Henri Hütt & Algorütmid
Helilavastus “Cathexis” on meelelisi aistinguid ühendav, samas lahutav ja lahustav lavastus, milles kõik peale tähenduste saab oluliseks. Kuidas mõista meelelisust? Mis suudab geomeetriliselt tuttavates vormides tekitada üllatusi? Kuidas panevad ruumispetsiifiliselt kohandatud helid külastajaid käituma ning milliseks kujuneb grupitunnetus ja kaaslaste usaldus?
Helilavastus “Cathexis” tegeleb lisaks meeliste aistingute manipulatsiooni fookusele ka performatiivsele installatsioonile omase objektikeskse lavaruumi ja selle anatoomiaga. “Cathexis” on lavastusena väga omanäoline, otsiv ja eksperimenteeriv ning sobib kaasaegse kunsti vaatajaskonnale ja otsingulisust hindavale publikule laiemalt.
Henri Hütt on (etendus)kunstnik, kelle laia loominguspektrisse kuuluvad tehnoloogilise dominandiga etenduskunsti vormid, helilavastused, lavastatud näitused, kureerimine, kirjutamine, installatiivsete etenduste genereerimine ja muu tabamatu. Henri lähtub kestuses olemisest, sest kes palju teeb, see jõuab vähe ajalukku. Tema loomingulistest variatsioonidest leiab käesolevas kümnendis lavastusi, mis hõlmavad ja koondavad kõiki kohalikke teatreid ning etenduskunsti keskuseid, kuid leidub ka tühja ruumi mikrotonaalset värelust.
Abstraktsete rütmistruktuuride meistrite Mihkel Tombergi ja Roland Karlsoni erinevatest nägemustest sünnib omanäoline nüansirohke ja vastandeid siduv tervik, kus kohtuvad kõikvõimalike elektroonikastiilide variatsioonid. Algorütmide helikäekirja läbivaks lüliks on aga oma nime vääriliselt keerukad rütmitöötlused, mis pigem vabastavad raamidest, kui aitavad defineerida žanrikuuluvust. Nende elektrooniline helimuusika võib vastavalt valitsevale atmosfäärile olla nii ämbientlik sfäärides hõljumine kui ka saata nädalavahetuse peoakrobaatikat. Algorütmid on loonud muusikat paljudele Henri Hüti lavastustele ning sellest on omakorda arenenud koostööd helilavastuste vallas, millest nimekamad on aset leidnud Kumu Öö ja varasemate Üle Heli festivalide raames. Kunstnikena tegeleb kolmik seostatult kaasaegse etenduskunsti laiendatud väljadega ning helikunstile keha andmisega.
Kunstnikud: Henri Hütt, Mihkel Tomberg, Roland Karslon
Täname: Eesti Kultuurkapital
Kaasproduktsioon: Kanuti Gildi SAAL, eˉlektron
Helilavastus eksperiment on tasuta, vajalik eelregistreerimine Fientas
Sissepääs Sakala 3 küljeuksest.
Esietendus ja etendused:
12.12 17:00 ja 19:00
16.12 17:00 ja 19:00
Simona Gonella, Peader Kirk
WHERE DO WE GO FROM HERE
A 99 hour performance
After this moment ... or still in this moment. This long moment we are living in and living through. The moment. Here and now, changing every second, different for each person. Whatever it means, wherever it takes us … this moment asks questions. How do we get together, who are with us, how do we share what we have. Together. We don’t propose any easy answers but we want to struggle with the question. We feel the need to explore, to dig in with you. We need to exhaust ourselves in this digging, this diving in. Because there is work to be done. 99 hours. Being together, searching, establishing connection and staying connected, giving and receiving, watching, perceiving, listening. Non-stop. 99 hours. We walk on the edge happy to never say we’re done. Never say we are not done. Never say the game is over. We will perform for you non-stop. No let up. No giving in. A marathon. Never stop, never stop. 99 hours. We keep going, but you are free to come and go. Come and visit. Come and stay. Stay for as long or as short a time as you like. Come and see. Come and stay. Come and share. Please be our guest.
Simona Gonella is a freelance director and dramaturg with a specific interest in contemporary plays, adaptation of classics, devising works and performing arts. She is a passionate teacher and traveler and she often does the two things together (at RADA Royal Academy of Dramatic Arts in London, at FIT festival in Lugano, at Drama School in Milan, at ERT Drama School in Modena, among the others). She's been directing shows in Italy, UK, Romania, Spain, Switzerland. As a dramaturg she works with the Switzerland Company Trickster-p, (world wide tour installations .H.G., B., Twilight, Nettles and Book is a book is a book) and with Italian director Carmelo Rifici (most recently on an original version of Macbeth and a brand new work on Galileo Galilei and questions about science is about to come). Dino Audino publishing has recently released her “Introduzione alla regia teatrale”, a handbook for directors. She’s also a professional counsellor, and works as a coach and trainer for various international companies.
Peader Kirk is an artist and director working in the fields of performance and sound art. His work has been shown at The Southbank Centre and The Institute of Contemporary Arts in London, The National Theatre of Greece in Athens, Academy of Fine Arts in Turin and The Hong Kong Repertory Theatre. The scale of the work ranges from intimate encounters in small rooms to large-scale public works in the urban environment. Peader makes work that engages directly with communities to ask questions about how we meet amidst difference and how we create change.
Peader also works with The BBC as a part of their development programme for new writers and as a mentor for emerging artists with hÅb, Manchester. While continuing to work with Mkultra Performance which he formed in 2000, Peader is also working with artists in the emerging field of Hip Hop Theatre and has directed work in this area for The Albany Theatre, London; Contact Theatre, Manchester and on national tour. Peader's most recent academic publication was “The Performative Museum and the site constructive work of Mkultra" in Performance Research Journal published by Routledge.
The MA in Contemporary Physical Performance Making (CPPM) is a ground-breaking course that takes postgraduate education out of the classroom and puts practical experience with world-leading makers of performance at the heart of the learning process. Students work alongside some of the most exciting directors, choreographers, performance artists and performers to further your own creative practice through active collaboration, devising and performance. CPPM accepted its first 16 students from 10 countries last summer and since then the quest artist teaching on the course include Tadashi Endo (Japan/Germany), Eddie Martinez (Wuppertal Tanztheater Pina Bausch, Germany), Kasper Vandenberghe (Jan Fabre Troubelyn, Belgium), Ryen Perkins-Gangnes (Gecko Teater, UK), Yorgos Karamalegos (Physical Lab, Greece/UK), Stacy Makishi (Hawai), Marilena Dara (Jasmin Vardimon Company, UK), Agnieszka Mendel (Poland), Will Bond ja Stephen Webber (SITI Company, USA), Guillaume Pige (Theatre Re, UK), Simona Scholari (Italy), Iona Kewney (Scotland), Ana Sanchez-Colberg (Greece), Giacomo Veronesi (Italy), Imanuel Schipper (Rimini Protokoll, Germany), Anne Türnpu, Madli Pesti, Maret Mursa, Anna Ranczakowska, Marin Johnson, Lilian Reinmets, Anne-Liis Poll. The course director for CPPM is professor Jüri Nael.
More info: www.mastersincppm.com
Directors: Simona Gonella (Italy) ja Peader Kirk (UK)
Creators-performers: students from MA in Contemporary Physical Performance Making (CPPM): Agnes Oberauer (Austria), Iveta Pole (Latvia), Joonas Tagel (Estonia), Keithy Kuuspu (Estonia), Lea Sekulic (Croatia), Liisa Saaremäel (Estonia), Marshall Stay (Australia), Martina Buhagiar (Malta), Paolo Panizza (Italy), Ragnar Uustal (Estonia), Seren Oroszvary (Australia), Simona Medolago (Italy), SeoHwon Ji (South-Korea), Sylvia Köster (Estonia) and Giacomo Veronesi (Italy).
Assistant director: Giacomo Veronesi (Italy)
Designer: Emer Värk
Composer: Eduardo Agni (Brazil)
Light Designer: Priidu Adlas (Estonia)
Sound: Raido Linkmann (Estonia)
Video: Mikk-Mait Kivi (Estonia)
Costume: Moonika Lausvee (Estonia)
Project Management: Maarja Kalmre
Producers: Jüri Nael and Liina Jääts
Co-producers: Estonian Academy of Music and Theatre, Kanuti Gildi SAAL, eˉlektron
The Project is supported by Estonian Cultural Endowment and European Union via European Developmental Fund (EMTASTRA).
The show takes place at EMTA concert- and theatre house from September 1st 19:00 till September 5th 22:00.
Dancedemic – Livestream Program
Battery Dance Festival Established in 1982, the 39th Battery Dance Festival is New York City’s longest-running free public dance festival. Register for free to receive bonus content and updates on all the exciting programming. https://batterydance.org/battery-dance-festival/from-battery-dance/EmotiBit EmotiBit is a wearable sensor module for capturing high-quality emotional, physiological, and movement data. https://www.emotibit.com/ Global— Monday, August 17, 2020 — Art-A-Hack 2020 Special Edition Covid-19 “DANCEDEMIC” premiers on Friday August 21, as part of the 39th Annual Battery Dance Festival – live at 11:30 am EST on https://artahack.elektron.live/, and with a YouTube replay at 7 pm EST. “DANCEDEMIC” is sponsored by U.S. Alumni TIES/World Learning and ThoughtWorks Arts, Battery Dance, EmotiBit, and eˉlektron, based in Tallinn, Estonia More info: https://www.facebook.com/events/683339095726350/
With pretty much entire planet locked down, human interaction, socialising and energy transfer between each other does not work the way we know it. With performing arts venues and theaters shut down the audiences and performers found themselves from a situation they’ve never encountered before. All of a sudden only option (and is it really?) was Facebook live where performers are performing to the void and the audiences became lonelier than ever before. The basic properties which enabled the performance to happen were taken away and the energy exchange between the performers and audience was set to zero. That loss is why elektron.live was born. After two intense weeks we were able to create an online environment where people could enter the virtual venue, leaving their webcams on and be visible for both the performers and other viewers. Inventing and building elektron.live saved us from cancelling our first Festival Of Spooky Action At A Distance. Unlike other performing arts venues and festivals we were able to keep our promises to our audience and the performers. The event was a success with more than 3000 visitors and hundreds of people leaving their webcams active creating one virtual collective.
It was after the Festival Of Spooky Action At A Distance that we realized, that the platform could be something more than only a way of demonstrating performers and audience to each-other. We have never had a medium before where there is an live interaction on both sides of the screen simultaneously! Besides managing to hold the festival we also learned that performing arts online could never be the same as we know it from real encounters. Its not theater and its not TV nor its a vlog. With the invention of a new virtual space we also have to invent a new kind of performing arts. And that is something that really boosts our curiosity in what to look for in the future. A whole new world in arts!
Much like the first movies at the turn of 20'th century were just recordings of the theatre performances, until now the online shows in internet are copies of the shows made in real life. Despite having internet for many decades, we are still inventing this medium for performing arts. It took Dziga Vertov and his "Man with the movie camera" to make movies look like movies. We are now creating a tool for artists to do the same for the online performances.
elektron.live is created by e⁻lektron team together with Stepan Bolotnikov and Babahh Media.
Romeo & Julia #5
Most of the information we experience is saved into the sensory memory without us becoming aware of it. The eye is a powerful sensor – the brain receives so much visual information at a such a high speed that we remain, at first, unaware of most of the processing going on in the visual cortex – the association cortex starts the interpretation process with a slight delay.
It is possible, by presenting the visual information at a very fast rate, to stimulate the imagination of a person and to store subliminal information in them. Then, it is possible later, by stimulating this unconsciously stored information, to provoke emotional reactions in them.
But how is the knowledge about the neurological specificities in humans and about the filter of conscious and unconscious related to Romeo and Juliet? The story of Romeo and Juliet is an excellent material for experimenting with these processes. The same way that the fate of Romeo and Juliet was influenced by the processes beyond their control, we are influenced by the invisible processes hidden in the shadow inside ourselves. We know what happened in the 5th act of the famous play by Shakespeare (and if not, it is possible to look it up). But what are the cognitive processes this story will activate? That we don't yet know.
It is possible that this subliminal experience will become a recognisable narrative. But it is also possible that something else will happen, something unexpected. This defines the interest in experimenting with subliminal experiencing. We are not standing on a solid ground, neither will the spectator. We are all chasing after the will-o'-the-wisp and no one knows before the performance whether it'll be there this time or not. What was it, there on the edge of the peripheral vision? Don't know, might be the heart beating too hard…
“Romeo & Julia #5” toovad lavale Taavet Jansen, Andres Tenusaar, Hendrik Kaljujärv, Henri Hütt, Mailiis Laur, Rommi Ruttas, Daniel Irabien Peniche, Bohdana Korohod, Kalle Tikas, Aleksander Väljamäe, Maike Lond ja Kaie Olmre
Co-production: eˉlektron, Kanuti Gildi SAAL
Supported by Estonian Ministry of Culture
Premiere: Baltoscandal festival July 1st
Etendused Kanuti Gildi SAALis 12, 15, 16 ja 17 oktoober 2020
land[e]scapes 4 - redistribution of wealth by nature
The series investigates the performativity of environments while aiming to create the circumstances for a poetic experience inspired by nature.land[e]scapes stand in the tradition of landscape-art, showing natural environments disconnected from their context. Aiming to preserve existing natural phenomena for future generations. Imagining future nature for a contemporary audience to reflect on the impact they have on their surrounding. land[e]scapes stand in the tradition of electronic arts, exploring electronic environments that are now common but used to be called future when we were young. land[e]scapes aims to preserve the wild of nature because we will not fight to save what we don’t love. land[e]scpapes 4 - redistribution of wealth by nature [working title] is a researches in the treatment of wealth within nature and society.
The rainbow, one expression of natures riches, functions here as a departing point. The research focuses on the state of society within a system that nurtures and urges for consummation and multiplication of possessions. Where one wants, desires and expects. All the while time is flying by.Through the use of saturation in colour and sensorial stimulation, the work aims to create spaces wherein thought can flow freely, unhindered by conventions and habit. Spaces that challenge ones perception of reality and dream alike.
Concept: jan fedinger
Muusikaline kompositsioon: invader_rui
Dramaturg: christina flick
Sound dramaturgy: david kiers
Assistence: Grischa Runge
Production: Standplaats Utrecht
Stamsund internasjonaler teater festival
Thanks to: BUDA Kortrijk, CCNCN, Caen
Premiere: 21 may 2020 - SPRING Utrecht festival
22 may 2020 – SPRING Utrecht, NL
29 may 2020 – Stamsund internasjonale teater festival, No
19 – 22 oct 2020 – e‾lektron Tallinn, EE
AIBO: An Emotionally Intelligent Artificial Intelligence Brainwave Opera
You Will Be a Dancer!
Taavet Jansen, Liis Vares and Aleksander Väljamäe
Experiments of neurochoreography