic Direction
Vera Mantero
Performance and Co-Creation
Brynjar Bandlien, Loup Abramovici, Marcela Levi, Pascal Quéneau, Antonija Livingstone (now replaced by Andrea Stotter), Vera Mantero
APT we think we like that
http://apiecetogether.blogspot.com/2010/08/we-think-we-like-that.html
Until the moment when God is destroyed by the extreme exercise of beauty
Vera Mantero
video vimeo
Six seated persons. Their bodies have the word. Their “becoming together” is announced through an unstable language, an English with particular sonorities. Their communication capacities are constantly challenged. They float between transparency and opacity; they exercise themselves between the knots weaving, suspended by a thread.
How to exercise the theatrical situation until exhaustion? To choose a language that is common to us, but that we do not dominate. The “here and now” that we look for is so lengthened that there is no longer a belonging. It is destroyed. We always restart, without ever returning to the same point.
Bojana Bauer
A light and recalcitrant work, Vera Mantero and five performers explore a single proposition that revolves almost completely around language, or better around speech, but also mumbling, grumbling, growling, meowing, humming, stammering and singing. Gestures and dance emerge where the body transforms into an ear or a peculiar soundboard. The piece embraces with theatrical joy an (im)probable future social body and doesn’t shun from the literal or kitsch. Language as a possibility to say ‘we’ and thereby affirm or ‘speak out’ the actual difference of the world we live in – on a political level the work reminds me of Jean-Luc Nancy’s writings. Since collaboration and creation are a social process itself, The extreme exercise has travelled a great distance between its première in Brest and the performances in Brussels: from a strict version that stresses the group as an outlandish choreographic machine, to a loose, ‘juicy’ one that takes as a point of departure the performer’s freedom in dialogue with the public, as yet another social body. Yet potentially it still commutes between these two extremes, voicing the lingering energies and imaginations of a vast spectrum.
Jeroen Peeters
“Almost unisono, but with different accents and facial expressions, they hold a speech about profound and banal ideas alike, without any distinction. No wonder that even after one hour they don’t reach a conclusion. Because of that, the only aim of this piece seems to be to celebrate the bare fact that public and performers are together, contemplating each other. “We are a group, you are a group...” returns as a refrain in the mash of words. As such, the acting of the six performers, their eccentric dresses and the way the public reacts to all this “make” the piece…
…the speech itself does not take place in an indifferent space but on a stage. And a stage is different from a street or a square. It is an empty space, without preconceived meanings or uses, but that is exactly why it arouses great expectations. When the curtain goes up we expect that everything that is there to be seen has a Meaning with a large M. Nobody stumbles on a stage like as they would do on the street. Certainly not if the title of the piece announces such concerns as the Death of God or “the extreme exercise of Beauty”.
Now, this is of course a grotesque speech. Who has still anything significant to add after all that has already been said or written about this? Don't we postulate the terms of God and Beauty above all to seal a breach in our worldview? Are these therefore not empty spaces, onto which everyone projects, after his own taste, his own “meaning of life”? The empty space of the stage meets in Vera Mantero’s work the empty space of words: she takes hold of the emptiness of the stage to hint at the emptiness of any significance. But she does this without despair. The meandering chat that the performers all produce in their own singular way, shows that a group of people “works”, even without God or Beauty. This is the meaning of the casual variant of “we are a group, you are a group...”. All of a sudden it becomes: “we are, you are... a theory, full of life”. Nothing has been proved, but “it works”.
Lauro’s mise-en-scène expresses this convincingly. A strong battery of spotlights frames the big stage, and in this way almost reduces the actors to a detail in the bigger picture. A huge brown object, a kind of a deformed globe, fills the emptiness behind them. The tension between the colossal object in the just as colossal emptiness and the mumbling of the performers is what creates meaning. Each by itself means nothing…”
Pieter T’Jonck
Artistic Direction
Vera Mantero
Performance and Co-Creation
Brynjar Bandlien, Loup Abramovici, Marcela Levi, Pascal Quéneau, Antonija Livingstone (now replaced by Andrea Stotter), Vera Mantero
jueves, 12 de junio de 2014
miércoles, 11 de junio de 2014
martes, 10 de junio de 2014
IDENTIFICAR x Pablo
RECONOCER < NOMBRAR < IDENTIFICAR
la línea también puede circularse
IDENTIFICAR < RECONOCER < NOMBRAR < IDENTIFICAR < RECONOCER
lunes, 9 de junio de 2014
Cuerpo Paradójico por José Gil
We know that the dancer evolves in a particular space, different from objective space. The dancer does not move in space, rather, the dancer secretes, creates space with his movement. This is not too different from what happens in theatre, or on other stages and in other scenes. The actor also transforms the scenic space; the gymnast prolongs the space that surrounds his skin—he weaves with bars, mats, or simply with the ground he steps on relations of complicity as intimate as the ones he has with his own body. In a similar way, the zen archer and his target are one and the same. In all of these cases a new space emerges. We will call it the space of the body.
It is a paradoxical space on many levels; while different from objective space, it is not separated from it. On the contrary, it is imbricated in objective space totally, to the point of being impossible to distinguish one from the other. The transfigured scene where the actor performs—is it not already objective space? Nonetheless, it is a scene invested with affects and new forces—the objects that occupy it gain different emotional values according to the actors’ bodies; and although invisible, the space, the air, acquire a diversity of textures—they become dense or rarified, invigorating or suffocating. It is as if they were enveloping things with a surface similar to the skin. The space of the body is the skin extending itself into space; it is skin becoming space—thus, the extreme proximity between things and the body.
...
Publicado en: TDR: The Drama Review 50:4 (T192) Winter 2006. ©2006 New York University and the Massachusetts Institute of Technology.
sábado, 7 de junio de 2014
de nacho correa sobre el miércoles 4 de junio
Estimados Episodistas!
Como hace tiempo no estaba conectado con el proceso que vienen haciendo de episodio/s ayer me dediqué a escucharlos y tratar de entender por donde vienen. Como para poder aportarles desde la imagen algo que pueda ser útil.
Les comento algunas cosas que tal vez puedan aportar:
En primer lugar y como no había visto nada de episodio II decirles que me parece los cambios en ep 1 están muy bien y que el ep 2 complementa muy bien al ep 1 en términos compositivos, cambia la historia le da otra rosca. Si bien no soy un experto es un recurso bastante utilizado en el lenguaje del comic, giros en la historia..
En ese sentido y tal vez no fui muy acertado (porque tal vez ya se superó ese tema.. no lo se) pero me encontraba mirando y haciendo paralelismos con el genero comic bastante seguido durante el ensayo y después al escuchar las consignas algunas cosas coincidian o más bien se acercaban a mis interpretaciones y otras no tanto.
Me quedo con dos cosas y son:
un cuerpo que ya no es mio y que no sabe que cosa es para que cosa, osea una transformación una potenciación de los diferentes cuerpos para ser otra cosa, (recurso tb bastante usado en el genero) creo que para hacerlo funcionar en términos de imagen y además zafar del contactismo, puede ser muy útil algo que se nombró que es componer el vacio (sin prefigurarlo ya que están imrovisando), es decir considerar que no solamente se forma esta imagen con los cuerpos sino con el vacio que los rodea. (un bicho de mil patas) Al ver esto en el momento imaginaba cierta mutación en los personajes.
La otra es la telepatía, en esto recuerdo lo que decía Diego, sostener las consignas. Porque comunicarse telepaticamente no parece algo sencillo, creo que si deben sostener el trabajo ahí. Me resulta dificil encontrar imágenes que representen lo telepático ya que obviamente no se ve, ni se escucha. pero establece relaciones y entabla me prece una especie de transe. Por lo que un poco siento que se contradice con eso de estar siempre improvisando, es decir creo que debería, para que se represente en imagen, ser menos caótico estar más en la representación del entendimiento...pfff . Creo que otra cosa que puede ayudar es que diego y nacho entren también en esa comunicación telepática para que el sonido apoye tb al entendimiento.
Por acá los dejo, si tiré fruta no la devuelvan.
Adjunto algunas fotos en donde creo que se ve algo de lo que hablamos. ... Aunque en general trato de tomar la foto cuando creo que la imagen está seguramente expresando algo. o cuando se alinean los planetas.
Perdonen pero no me dió el tiempo de trabajar las fotos así que van oscuras
les dejo un tema tb ;)
Gran abrazo
nacho
EPISODIO II rememoro
(I)
hago sin reconocer / veo sin identificar /
soy un ser de la lógica de los objetos, sin intención ni psicología
me junto a otros desde esta consigna y formamos un cuerpo
necesito mantenerme sin saber para que emerja la inteligencia colectiva de este cuerpo de todos
mi individualidad se pierde y mis bordes se desdibujan en este cuerpo de 10 manos, 10 pies, 5 cabezas
no saber es también olvidar para qué servía cada parte del cuerpo
la información recorre de forma caótica y no homogénea
el cuerpo llega a pausas y vuelve a moverse. hasta que llega a una que es la final. (por ahora pausa, para ayudarnos a identificar la transición).
(II)
aún estamos juntos (quizás en contacto) pero abandonamos el estado anterior
termina el borramiento de los límites y nos transformamos en cuerpos individuales pero abiertos a lo que está viniendo
¿cómo puedo obrar desde la telepática intuición de lo que ésta situación/persona/espacio necesita?
hay algo que está ahí y basta potenciarlo para que emerja pero no depende de mi decisión
la decisión pasiva de dejarme hacer por lo que una situación necesita
soy cuerpo telepático
a veces veo el futuro y obro en consecuencia
no intento imponer lo que me gustaría que suceda. descarto las "buenas ideas" si aparecen.
sólo acciono ante una necesidad inaguantable y expresa en una situación que aún no llegó, pero está a-venir
martes, 3 de junio de 2014
lunes, 2 de junio de 2014
domingo, 1 de junio de 2014
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