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

Heute bin ich Dodo... Oder Alex oder doch lieber Cay!

Fünf Personen schlüpfen in eine Rolle, tauschen ihre Identität mit Kopfhörern. Vor ihnen steht ein Fernseher, aus dem ein lustiges Guru-Gesicht mal Instruktionen gibt, mal mit väterlicher Stimme ihre Probleme kommentiert.

Als Zuschauer oder besser Mitakteur muss man jedoch keine Angst vor der interaktiven Situation haben. Man sitzt gemütlich auf seinem Stuhl und eine Stimme flüstert einem jede Handbewegung, jedes Wort ins Ohr. Was, wird an dieser Stelle besser nicht verraten, da man es einfach selbst erleben und entdecken sollte!

Nur soviel: Es ist unmöglich, nach einer Stunde den Raum nicht heiter und lachend zu verlassen!

Auch die Times findet: "hugely entertaining... This smart, mysterious exercise in programmed thinking and collective chaos is strange but exhilarating"

Von Miriam Althammer

10 Journeys to a Place where Nothing happens # 1

2005–2009

We, Taito and Juha, started to ponder this performance five years ago. The first notes date from the autumn of 2005. That is when Juha drove a few times to Kantele to plan it. The moose carcass was shot in November. In December we shot some pictures of Taito as a moose-hunter. The ground and the trees were white. We got a small grant for the planning of the project.

In 2005, Taito's first daughter was born and Juha's father died. When did Taito's father die? Taito became a moose-hunter after his father died, because he wanted to keep the rifle his father had made himself. For that Taito needed a permission to carry a gun, and for the permission he needed hunter's diploma.

In 2006, we made another performance together.

In 2007, Juha divorced.

In 2008, we wrote some emails, in order to find out if somebody would be interested in performance where nothing happens. Somebody was interested, but nothing happened.