Social Fictions II

Das Diskurs- & Performance-Happening übte sich vergangenen Sonntag in der Kunst des Protests.


Protest Literature

“Theater is a transformation of reality into fiction”. I had to think a lot about this sentence, said by Sanja Mitrovic at the Social Fiction Happening. Transforming reality into fiction means transform reality into a possibility of protest. The fiction of a reality allows a better one. I, too, like to believe in this utopia. Another sentence of Mitrovic was, as an artist, she wants to have an impact on our society like the suicide bombers of 9/11. How far can you go as a performer to have an impact on life? This question seems to be asked by many performances at the SpielArt Festival.

Von Melanie Pyschny

Sanja Mitrovic's talk Theatre as the existing – theatre as the possible

"People are protesting against everything nowadays: Wall Street, Nuclear Energy, Reconstruction of main stations, Educational Systems, Politics. But if you’re always against everything you can’t move anything forward. If you just keep shouting “No” reasons will obliterate. Protesting has become a part of our event culture, it’s free time activity, it’s random.
It might be dangerous: If you’re filmed and registered as ‘potentially aggressive’. Or you can lose an eye to a water cannon. In some places you might even get arrested and simply disappear.

But please... never stop protesting!
Show your opinion. Block. Discuss. Be part in something. Start thinking for yourself. Show. Shout. Be creative. Don’t stop changing the world."

Von Cornelia von Schwerin

In Social Fictions Lounge

Angela Aux & Dobré

Für ihn wurde eigens die Stilart "New Weird Bavaria" erfunden - Aber gestern zwischendurch auch ohne Loop-Station und Elektrobeat: Florian Kreier alias "Angela Aux".




"Do the Dobrè" heißt das Album - Münchner Folk-Rock mit "Dobrè" und Frontmann Joe Dobroschke.


Es sei erwähnt: Das Fest ging weiter... mit wilden Rhythmen und Salsatänzen, bedingt durch unsere kolumbianischen Gäste! Kaum einer konnte sich noch auf seinem Platze halten, wippte und wackelte im dampfenden Café.



Fotos: Simon Emmerlich

(In)Visible Theatre

Ein Polizeieinsatz wegen SPIELART? Ja, das war Freitagnachmittag der Fall. Obwohl Anna Estorriala und Johanna Ketola ihre Performances "Invisible Theatre" nennen, entdeckte die Polizeit die blau gekleideten Menschen auf dem Marienplatz, die Teil der öffentlichen Intervention waren. Sie falteten Decken, trugen schwer an ihren vielen blauen Einkaufstaschen und wedelten mit kleinen Fähnchen - auf dem Fischbrunnen stehend.
Mit diesen Alltagshandlungen, kaum bemerkbar, griffen sie jedoch ein in das rege Treiben des baldigen Christkindlmarktes, dessen Sicherheit durch künstlerische Darbietungen wohl nicht mehr gewährtleistet war. Trotz der 13 installierten Kameras und der Verstärkung der Einheiten.
So mussten die blauen Menschen von dannen ziehen.

Der Film WITHIN zeugt von den verschiedenen Interventionen im öffentlichen Raum, bei denen lediglich verschiedene Farben, Orte und Routen festegelegt und so zu einer Choreografie von bunten Körpern wurden. Gelb im Englischen Garten. Grün im Schelling-Salon. Und Pink an der U-Bahnstation Max-Weber-Platz. Manchmal wirken sie schon wie aus einer anderen Welt, einer Utopie, in der alles noch in Ordnung ist. Und dann sind es doch nur wieder Alltagshandlungen, die manchmal etwas verrutschen und durch den Gestus des Farbigen auffallen.

Von Miriam Althammer

The sound of silence

The one thing you should never do before attending a performance is reading the programme. (But you are more than welcome to do it afterwards). This applies to “Les Géomètres” in particular. The way they play with scenery and props does suggest they are at home in the visual arts scene. You get a poetic view on post-apocalyptic life on Earth. And if we succeed to retain at least some of Hyppolite Hentgen’s inventiveness and sense of humour, there might still be hope for humanity, after all.

Von Renad Melamed

Hippolyte Hentgen’s Les Géomètres looks like classical avant-garde theatre with the merging of actors and set decoration, and the attempt to unify visual and performative arts as done by Picasso and the Ballets Russes for the cubist theatre Parade. While this reference background applies to the inanimate geometric objects and the dancer representing the circle, the other figures – a six-handed man, a piece of chewed gum with furry feet, and a giant bear with flood lights for eyes – originate from the aesthetic of contemporary graphic novels. But the potential of this strong imagery has been relinquished by the eschewal of a narrative, the performance remaining static for the most part.

Von Katharina Knüppel

The lack of sound was the thing that spoke loudest to me. The silence of the piece apart from the noise of the scenery and characters moving meant that I became very distracted through the performance wanting and needing sound to be made. The piece felt like a piece of movement and therefore I couldn’t understand why there was no noise, even rhythm.

Von Gemma Sapp

The scene is a magnificent place where everything has a right to exist. To be realized. Paradoxically, freedom goes hand in hand with the limitations that arise as a result of drifting in a specific direction. The animation of matter on the scene intentionally initiates the creative process that they undertake. As a viewer, I am given a key to their world, to the newly explored dimension.

Von Tomasz Urbański

The actor who has six hands. The ugly, huge brain which needs to contact with a mountain. The bear who takes care about others. The little dancer with a face full of hair. The paintings in the background...

Von Iwona Rozbiewska