1.07.20 Virumaa Teataja Romeo, Julia ja eˉlektron kompavad tajupiire

Baltoscandali avalavastusena esietenduv rühmituse eˉlektron “Romeo & Julia #5” seob etenduskunste ja teadust ning kutsub vaatajat katsetama teadvustamata kujutluspiltide kaudu emotsioonide esilekutsumise võimalikkust.

Juuni 2020 Teater. Muusika. Kino. Kadri Sirel –   e¯lektroni „Kõheda vastasmõju festival” 3.–5. IV 2020

Virtuaalne sügisball

27.05.20 The story of Digital Culture in Estonia How Estonians reinvented the performing arts

Today, almost any culture anywhere is either produced, distributed or consumed in digital format. This blog brings you the most interesting stories about the state of digital culture in Estonia, to celebrate the Year of Digital Culture 2020. This story is about elektron.live.

19.05.20 Postimees Isolatsiooniaja teater: kodus ja kohal

Ott Karulin: “Kui eriolukord välja kuulutati ja oli selge, et senisel kujul ei saa mitu kuud etendusi anda, tegid Eesti teatrid kaht asja. Esiteks lubati lavastajad ja näitlejad kodutööle, et nad saaksid lõpuks ometi teha kõike seda, mida on tehtud mujal ja milleks tavatöö kõrvalt aega ei jää.”

11.05.20 Postimees Parem, kui poleks seda näinud…

Jaak Allik: “Möödunud reede õhtul internetis (elektron.live) esitatud aktsioon «Eesti teatri päästmine» tõi paratamatult mällu Francisco de Goya gravüüri «Uinuv mõistus sünnitab koletisi».”

10.05.20 Eesti Päevaleht „Eesti teatri päästmine”? Pigem muhe teatri aseaine

Keiu Virro: “Reedel üheks korraks inimesed ekraanide ette toonud aktsiooni pealkiri viitas päästmisele, aga sisu tähendas pigem võimalust meenutada elava teatri võlu.”

09.05.20 Ott Karulini blogi “Susurrus” (Renae Shadler, Maria Nurmela, Series of Spooky Live Actions at a Distance, elektron.live)

Ott: “elektron.live on kõigi eelduste kohaselt parim asi, mis isloatsiooniajast Eesti teatriväljal sündinud.”

17.04.20 Sirp Kuidas ma festivalil käisin

Urmas Lüüsi arvustus Kõheda vastasmõju festivalile – Enamik eˉlektroni festivali aktsioone ei olnud vaid vormimängud, eksperimendid ehitati üles lähtuvalt meediumist. Kõik see sillutab teed uutele käsitlustele.

How to invent normality?

First published at Teater Muusika Kino, April 2020. Original text: https://www.temuki.ee/archives/2262

This article was meant to be an overview of the creative programme by the artist collective e¯lektroni. Nevertheless, it still remains an overview, but with a correction stemming from the fact that the world changed. It has now become impossible to expose, with the same conviction, the ideas which only a few months ago seemed highly relevant. We cannot be sure that anything we had projected will have any meaning in six months from now.

Nonetheless, we cannot be sure in the opposite either – that this meaningfulness will disappear. May be that the only reasonable thing to do is to volunteer for the emergency services or start training to become a paramedic. Considering the reality at hand these are some of the very meaningful moves to make. But maybe there is also a possibility for some other kinds of viable activities, with less frontal leverage, to survive. One of the utmost important things is to preserve (or reinvent) normality, even when the framework of the normality so far has been scattered all over the place with the rest.

Meaning that, instead of discussing the creative programme here, it makes sense to talk about the overall focus of e¯lektron. About something unchanged despite the changes in the world. So it happens that e¯lektron, which was founded on MIMproject, still represents the mentality based on the principles of adaptability, flexibility, reactivity, and an ability to dodge the established centers of gravity. The current state of the world places e¯lektron in a situation where our main question is – are we able now, when the social structures surrounding us are tumbling down like skyscrapers of the final sequence in «Fight Club», to do something in which the founding principles of our identity remain recognisable in a practice-wise manner?

When e¯lektron made the very first announcement of its existence, the public email we sent out consisted of the following self-description: «eˉlektron is a halfway virtual, halfway physical platform that connects exploratory activities of performing arts and science. eˉlektron’s core is in collaboration between artists and scientists. They work together in the format of a creative laboratory and try to do something which neither could complete without the other. Tools and prerequisites can be different, but the main driving force for both the scientist and the artist is curiosity. It binds.»

Science has always seemed to bystanders an abstruse playground for geeks, where people spending their lives reading books carry out abstract experiments only remotely related to real life. According to general perception, those experiments will one day for sure result in something useful, but the process towards that end is slow, arduous and does not actually interest anyone. Now suddenly, everybody is able to see that there is nothing more immediately connected to real life than science. If science is able to come up with a vaccine and a cure, then there will be unfolding one kind of reality. If not, there will be unfolding a different kind of reality. And no one wants the latter.

The plans by e¯lektron to start building a practicable bridge connecting science and arts remains relevant. Simply, it is no longer an option, but has become a necessity. We are looking for different kinds of answers to different kinds of questions now. There is a need to alter the questions as well as the answers to them, but the principle remains the same. We were not interested in focusing on pure expression. That remains the same. It is important for e¯lektron to deal with problems which do not have one good solution.

So far the basis for making art has been for us about free choice. Even the one-time project «MIM Goes Sustainable», which was focusing on the questions about the pollution in the world and whether it is possible to generate energy to sustain oneself, was still just an option. We may have as well lost these kinds of privileges. The importance of the inevitable questions has become aggressive. There is no possibility for postponing them, for putting them on hold. e¯lektron is not engaging in interpretation of what is happening around us (yes, of course, it remains an option). The key task that needs attention right now is to invent something new we could put in practice. There is a need for creating an “additional handle” we could hold on to.

We have started the process of inventing this kind of a handle due to the current situation in which it is no longer possible to hold a festival where the audience sits in the performance space. We thought: alright, if the audience cannot enter the space, maybe it is possible to enter somewhere else? How about meeting the performer online, how about forming a virtual audience whose presence would activate the performer in the exact way it’s needed. We started to work on such a solution and, before we could even realise, we had joined the hackathon «Hack the Crisis» organised by Garage48. It’s a development-in-process and we are hoping to get our festival of Spooky Action at a Distance bidirectionally online. And then all the artists wishing to have eye contact with their audience can make use of this platform.

When we will have succeeded in this, we can proceed with next matters in line. The idea of the collaboration between the artist and the scientist was the foundation of our programme and has by now clearly redefined itself, but most likely this essential question to the art-science scene has actually gained relevance. We were aiming to search for solutions to this issue and there is still a need for that. In short, there is nothing new in artists borrowing from science the more interesting or aesthetically striking research outcomes and incorporating them into their work. This is useful to the artist, because science is able to produce, thanks to high tech instruments, very distinctive and seldomly accessible experiential material. As the artist is not limited by the strict rules of science, they can create according to their desire an impactful artwork out of this material. The question we should be asking is – what’s in it for the scientist? It is not a question about utility or benefit. If the artist is getting an interesting experience while doing their work in this setting, then the scientist should too. But it is quite common that the artist is not inviting the scientist into the game – whether they don’t want to or rather they don’t know how. There is no sense in accusing the artist of doing so, because it is not easy to access science and a collaboration with science needs long and in-depth preparations. The people in e¯lektron have been for a good while connected to the periphery of the art field and at the same time teaching in the context of university-level education. It has not been enough for us (and this remains unchanged in the new reality) that the scientist becomes a beneficial scenery when entering the art context. The scenery cannot have an interesting enough experience. And while the scientist is not getting an interesting experience out of this setting, then we can be fairly sure that the most interesting interdependencies and developments will not emerge. The artist needs the active presence of, the intervention by the scientist, as well as that of the scientist themself wanting to be creative in this process.

But currently the question is not anymore only about the interest. Now we need to move on to the invention corresponding to a necessity. What will be needed the most, we don’t yet know at the moment. The world is changing day by day, and the moment this story gets published the topics that seemed relevant at the time of writing about them might not be rising to the surface anymore. e¯lektron is making the assumption for the time being that a scientist is better equipped to recognise the actual necessities – and many of them are currently implemented in this process of recognition. A virologue is unable to model viral disease dynamics without math etc. When everything becomes unstable, then the systematic approach of science is one of the best possible methods for understanding the occurring situation.

Is there something that will probably not change in the context of this massive unstability? It will be most likely the need to preserve normality. And there will presumably still be a need for a bridge facilitating the comprehension of the course of science-led problem solving, for a mode of expression using a more common language than the scientific terminology. At the same time, without reducing and simplifying the latter. e¯lektron continues to see its field of action in building this bridge.

One of the main working formats projected by e¯lektroni was artist residency – a platform for collaboration between artists and scientists where they could explore some kind of an intellectually appealing and inspiring phenomenon. We are not taking this opportunity down. There is still need for this kind of practice-based collaboration and the opportunity for adding up experiences, simply we need to make decisions about the use of our resources and what will be put on hold. The coming days will bring clarity about the range of the change in the direction of our programme. Also the clarity about what is needed for maintaining the arts scene in general and how it will reach the audiences in this changed reality. What remains of our programme is only a structural grid, but the principles we work with are unchanged. e¯lektron will continue inventing, even if there is a need to reinvent the invention itself.

ANDRUS LAANSALU. Translated by Nele Suisalu


nr 96 – aprill 2020 Tantsu KuuKiri Eesti esimene eriolukorrast sündinud teatrifestival

Uue etenduskunstide platvormi eˉlektron eestvedamisel toimus esmakordselt rahvusvaheline ja virtuaalne Kõheda Vastasmõju Festival, kus osalesid etenduskunstnikud Eestist, Venemaalt, Jaapanist ja Norrast.

4.04.20 KUKU Publikumärk Publikumärk 2020-04-04

Laupäevane publikumärk räägib sellest, kuidas toimub kultuurielu, kui teatrid-muuseumid on kinni ning kontserte ega inimeste kogunemisi üldse ei toimu. Saatejuht on Liis Seljamaa.

3.04.20 AK kultuuriuudised Kõheda vastasmõju festival kultuuriuudistes

Henri Hütt, Veiko Tubin alates 26:50.

3.04.20 ERRi kultuuriportaal Teatriprojekt e¯lektron kolib avahooaja festivali veebi: lööme palli lahti ja vaatame, kuhu ta põrkab

Uus loominguline teatriprojekt e¯lektron pidi aprillis avama oma esimese hooaja Kõheda vastasmõju festivaliga Kanuti Gildi SAALis. Eriolukorra tõttu oleks festival pidanud ära jääma, aga korraldajad otsustasid festivali tuua publiku juurde otseülekandena. Rühmituse liige Taavet Jansen rääkis, kuidas nad pea päevapealt oma plaanid ümber tegid ja mida võib festivalilt sellises vormis oodata. Küsis Liis Vares.

3.04.20 Журнал «Театр.» Театральный фестиваль «Жуткого взаимодействия на расстоянии» пройдёт с 3 по 5 апреля

Фестиваль «Жуткого взаимодействия на расстоянии» проведут в двусторонней трансляции на странице творческой платформы e¯lektron в Таллине.

3.04.20 rus.err Фестиваль “Жуткое взаимодействие на расстоянии” пройдет в форме двусторонней трансляции

В пятницу, 3 апреля, творческая платформа e⁻lektron откроет свой первый сезон фестивалем “Жуткого взаимодействия на расстоянии”.

3.04.20 Delta, Klassikaraadio Pealelend – Maike Lond Malmborg,e⁻lektroni üks eestvedajaid

Põhieesmärk oli kinni püüda vähemalt mõned praegu teatrile kaotsi läinud põhiomadused ja taasluua need virtuaalses esituskeskkonnas.

2.04.20 Delta, Klassikaraadio e⁻lektron korraldab Kõheda vastasmõju festivali

3.-5. aprillini toimub Kõheda vastasmõju festival, millega avab oma esimese hooaja loominguline platvorm nimega e⁻lektron. Virtuaalses esituskeskkonnas toimuvast sündmusest räägib Taavet Jansen.

1.04.20 Eesti Ekspressi Areen Toidublogi: Maike Lond Malmborg

Kõheda vastasmõju festivali puhul on toidublogis Maike Lond Malmborg, e⁻lektroni eestvedaja.

30.03.20 Postimees Mis asi on e‾lektron?

e⁻lektroni eestvedaja Maike Lond Malmborg ütleb, et maailma tabanud koroonakriis sunnib väga konkreetselt oma mugavuspositsioone revideerima ja enda käest küsima, et kas sa päriselt ka arvad, et sellist asja on praegusel ajal vaja teha.

30.03.20 ERRi kultuuriportaal Platvorm e‾lektron: mis saab teatrist ilma teatrita?

3. aprillil avab loominguline platvorm e‾lektron oma esimese tegutsemishooaja Kõheda vastasmõju festivaliga, mis on kolinud üle veebiruumi.

16.03.20 Eesti Päevaleht Kuidas tulevad eriolukorraga toime Eesti teatrid?


Eriolukorra tõttu jäävad ära just kõige aktiivsemate teatrikuude märtsi ja aprilli etendused.

10.03.20 ERRi kultuuriportaal Loominguline platvorm ēlektron avab oma esimese hooaja Kõheda vastasmõju festivaliga

1. aprillil avab loominguline platvorm eˉlektron oma esimese tegutsemishooaja Kõheda vastasmõju festivaliga, kes esinevad Hiroaki Umeda, Eesti Elektroonilise Muusika Seltsi ansambel EMA, dr Aleksander Väljamäe ja Iggy Lond Malmborg.

11.03.20 Postimees Eestis alustab uus teater

1. aprillil avab loominguline platvorm e¯lektron esimese tegutsemishooaja Kõheda vastasmõju festivaliga. Lauri Lagle kõrval oli just e¯lektron see, kes sai kultuuriministeeriumilt Sakala 3 konkursi lõppedes rahalist toetust.

19.06.19 ERRi kultuuriportaal ēlektron Sakala 3 konkursil: pakkusime teaduse ja kunsti sünteesi

Eksperimentaalse teatriprojekti eˉlektron liikmed Maike Lond Malmborg ja Taavet Jansen seletavad lahti, mis asi on eˉlektron ja mida Sakala 3 konkursil pakuti.

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