All fans of contemporary performing arts can mark 5th-10th of September on their calendars – Arts Printing House has prepared an exciting programme of New Circus Weekend’17 festival. Not only has it performances in various circus genres and venues, but a special celebration as well. Together with one of the strongest contemporary circus country – Finland – festival will be celebrating its 100th Anniversary of Independence. Finnish Embassy in Vilnius is partnering up with Finnish Institute in Estonia and helping Arts Printing House to present one of the most interesting circus performers from Finland this year.
International contemporary performing arts festival NEW CIRCUS WEEKEND'17 | 5 - 10 September
5 (Tuesday) 18.00
MOSH SPLIT | SISUS (Finland)
duration 60‘ | admission free
creators and performers Iida Sipilä, Inka Pehkonen, Milla Lahtinen, Rosa Tyyskä, Sofia Daniel
"Mosh Split" is a show that revolves around a crazy camper car, flexible legs and high flying acrobatics. The show is distinguished by its variety of high level circus disciplines including two simultaneous swinging trapezes, chinese pole, Cyr wheel, partner acrobatics and a Washington trapeze. Absurd and bewitching at the same time, the performance is an incredible experience - an incredibly Finnish experience. The circus skills of the five women, the winning energy as well as a decent portion of humour - this is "Mosh Split".
Sisus Sirkus is a Finland based circus company of five women. After spending over a decade doing cartwheels and surviving life with the cuteness- card, they are finally at the point where they are ready to step up on to the stage together! All the members of the company have graduated from Lahti Circus School in Finland. They met each other over 10 years ago at Linnanmäki Youth Circus
5, 6, 7, 8 d. | 20.00 | yard
9 d. | 20.30 | yard
Absolute | Cie Les Choses de Rien (France)
in a metal circus tent „Silo“ | duration 80‘
author & perfomer Boris Gibé, Dramaturgy Elsa Dourdet | choreography Samuel Lefeuvre and Florencia Demestri, | technique team Quentin Alart, Florian Wenger, Bertrand Duval | scenography Clara Gay-bellile & Charles Bédin | coach bird Tristan Plot | textile & costumes Sandrine Rozier | light John Carroll | sound design Olivier Pfeiffer.
L'absolu is a show going through numerous attempts to free the individual entangled in moral, slowing down the body and obstructing human desire. « L'absolu » is a poetic investigation deep in the psyche of beings, replacing desire at the heart of our lives in the purity of the present moment. This quest induces a trial, a re-invented myth where the individual is in conflict with himself, his gods, his demons, his dark side and his bright side. Absolute for it is elusive to whomever whishes to master it. But if this desire is not identified, transcended, it creates symptoms, sometimes triggers collective « Hysteria »... Sparking the catharsis of bodies and invoking Greek tragedy codes in our contemporary societies.
Since 2008, all along, this project has carried the question of perception of the audience and it context. It has been the wish of Boris Gibé to work with a vertiginous structure offering a physical experience to the audience. « Like in an anatomic theater, I wanted the performances to be seen from above, in a circular pattern, in order for the audience to be in a superior position overlooking the fate of the character on stage ». The Silo, is a circus tent made out of metal sheets, 9m diameter, 12m height and for fitting about 100 seats. Inside, around the stage, two sets of stairs spiral up reaching 4 levels, each step hosting a spectator.
In that well of imagery questioning abyss, nothingness, infinity, researches tend to lead us toward a connection between the bodies and the elements, magnetic fields, static, particles, water, fire and matter become allies on stage, carriers, a kind of interface between space and the choir /spectator. A mirror on the floor and optical illusions will be the partners for the lightings to better play with our perceptions. A flying crow in this court will embody both the judge and the executioner. High acrobatics on thought up circus equipments, as well as contortion will be put into choreography in an extreme physicality approach of the movement. Les Choses de Rien is an association based in Paris, which has been supporting and producing the work of Boris Gibé from the beginning.
6 ( Wednesday) and 7 (Thursday) 18.30 | black hall
ALL THE FUN | Compagnie Ea Eo (France/Belgium)
by and with Jordaan De Cuyper, Sander De Cuyper, Bram Dobbelaere, Eric Longequel, Neta Oren | directing coach Johan Swartvagher | juggling coach Jay Gilligan | light design David Carney | music David Maillard | scenography boijeot.herbach.renault | stage technician Rinus Samyn | booking Manager/Production Laure Caillat | production Pol&Freddy vzw, Association Ea Eo
All the Fun is a strange and liberating juggling ritual, which attempts to answer the existential questions using industrially produced plastic objects. The underlying message is as unclear as possible, so that the artists themselves do not know if there really is a meaning, or if it's all just a joke told in a language that no one understands.
Ea Eo is a juggling company founded in 2009. Juggling and lame jokes are the two languages that are central to the work of the company. We perform to talk about everything and anything with this particular vocabulary.
7 (Thursday) 17.30 and 10 (Sunday) 17.00
PELAT | Joan Català (Spain)
Solo performance | duration 40‘ | admission free
Idea, direction and performance Joan Català | external view Roser Tutusaus, Melina Pereyra, Jordi Casanovas, David Climent , Pablo Molinero(Los corderos)
PELAT is silence, expectation, strength, tension, and magical, spontaneous participation. It is an original performance combining dance, theatre and circus. Pelat is a proposal that erases the boundaries between dance, circus, theater, and performance: between audience and the show. A natural review of handcrafted techniques and own memories. A changing and unique sample as a result of the interaction with the audience. This unique performance is based on the study of the body, movement, people’s behavior, craftsmanship and traditions. Is a dialogue between human been and object and from a gesture it is intended to leave space to the imaginary in order to share experiences and responsibilities in an evanescent ritual.
Joan Català was born in Barcelona and describes himself as a curious observer interested in the plastic and movement arts in which the body and/or the objects are communicators. Joan understands the scene as a space for dialogue between humans, objects and the environment where game and work melt together with the tools, experiences and ideas that each of us bring. Joan trained in contemporary dance, physical theater and clown with different professionals. In 2012, Joan starts to develop its own perspective around scenic arts focused on street and urban landscapes. The result is the show PELAT, premiered at 2013 Fira de Tàrrega.
8 (Friday) 18.30 and 9 (Saturday) 18.00 | black hall
LA COSA | Claudio Stellato (Belgium)
N9 | duration 55’
choreographer Claudio Stellato | performers Julian Blight, Mathieu Delangle, Valentin Pythoud, Claudio Stellato | stenographer Nathalie Maufroy | production & management Nathalie De Backer
The Thing (la Cosa) stages the connection between four characters and a giant pile of wood. Through an intense and rhythmic physicality that pushes the limits of the body, the four men on stage proceed to shape and destroy the pile of wooden logs. Between chain play and ritual following, la Cosa reflects on the basic bond between man and nature.
Born in Milano in 1977, Claudio Stellato is a multidisciplinary artist who lives and works in Brussels. He first trained as a jazz musician at the Scuola Civica Jazz in Milan while working on street theatre. He then travelled and trained for several years in theatre and circus in different countries before entering Le Lido, Centre for Circus Arts in Toulouse in 2001.
From 2004 to present day he has collaborated with several theatre and dance artists and choreographers, among whom are Cie Kdanse, Olivier Py, Roberto Olivan, Cie Arcat, Fré Werbrouck, Karine Pontiès, la Crida Company and L.O.D. In 2010 he won two contemporary dance solo contests with his show 240d.
9 (Saturday) ir 10 (Sunday) 14.00 | forest
The Forest Project | Duo Kamppi & Roihu (Finland)
a project combining contemporary circus arts and the forest | 18+ | duration 60'
idea and performance „Duo Kamppi & Roihu“ - Viivi Roiha ir Sade Kamppila | co-producer Sirkus Aikamoinen
The performance is in the form of a nature trail, which the audience is guided through. Along the trail there are various scenes presented to the audience; aereal acrobatics and coreographic climbing amongst the trees, acrobatic movement splashing water around in the shoreline of a lake, dance on the forest bottom, soundscapes inspired by traditional finnish singing and a possibility to share a moment of collective silence listening to the forest around us. For the performance the artists drew inspiration from old Finnish folklore and the stories and beliefs around all the beings and powers of the forest. The duo works with 50 meters of aereal rope suspended between the trees, hair hanging, intimate partnering acrobatics with tree trunks and acrobatics, not forgetting their dark finnish sense of humor.
tickets 11,20 - 16,20 euro | tickets at the box offices of TIKETA
Festival ir supported by Lithuanian Council for Culture and Ministry of Culture of The Republic of Lithuania
Before the beginning of the performance, when the lights go out , lots of tiny screens light up in the dark. ‘I must switch my phone off’ we remember. Contemporary dance company from North Finland called TaikaBox suggests to discard this rule and use our mobile phones to create a special bond between the audience and the performers. Participants of the Arts Printing House’ international residency program Print Art On Stage will perform in Vilnius with their dance and live technology show Please Switch On, where the audience will be able to take part in a creative process of the show. On 26th and 27th of May with a help of a special technology system every audience member will be able to make their personal stories into a dance, vote for music they want to hear and lights they prefer. Finns will perform together with Lithuanian dancers and part of their residency dedicate to workshops with school students. One of the creators of the Taika Box – choreographer and dancer Tanja Råman answered our questions about the fusion of theater and technology.
How did the idea to get the audience involved via mobile phones come to your mind?
A few years ago, working and touring in Wales, we became aware of how venues were having a hard time reaching out to new audiences and that audience numbers for contemporary dance were often fairly low. People seemed to feel that contemporary dance is difficult to understand or it is confusing or even irrelevant to them. We wanted to shake up unspoken rules that often exist in theatre venues, deconstruct the hierarchical relationship between artist and audience and get the audience involved in making work that is essentially about themselves. Our aim was to give everyone involved a unique experience, to try to demystify the creative process, and to introduce new people to contemporary dance in a relaxed and fun environment. At the time, a new initiative was launched in Wales that pairs up artists with digital technology providers to develop new tools for audience development across the arts. We applied to this fund, and were chosen to take part in the first round of the project, teaming up with a digital agency called Moon who were specialists in creating digital content for broadcast media. Together we created the Please Switch On (PSO) system that uses a familiar interface to introduce people to new concepts.
With PSO you deny the usual ‘performer to viewer’ concept and make it more mutual. What do you think it gives to the members of the audience?
As well as making good performances, our aim in each show is to make the audience feel as if they are part of the team. We need each other to make the show happen. There is a sense of shared responsibility, laughter, achievement and reward. We attempt to reach out to audience members so that – at the end of a performance – some of them could feel special; that a team of artists had made a show specifically about them, and that it had been performed for an audience of people like them. Not many people can claim that their story has been turned into art.
People are on their phones all day, every day. Theater was always a place to put your phone away for a while. Why do you think phones should be involved in theater too?
We’re not saying that every theatre experience should involve phones, but that this show challenges the traditional message that audiences should sit quietly in a dark space and ‘please switch off your mobile phones’, passively absorbing the art. TV and radio make great use of the second screen to provide deeper engagement with their audience, and we wanted to experiment with dragging theatre into the digital age alongside these other media.
There are other types of interactive performances, but people tend not to like them, because they have to get out of their comfort zone. Are phones kind of a medium between interactivity and that comfort zone?
Absolutely. We both have faith in this kind of work, but – in order for audience interaction to work - the balance has to be right. For an audience member who just wants to observe a show, there’s nothing worse than a performer forcing you to join in. We try to create environments that facilitate an active audience and allow them to express themselves, but without having to put them on the spot. Some of our shows gently encourage the audience members to interact with each other, or to let themselves move or dance, or – in the case of PSO – to contribute to the creation of the show, but these activities are in no way compulsory. During the PSO, the audience always has a choice how much they want to be involved. The interface that we have designed is very simple and works in a similar way to Twitter. We are aware that, while aiming to break the barrier between performer and audience, it is possible to put up lots of little glass barriers in the form of people’s screens, but in PSO, we are constantly talking to the audience and guiding them through the process, and time spent looking at screens is kept to a minimum. We think that we have found a good balance between digital and human interaction.
You‘ve done PSO in other countries. How did it go? What kind of stories people usually share for you to perform?
We have performed PSO in Wales, Finland and Switzerland; to mixed age ranges, and each time it is unique. We like to integrate different languages within our work, and always build a team that is a mixture of TaikaBox and local performers, which enables us to facilitate an active audience and allow them to express themselves, but without having to put them on the spot the local language - and local knowledge - to an extent. We usually begin the event with a prompt to share a certain type of story, such as an early memory or a scene from a family history. Sometimes this theme develops into something else as the audience become accustomed to how we use the story. The system is flexible enough to allow us to take the event in many different directions.
Do you think older people without so much experience in using mobile technologies can successfully participate in the show?
The interface is very simple, and it doesn’t take long to become accustomed with it; and also – it doesn’t replace human communication. The audience are guided throughout the event by Tanja explaining what is happening and how to interact. Another thing that we like about PSO is that it encourages audience members to interact with each other: helping out with the phones or teaming up to create and up-vote particular stories. The whole thing is a social experience, aimed at using art and technology to bring people closer together. You can also enjoy the show in a traditional way, watching it without using your own phone.
You describe the show as ‘democratic’. How democracy works here?
PSO has similarities to improvised stand-up comedy that takes its cues from audience suggestions. One of the benefits of using mobile technology is that everyone has an equal voice, not just the confident ones who can shout out first; this makes the system feel more democratic. We structure the event, and offer choices to the audience, so that the process is not completely out of our control, but the fact remains that if nobody contributes, we don’t have a show. The product here is not really in the work that is created, but in the process of creating it, and the shared authorship and shared experience really helps people to feel good about their evening out.
You say TaikaBox is always looking for new ways to communicate with the audience. What other ways did you find possible?
We recently made a piece for an audience of twenty, where the dancers and audience are all in the same space, wearing headphones. Working with a professional sound recordist and some high-end microphones, we are able to immerse the audience in a sonic environment created by the dancers and audience together. We’re also quite interested in real-time broadcasting our work. Being located in Northern Finland can make international performances quite expensive, so we embrace the technology of live-streaming and make some projects specifically for broadcast.
How do you feel about the connection between performer and the viewer in general? What kind of connection should it be?
When creating dance work, our aim is often that the audience doesn’t just see something, but also feels something. We tend to use a lot of technology in our work, and that has potential to make it a little cold and lacking in emotion, so we look for ways to emphasize and enhance the emotional expression of the movement, or to find ways of connecting a little deeper with the audience. When producing a piece of work we also talk about creating ecosystems, in which audiences, performers, technology and the performance environment are in a dynamic relationship with each other.
Could you describe your viewer? Who should come to this performance?
It's a bit of a cliché, but I really think that this show is for anyone. PSO provides an easy access and audience-friendly introduction to contemporary dance. Therefore, I would recommend anyone who loves dance to take their non-dance friend or someone who might be skeptical or worried about watching dance to see PSO.
Writing on walls – vandalism or art? Walls – private or ours? These kinds of questions are brought up by Italian theater company Ateliersi, which is interested in an unusual object – writings on the city walls. A team of musician, director and dramaturge arrived from Bologna to Vilnius and together with a Lithuanian actress Monika Poderytė researched Vilnius wall writings. While taking part in the Arts Printing House international residency program Print Art On Stage, artists made wall writings into poetry and presented it to the audience together with music. We talked with Ateliersi art director Andrea Mochi Sismondi about the results of their creative research.
How did you start working with wall writings and project Urban Spray Lexicon?
Florenza and I started this with the analysis of wall writings of several different countries. We wanted to explore not only the present wall writings, but the ones from the past ages as well. So we started with the wall writings that appeared in France during the student’s protests of 1968. Then we analyzed writings from the 1977 protests in our hometown Bologna. We collected both historic and present wall writings and started thinking how to put it all to lines of a poem. We started working with musicians and dramaturges and began to look deeper into the connection of public and private spaces that are connected by this public skin of city walls that is tattooed with these wall writings. We decided to look deeper into that moment, that one second when a person decides to go to the street and write what he thinks. In that little moment he feels so full, so overfilled with the feeling or ideas that he cannot take it anymore and must do something drastic – write on walls.
How do you collect all these writings that are scattered in a big city?
We got the old writings form various books and photography albums. At first we started to collect the present wall writings by ourselves by taking pictures of them, but when our friends and colleagues found out about our project, they started sending us a lot of the pictures that they took do that really facilitated our work.
Wall writings usually are considered as vandalism. How do you feel about them?
This will be a strange question, but who can say when vandalism becomes art? Art is a market so when someone decides that something is art, they present it as art. We are focused on wall writings, not on graffiti or other graphics. We love wall writings even though they make us angry sometimes like sports or political writings, but it is still interesting, because we see it as a way of street being lived as a public place. A wall can be an external part of the building so if I am the owner of that building – for me the wall its private, but when I go out to the street, I can say that I am a city user and that walls are in the space in which we live so it belongs to everyone. So we cannot consider wall writings a 100 percent vandalism.
You didn’t have much time in Vilnius. How did your work go?
We only had a few days in Vilnius, but it was very interesting. We noticed that you can find more wall writings here in Vilnius at the city center, ant the old town, rather than in suburbs. This shows that people consider city center more of a public and common space, that center is for living and suburbs is for sleeping. It is different than what happens in Italy. Another reason is provocation – your writing will talked about more if it’s written on the UNESCO building than somewhere in the ‘sleeping’ district.
Did you notice any mutual theme of Vilnius wall writings?
We found a lot of philosophical and existential wall writings in Vilnius. Also a lot of peculiar, ironic writings. But most of them seemed to be questioning the meaning of life. So Vilnius wall wittings in general ask what is the meaning of people here. If compare to Italy, there we have way more political writings supporting some party or opposing some party. There is not that much of this kind of writings on Vilnius. Philosophical and auto reflective writings take more space here. Also we noticed some wall writings that encourage dialogue and even give some answers to choose for the written question. A pretty unusual thing for us was repetitive phrases - we saw “Vilnius full of space” a few times. I think it’s a sign of some sort of a movement.
You mentioned you have done this project in other countries. What kind of writings did you notice there? What differences can you see between the countries?
We are working on the same project in Milan and Marcel. The writings there are more direct. Lots of writings there are a form of some kind of protest – sayings against the politicians or the police. We also see a lot of simple nametags like “Marcus was here”. There the writings are more instant, from the instant emotion. In Vilnius they are more thought of - we were even joking that it’s very cold here so you have a lot of time to think before going out to the cold street.