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Obstoječi uporabniki: prijava

NOVA DELAVNICA V OKVIRU PROJEKTA NOMADI LEPOTE - prijavite se!

V okviru mednarodnega Evropskega projekta Nomadi lepote Mini teater in Novo Kazalište Zagreb organizirata novo delavnico (work shop)!

 

V okviru projekta oz. predstave Žalost, črna žival v Mestnem gledališču Ljubljanskem (MGL) v režiji Ivice Buljana v sodelovanju s hrvaško dizajnersko skupino Numen Novo Kazalište Zagreb in Mini teater pripravljata novo delavnico oz. workshop za vse zainteresirane ...

 

Delavnica bo potekala med 26.1.2013 in 1.2.2013 v Mestnem gledališču Ljubljanskem.

 

Vse zainteresirane seveda vabimo, da se udeležijo delavnice oz. da v primeru interesa javijo oz. potrdijo svojo udeležbo na info@mini-teater.si ali na 041314414.

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DODATNE INFORMACIJE

WORKSHOP BRIEF "BLACK BEAST SORROW"

 

The play is set up as a triptych - the picnic (1), the cataclysm(2), the city (3) - and scenography will follow its tripartite structure entirely. The material we decided to use as a leitmotif in solving the story visually is transparent plastic water soluble film (Polyvinyl alcohol film, PVA). 

1.       In the first part, the PVA film is strapped on frames that enclose the 'innocent' looking picnic area, serving as an actual and metaphorical membrane - a thin layer of order and denial protecting the reality of the protagonists from the constant proximity of horror. The space behind the membrane is continually filled with smoke ensuring that the film appears solid and white throughout the first act. At the onset of the cataclysmic event, the film is gradually dissolved under showers of 'acidic' rain, in a manner reminiscent of the blistering, rippling and peeling of burnt skin.

2.       The growing perforations in the membrane permit the accumulated smoke to penetrate the 'ground zero' of the former picnic area and allow the actors to retreat into the dark primordial soup beyond limits. During the unfolding of the second act, we will use video projections and light effects such as stroboscope, UV-light and lasers to suggest the dramatic, almost (al)chemical transmutation of the characters brought to their psycho-physical melting point by the sheer forces of horror, and to conjure up the 'repressed beast' of natural chaos that suddenly rose from within and without.

3.       In the third and last act, which is preceded by a short technical break, the scene returns to the strictly delineated, sanitized and safely structured world of the solid white cube interior. 

Serving as a clinic, hospital or an art gallery, this environment is a hard and empty protective shell - a limited sector of civilized survival. 

Its specific state of heavily conditioned limbo can perhaps be redeemed through the saving power of sublimation through art. The artist, Oscar, wrapped in the liquefying, placenta-like remains of the PVA film will become a token of potential consolidation and rebirth.

 

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The preliminary task for the participants in the workshop is to try and think of the strong and disorienting imagery to be projected onto the smoke in the second act. 

The visuals should correspond to the reptilian depths of human subconsciousness, to primal fears, death drive and the overwhelming rawness of nature. 

Radically different visual interpretations of the second act are also welcome (especially if backed with convincing argumentation).