Camera Flash Can Damage New Born

HOTEL PRO FORMA

HOTEL PRO FORMA: FOR TEA TRO-SOUND AREA

-Interview S TA A RALF Richardt STRØBECH.

Anna Maria Monteverdi

Hotel Pro Form is among the most famous international artistic companies working with the technology, know no Danish and realize installations, environments and spatialized audio-visual, or electronic music concerts, opera and performances as well as p er unconventional spaces, museums or black-box theater. The luminous and dominant visual element, the focus on architecture and scenic rigorous geometric and expanded into a 3D sound, video images high-definition entertainment and characterize the work of the company created in 1985 by architect Kirsten Dehlholm (1945) and currently directed by the young RALF Richardt STRØBECH (1973) .

Production of Hotel Pro Forma (whose motto is "performance art as an investigation of the world") are highly evocative, playing on the auditory and visual perception through a complex design that provides for close collaboration between the arts and media Digital paying special attention to the architectural space and sound. As a result, aesthetically speaking, is in some respects very similar to Robert Wilson's theatrical world where, as we know, are just light and sound to create space of representation. How like to say, Space is co-players. Every production is a new experiment and contains a double staging: contents and space.

information on Danish research in the visual arts, performing, literary and musical festival and the theaters are traceable on http://www.danisharts.info , site of the International Academy of Arts Danes where you can also find a wide board for Hotel Pro Forma. O peration: Orfeo (1993) a revival of the operatic genre, with music by John Cage, Danish and Bo Holten Willibald Gluck, is one of the most successful productions at international level still in the repertoire, composed of powerful visual-sound pictures. http://www.youtube.com/watch?v=0djxO9WyJ4w

Theremin (2004) is based on the story of the physicist and inventor of the first instrument electro-acoustic Leon Theremin (1896-1993). Site Seeing Zoom (2001) was developed in collaboration with the collective digital Crosscross. Only Appear To Be Dead (2005) inspired by the biography of Hans Christian Andersen (arrived in Italy at the Venice Biennale), commissioned by the Danish government (as Lepage) and provided for a cappella choir of 14 voices of the National Choir Danish and video images. Algebra of Place (2006) is composed of 11 scenes from a fictional Middle Eastern Hotel.

latest creation in time of Hotel Pro Forma is Relief, show opened in Copenhagen in May 2008 directed by Ralf Richardt STRØBECH based on a fascinating subject and a real biography. They talk about the time of life when each of us has to deal with their aspirations and ideals decides to "fly" like butterflies out of the cocoon, the whole narrative is compared with the biography of Vladimir Nabokov, Russian scientist (a specialist in entomology studies: in 1940 he was given the task of organizing the butterfly collection at the Museum of Comparative Zoology at Harvard University) who lived in the Crimea from 1916 to 1919 and then decided to leave for Europe and abandon his career as a scientist for that of writer, is the condition of changing geopolitics of the Ukraine. This theme of transformation as a triple implication also the human, geographic and scientific, all united by the image metaphorically dell'olometabolia of insects, beetles, or by passing through the various metamorphic larval stages. The story is told through Ukraine interviews of people in multicultural Odessa and film footage, the story is told through Nabokov's famous passages from his diaries http://www.youtube.com/watch? v = _snIxP7qTbo

As the program notes explain, everything revolves around the theme that gives the title to the show, Relief :

"Relief is the Moment When The figure breaks free of the flat surface and gains ITS own independent life. When we decide who we Want To Be. When geological and contours are Divided Become countries ".

The show is made up three different spaces: the street (with video interviews with students and activists gathered in Odessa), the study of Nabokov, stifling prison-cube from which the character wants to escape Nabokov, and the stage, a place of liberation. Relief is scenically speaking, the intersection between space and image. And 'the threshold of perception. And 'the threshold between reality and fiction, the ambiguous duality of reality that speaks in his novels Nabokov (Ada or ardor , 1969). In this technological environment, evocative lighting liquid, blue, green, yellow, pink, lilac transform the scene only made of a translucent screen that is home to video images, animations, forms processing, reporting. The film sometimes prevail on the show, a film of images captured by the moving car, landscapes of the earth Ukrainian winter gale. Liberation is the exit from the cube, from the cocoon, the boundaries: "I want to remove the boundaries. You can put borders up? You can say that this air is Russian and a German cloud? O what a heaven Ukrainian? ".

The condition of immersion and fascination since aesthetics (synesthesia was the trouble he suffered the same Nabokov associating particular colors to particular letters) in the proposed topic is achieved thanks to the sound dissociated, multidimensional, distributed in a binaural sound field with a mix of clever dialogue, phrases and noises of the street, returned to the viewer with special headphones in-ear ". Rather than the traditional narrative and plot, the theme is suggested by sound and flash: "The Subconscious registers Much More Quickly Than The conscious. I use the performance Beneath the conscious to delve into pure sensation. The Body Remembers. One spectator said: I Did not Understand It, But I have never forgotten it. So what is this all about? It's about the art of knowledge. "
(Kirsten Dehlholm)

E 'still under construction but will be opened in autumn 2009 lo spettacolo Tomorrow in a year dedicato a Charles Darwin, per celebrare i 150 anni dalla pubblicazione del volume “L’origine della specie” esplorando ancora le intersezioni tra arte e scienza. In collaborazione con il gruppo svedese The Knife , la performance dovrebbe, nelle intenzioni degli autori diventare una composizione musicale e visuale a descrivere l’evoluzione della specie. Le coreografie saranno di Hiroaki Umeda

www.hotelproforma.dk

ANNA MARIA MONTEVERDI: Which is your personal artistic background and the theatrical and aesthetic models that influenced you and when you decided to be a part of the group?

RALF RICHARDT STRØBECH. Kirsten Dehlholm founded Hotel Pro Forma in 1985, I have been with HPF since I graduated from the Royal Academy of Fine Arts, School of Architecture, in Copenhagen. That will soon be five years since.

Back in the 90s, I worked briefly as an opera singer, and was in that way connected to the performance Operation: Orfeo, that toured already back then. Some years ago I was appointed artistic director, working closely with Kirsten on conceptualizing and directing the pieces, working also with stage design.

I have always been drawn to aesthetics that relied more on structure, texture and space than on psychological narrative, since I believe that it is better to make room for multiple emotions and comprehensions than to project them specifically. The somewhat abstract narration that exists in architecture is actually also my ideal in theatre.

ANNA MARIA MONTEVERDI: In your productions with Hotel Pro Forma theatre, film, video, light, music, images are conciliated in an ideal unicum dramaturgy ; how do you project this type of multimedia performance: beginning from a previous text or mixing all your sources creating a performance text after the rehearsals only?

RALF RICHARDT STRØBECH: Each performance has a different point of departure, or rather points of departure. It could be an existing text or fragment, a social condition, an existing space, a technology, a philosophical theme, or even a person. Sometimes combining two or more seemingly detached points of departure creates a space for navigation that is very productive. In the special case of the Relief - performance it was geopolitical and cultural changes in Eastern Europe that created the point of departure, but this was quickly combined with texts by Vladimir Nabokov and binaural (3D) audio technique to provide the right balance of supporting and contradictory elements to create a multilayered performance.

You are quite right in saying that the actual goal of the performances is to create exactly this unicum dramaturgy of separate elements. The finished piece tries to strike a balance between internal logic and external representation. A sort of world-building with opinions.

ANNA MARIA MONTEVERDI: Could you tell about the steps of a digital creation according to Hotel Pro Forma? And is there a single language which has more importance than the others?

RALF RICHARDT STRØBECH. Creating art in digital media very often is a problem of creating enough information to refer to external reality. Relief works with two kinds of digital creation, audio based and visual. In both cases the goal is to investigate the informational relief between the artificially created and the passively recorded.

Consider being in a street full of urban noise with your eyes closed. There would be a tremendous amount of information, cars, people talking, wind, animals, brooming of fallen leaves and putting up tables outside cafés. There would also be a fundamental acoustic situation that somehow portrayed the configuration of surrounding buildings as well as materials and even the position of the person listening. Normally your perception sorts out this chaos and points you to hear what you need to hear the most, e.g. to avoid being hit by a car or to spot your friend in the crowd. When you record reality to use in a performance, you need to do the cleaning up of reality in order to make the spectator hear something specific/intended . Now, creating this situation digitally from scratch is somehow the reversed situation. How do you get enough information into the rendering to make it reveal something other than its construction? How and what to put into the “image” to make it communicate what you want, perhaps even to approach itself to a “realistic” or multifaceted representation? This is really the subject matter of relief, exploring the gap between the recorded and the created, between too much and too little. In the case of visuals, I try to de-animate video, and to animate still photos, trying to see what happens to representation of reality as they approach.

ANNA MARIA MONTEVERDI: In Italy the digital performance as a genre is considered not so positive, too much “alternative”, nearer to visual arts than the theatre, so that the official theatres schedule very few digital projects. Is it that way also in Denmark?

RALF RICHARDT STRØBECH: It is very unfortunate that the distinction between visual arts and theatre is stressed so much, really it is to the benefit of no one. It would be much better if artists made pieces that drew on the means accessible - in the right way, at the right time, and for the right reasons. Unfortunately production realities, theatre profiles and audience expectations do not support this way of thinking, most people like to have an idea about what they will get before going to see something, also in Denmark. But it would be much better for everyone if we could gradually develop a broader attitude toward experiments and curiosity, going to the theatre to wonder and think together in the meeting between the artists and the audience through the performance.

ANNA MARIA MONTEVERDI: In Denmark does it exist a centre or a place for artistic researches in interactive media applied to the Theatre and doesn’t it exist any festival dedicated to them?

RALF RICHARDT STRØBECH: As far as I know, there is no such place in Denmark. But it is very possible to work in mixed media on more traditional venues, and it is definitely possible on some of the open stages that exist. And it is not looked on as too “alternative” as such, but it definitely isn’t part of the mainstream either.

ANNA MARIA MONTEVERDI: Which are the most important examples of international digital performance group, near to your artistic experience?

RALF RICHARDT STRØBECH: I have really tried to figure out what to answer to this question, and I can’t really make my mind up. Naming any one group or person would somehow point in a direction, indicating the future of digital performance in general. But I really believe that the future lies in individual experiments, not connected with style and tradition or any one practitioner. Around the world, interesting things are going on, this is a field still very much in progress. Still, with this in mind, I could mention the Croatian group BADco whom I have met and seen on various festivals around Europe, and the Italian group Ortographe. I don’t know whether their work can be classified as digital performance as such, but it is certainly extremely interesting and points toward the future even if it does it with and through the past. Another extremely interesting artist is Tony Dove , based in New York, who really does an amazing job pushing the limitations of interaction in narration. But in every work of art, if done with sufficient care, love and brains, there will be something to investigate further and to fertilize your own imagination. Canonical answers just make everybody stare in the same direction, thus missing what is behind them.

ANNA MARIA MONTEVERDI: In a first glance some of your shows are similar as a structure to some of the best theatre pieces by Bob Wilson: as a matter of fact also in your works lights and images (and sounds) make the space and also Wilson began in architecture. Is it correct this parallelism? Which is the relationship between theatre and architecture in your show?

RALF RICHARDT STRØBECH: Architecture is the most important art form. It shapes our entire understanding of the world by giving us a space from which to look back onto the world. It is in this sense that the performances are architectural, they provide a platform for understanding much bigger issues. Understanding theatre as a form of architecture also liberates me from the linear dramaturgy of the progressive narrative, it is no longer a corridor with rooms on the side, but rather a free-flowing movement through inter-connecting spaces of meaning and ambience. Architecture is structured liberty, perhaps Robert Wilson would agree on this.

ANNA MARIA MONTEVERDI: Steve Dixon speaks about Augmented Stage for describing multimedia theatre. Is it correct as definition?

RALF RICHARDT STRØBECH: Unfortunately, I don’t know his theory, but the term Augmented Stage certainly sounds intriguing. The use of other media allows for different connotations altogether, new and old traditions are brought to the table. It means new possibilities for contextualizing, expanding the on stage as well as the off stage , and allows for treating time and space with more freedom and plasticity.

ANNA MARIA MONTEVERDI: How the rules of the director and the function of the actor and of the collaborators (and also of the audience) are changing in this new forms of theatre? Is it right to affirm that in a digital perspective the theatre is becoming more and more a collective creation?

RALF RICHARDT STRØBECH: Actually, I don’t think that the role of the director changes very much. Directing is a very personal matter, so how it is done is not depending on the used media so much as it is defined by the personal style and the subject matter at hand. Since using digital media is very often a very slow process (just think of the painstakingly slow business of frame by frame animation!), it involves “directing” the collaborators more in the pre-production, requiring a more defined idea to begin with, so as to not waste too much time as the deadlines approach. Digital art forms as a rule do not lend themselves easily to improvisation, at least not in my experience. Much effort is put into the technical aspects of the production, to make live feeds have an acceptable resolution, edited material to have the right relationships to the performance as a whole, and so on. The risk is, of course, that the performers slide to the background in this technical mayhem. The fact is, that no matter how much expression new media can bring to the stage, the performer almost inevitably provides the point of entry for the spectator, since identification with a person is so much easier than identification with, say, a vacuum cleaner.

As to the collectiveness of the digital performance, it really depends on how much technology you know yourself. If you know nothing of the possibilities at hand, you are clearly at the mercy / in the good hands of the person actually executing the required task, which can be a bad or a good thing respectively. The amount of collectivity has almost nothing to do with the medias used, it is only connected to the creative process and to how well you know and trust your team.

ANNA MARIA MONTEVERDI: Which is the relationship between your works as installations and the theatre pieces? The spectator is involved in the work in the same way?

RALF RICHARDT STRØBECH: The most fantastic thing the classical theatre has brought the world, is to engage the audience emotionally in an almost unbelievable way, just think of the excruciating agony in Romeo and Juliet, the exuberant joy in The Tempest, the fathomless hopelessness in Uncle Vanya. The best thing brought by installation as an art form is the wonderful sensation of almost, but not quite, grasping the fundamental truths of the world with a side effect of incomprehensible beauty. The first relies on leading the spectator through a successive series of events, the latter on setting the spectator free to form his or her own quasi -narrative. Of course I am nowhere near obtaining those two things at the same time, but it actually is what I am striving for, the artistic drive, that make me want to make the next piece, always. It may sound impossible, beside the point, or pompous even, but I think it is good to have goals that are hard to reach.

ANNA MARIA MONTEVERDI: ”Relief” has three variations inside around a powerful central concept: it could be translated as: a)the human metamorphosis due to a personal choice b)the scientific sense c)the geopolitic sense. In all of these three meanings the figure of Nabokov is like a conjunction, a symbolic metaphora such as Ukraina. Could you express the starting point of the work? Do you consider it a politic work?

RALF RICHARDT STRØBECH: First came the ambition to make a piece about the geopolitical/cultural changes that happen in the active zones around the edges of well-defined entities (Europe/Russia). This was broadened to the abstract concept of the relief that of course has the somewhat disturbing dual meaning of something in-between and something clarified. Nabokov intuitively became a good friend in this field, since he, as you rightly put it, functions as a conjunction, he is an entity that functions well in these overlapping fields of sense, riding comfortably the agitated space between and on the dual concepts of reality/fiction, science/art, east/west, and belonging/annihilation. He seemed to provide a position where these pairs of concepts were no longer mutually exclusive, but rather different aspects of the same preoccupation. It is a political work because it is subjective, trying to develop an attitude on big issues, not because it tries to transmit a fixed message. In the end it is still up to the individual spectator to form his or her own opinion.

ANNA MARIA MONTEVERDI: In Relief you used 3D animation, historical images from the archives and interviews from the street and the actor as human being (the character Nabokov). Is it for making clear the different degrees of reality, the duality between reality/fiction? Do you think, in this case that the meaning is clear enough to the audience?

RALF RICHARDT STRØBECH: We tend to consider Film more real then Drawing. History more real than Anecdote. Passers by in the street more real than Actors, even though this is not necessarily so. Everything is real, you can only argue for a gradual relation to referential objectivity. So what you consider real is a matter of personal opinion. My hope was to make people see the reality of this, if not in an intellectual sense, then hopefully on a more subconscious level. I certainly don’t think that this meaning is clear to the audience, I rather think, that what they previously thought was objectively real is now a little bit more obscure.

ANNA MARIA MONTEVERDI: In the notes you speak about the importance of different levels of perception and during the show you used 3d sound, headphones for audience, and sophisticated audio-video systems. Is the “immersivity” through all the senses the real objective of the show?

If I drop a glass to the floor in front of you, you see the glass break and hear the breaking sound simultaneously. If you see the same thing on film, I can make the two cognitive inputs break apart, thus clarifying the artificiality of the media. It is difficult, if not impossible, to not think that either the visual or the acoustic input is the true happening and that the other is either too early or too late. Which event you consider true is highly individual. I split up sound and image to play with one of the most basic relief phenomena, that of similarity between visual and acoustic information. As the play moves on, the audience in general hopefully gives up comparing the two information and become immersed in the collected sensory information available. This is a clear objective, give up thinking and start sensing, but it is not the purpose of the piece, just another way to construct it.

ANNA MARIA MONTEVERDI: Hotel Pro Forma made a show about Andersen, also Robert Lepage did it and also Lepage was inspired by a biographical episode not so known, like you. Did you see this Lepage’s work? What is your opinion?

RALF RICHARDT STRØBECH. I did see it, yes, and I also rather liked it, it was very playful and imaginative. Using Andersen is just as much a pretext, for Lepage as well as for us, a kind of giant McGuffin to access other areas of interest such as narration , theatre and imagination in the case of Robert Lepage, and individuality, travel, and imagination in the case of our production.

ANNA MARIA MONTEVERDI: The digital performance will substitute the traditional theatre?????

RALF RICHARDT STRØBECH. I hope not! but I guess that the distinction will gradually diminish as traditional theatre will incorporate more and more technology, and, hopefully, digital performance will stop distinguishing itself so much from the classical, as I mentioned before there is merit in both fields. It is important that we learn from each other instead of creating artificial and fruitless wars .

Rules Frustration Card Game

Andrea Balzola e la drammaturgia multimediale

ANDREA BALZOLA:
Drama MULTIMEDIA
Txt: Annamaria Monteverdi

We often talk about new technology scene, artists, performers on stage using sophisticated software to manage images and sounds of live and interactive systems, but we never hear of the architects of the new drama that you are setting the horizon just transformed by new information systems and Hans Thies Lehmann calls "postdrammatica.

Dozer absolute and investigator in Italy on this side of theatrical writing is Andrea Balzola, new media theorist, critic, playwright and screenwriter. comes out these days: "a drama media. Text and images for a new theater" for Publishing & Entertainment, the anthology of his works written for that very theater that uses new media in an unusual and intriguing as editorial constituted not only from texts but from a rich tapestry of images, words, dialogues, drawings, multimedia installations recall the video, animations, pictures, graphs of all kinds. Images then incorporated into the text in the form of story-board visual and photo-documentation to tell the writing stage.

eclectic and versatile author, lecturer in Drama Multimedia "and" digital literacy "all ' Academy of Fine Arts of Brera in Milan , has collaborated with Meme Perlini, historian of the Roman theater and film, with Luke Ronconi (creating, inter alia, about his work, two video documentaries) and the actress Marisa Fabbri (for which he wrote the lyrics and Rachel Democrazia_Lia and has converted pain of Duras). E 'was lyricist and screenplay (in collaboration with R. Fish) cartoon "The Farm of abnormal" designed by Onofrio Catacchio (2006). From 2004 ha iniziato una collaborazione drammaturgica con la regista Alessandra Panelli e l'associazione romana “Diverse Abilità”, che lavora nelle Asl con i soggetti con disagio mentale, creando con essi la compagnia teatrale integrata “I Gulliver”. Con questi ha portato in scena nel 2004 I viaggi di Gulliver e nel 2006 L'isola che c'è. viaggio dentro il laurentino 38 ” (documentario e spettacolo teatrale), prossimamente edito in dvd da Lucky Red. Ha scritto con Franco Prono La nuova scena elettronica, uno dei primi libri sulla storicizzazione del fenomeno video teatrale e con Anna Monteverdi Le arti multimediali digitali (Garzanti).

collaboration with visual artists and sound the likes of Theo Eshetu, Francesca Della Monica, Mauro Lupone, James Green (which has created the hypertext narrative Stories mandalic - become then the interactive version with Della Monica, "Tales of the mandala" ) Tullio Bruno (he is working with de staging "The voices of the volcano" ) Studio blue (for whom he made the show interactive drama "Galileo in hell" , 2008) led him to develop a highly original drama made Simba IOSI / grafts / migration between languages \u200b\u200band codes and providing genetically technology, from video to Flash animation and 3D graphics to audio-visual interactions.

"Stories Mandala" was a unique project of its kind: from the perspective of writing Balzola actually originated in the late nineties the first hypertext Italian drama that has taken different forms over the years intermedia , all implied in the drama project: session music, internet version, techno-acting singing. So you create and recreate endlessly ideal conditions for a machine technology as a theatrical mask : sheathes form not materially but makes the wearer look like one thousand different take on making it out of the state metamorphic interior.

The show "Galileo in hell" , a collaboration Art of the Ballet of the Open House in Nuremberg and Studio Azzurro, Milan and produced a new version for the Arcimboldi theater and choreographed by Robert Castle, was inspired by a striking attempt by Galileo to combine the mathematical rigor with the poetic and artistic imagination. Andrea writes Balzola Two lectures in the Florentine Academy on the shape, size and site of Dante's Inferno , 1588, the founder of the experimental method of modern science, goes step by step journey to Dante ' Inferno looking for, on the basis of "divine" poems, to give a rational description, mathematics and geometry of the infernal and demoni che li abitano, calcolando misure e proporzioni di quei luoghi, dei giganti e infine dello stesso Lucifero. Così lo scienziato inaugura un'inedita dialettica tra scienza e fantasia, tra tecnica ed arte, tra matematica e poesia.

Lo spettacolo prende spunto da questo intreccio tra arte e scienza per realizzare un viaggio simbolico con i linguaggi contemporanei della danza e delle immagini interattive. La scena è concepita come un organismo metamorfico, dove, in un progressivo passaggio tra macrocosmo e microcosmo, i corpi dei danzatori sono come emanazioni del pensiero di Galileo e interagiscono con le videoproiezioni, disegnando una “cosmogonia antropomorfa”. L'uso dei dispositivi interattivi, addition to proposing a purely visual and dramatic use of multimedia, allowing dancers to transform the scene in real time with their movements, overcoming the traditional separation between body and set design, and connects deeply with Galileo's principle of a technology that can extend the human dimension of perception, even to the point of measuring a site "fantastic" and purely imaginary as Dante's inferno. "

"The Farm abnormal" (listed DigiMag extensively reported in the now distant No. 08 of October 2005: http://www.digicult.it/digimag/article.asp?id=232 ) born As ruthless as an ironic critique of the ruthlessness of science-show, and was designed by Balzola together with the authors involved, as a cross-media project which was to create a variety of artistic products at the same time autonomous and interdependent as comics, video, digital animation 3D graphics, information platform and creative websites, entertainment technology. Contact point it was the writing stage, the mutant in its deepest essence, designed to have similar features as possible to that which was exploring the biological world and to imitate the life processes. Balzola with Farm indirectly gives us the basic principle and the model for a new dramaturgy of multimedia: così come i geni apparentemente indipendenti operano come una rete che ne connette le funzioni -interagiscono tra di loro e con l'organismo a cui appartengono- così oggi il rapporto tra i media e teatro una volta concepito quest'ultimo come un nuovo ambiente evolutivo, deve riconfigurarsi non più sulla base delle loro singolarità e specificità, ma sulle modalità con cui essi si relazionano. Scrittura dunque come organismo biologico

Ultima fatica di Balzola che vedrà la luce nell'estate 2009 in collaborazione con la compagnia Verdastro-Della Monica e XLAB è "Le voci del vulcano(La torre di Hoelderlin)" , ispirato agli ultimi anni di vita del poeta Friedrich Hoelderlin. Si tratta di u no spettacolo interattivo che unisce le arti visive, la musica, la poesia, il teatro e il video per raccontare in forma poetico-simbolica gli ultimi trentasette anni di vita del grande poeta tedesco, segnati da una misteriosa follia e dalla rinuncia al mondo, trascorsi in una torre a Tubingen, in seguito alla morte della sua amata e a un traumatico ricovero in manicomio che lo emargina completamente dal mondo intellettuale, artistico e sociale dell'epoca, di cui era stato uno dei più geniali protagonisti. Protagonisti sono Francesca Della Monica e Massimo Verdastro , molto noti nel panorama del teatro di ricerca italiano. Cuore del progetto interattivo è il software Fidelio realizzato dal programmatore Norberto Serana per Studio Azzurro e Tullio Brunone, evoluzione di Eyes Web.

Annamaria Monteverdi: Nei tuoi lavori la scrittura è sempre stata concepita contestualmente al progetto di allestimento multimediale: in cosa consiste esattamente questa nuova drammaturgia?

Andrea Balzola: Consiste nel concepire la scrittura teatrale come una partitura multimediale, integrando il testo, la parola, fin dal primo momento, con il contesto pluringuistico offerto dalle nuove tecnologie: proiezioni video, interattività visiva e sonora. Il testo così non nasce prima della messinscena, ma all'interno di un progetto di messinscena multimediale. Come è stato il caso di Galileo all'Inferno , dove c'è stato con Paolo Rosa un lavoro simbiotico di drammaturgia testuale e visiva, mentre io scrivevo ed elaboravo i testi, lui disegnava gli story-board dello spettacolo (con tutte le parti interattive), parola e immagine si modulavano a vicenda. Nel libro abbiamo cercato di riprodurre questo modo inedito di costruire la drammaturgia.

Annamaria Monteverdi: Can you describe a typical working session multimedia theater, dramatic staging write-in reference to your past work?

Balzola Andrea: It "Tales of the Mandala" , I have built a dramatic structure, and I reworked the hypertext of 7 stories that I created for the previous version of the show ("Stories Mandala" with James Green), then I set up this structure with Mauro Lupone, musician e curatore del nuovo allestimento, proponendo a lui, all'interprete Francesca Della Monica e all'autore delle immagini video Theo Eshetu, una prima versione del copione. Dalla loro lettura sono emerse indicazioni ed esigenze di tagli, modifiche, integrazioni. Poi, dopo una seconda stesura del copione che accoglieva queste indicazioni, abbiamo cominciato a costruire lo spettacolo s eq uenza (visiva e sonora) per s eq uenza, limando ogni frase in funzione del ritmo complessivo.

Quando si lavora su una confluenza di diversi linguaggi bisogna saper creare un delicato eq uilibrio tra i contributi di ciascuno, e questo è un lavoro di coautorialità che richiede molto rispetto e stima tra i collaboratori, evitando the unique tradition of the craftsman, narcissistic and coordinating. The strongest personality is not one that tries to crush the other, but one that asserts itself within a relationship based on listening and reciprocity.

Annamaria Monteverdi: It 's clear the difficulty that the theater artists who use media together to find resources for production and for residences: the spectrum of technology is to frighten or conviction generalizzata che la sperimentazione teatrale non passa attraverso le tecnologie?

Andrea Balzola: Queste difficoltà, che crescono nel tempo invece di diminuire, sono il segno di una pesante arretratezza culturale italiana, dove un'intera generazione di critici e studiosi teatrali rifiuta o snobba a priori quell'ambito della ricerca teatrale che fa uso di nuove tecnologie, mentre gli spazi istituzionali (come i Teatri Stabili o Comunali) o i grandi festival dedicano uno spazio limitatissimo e sempre marginale alla nuova drammaturgia multimediale, sia per i costi lievemente superiori dovuti alle attrezzature necessarie (ma non è possibile mettere sullo stesso piano spettacoli di narratori con a chair with technical and complex technological machines) and machine technology for fear that the "contaminating" the purity of traditional theater and frighten the public. Would be enough to have a look 'round, across the border to see that their encounter between theater, dance and technological innovation are springing up new and interesting forms of entertainment, even for the general public.

www.andreabalzola.it/

Mount And Blade Windowed Mode

2012 - L'anno del cambiamento


C'è nell'aria qualcosa che ammaestra e spaventa, che si annusa ma si tace, che ha tutto il fascino del non detto.

Qualcosa che know of a very sharp, but not budgeted enough taken into account, something that everybody is expecting for some time but nobody knows how to deal with.

The planet is one organism. A body that for too long now is based on unsustainable balance on dynamic self-destructive, on waste and lie, on exploitation, injustice, meanness.

The planet is sick.

Sick for too long, but a disease that has crept increasingly subtle, never openly manifest. We have been given time, perhaps the possibility to understand, change, act. We have not learned, and when things do not improve, then I inevitably get worse. Until you get to the point where there is no return.

I believe that in this period of history we are exactly at this point, and I say this without pessimism, I say this with utmost sincerity because that's what I feel now with more clarity.

The global economic crisis from which we were invested is merely a pale reflection.
What's happening? I think this is just the collective physiological reaction against a social mechanism that, thankfully and by necessity, no longer works. The change is running, pressing, it is behind us and bypasses dominates us, because we never really accepted.

But you can not pretend nothing has happened for too long, things happen whether we want or not want, whether we are prepared or not.

some time talking about the mythical change of 2012, the prophesy of the Mayans, Nostradamus seems to have written it, some people think at the end of the world, who in a third world war, who nailed the Ark like Noah. It has been said that there will be a reversal of the Earth's rotation, there was talk of a change of polarity and resulting storm surges, floods, earthquakes destructive. It was thought then to an alien invasion.

I do not know what will happen in 2012 but I am sure that something is happening and we are approaching the moment of rupture. I'm not surprised if this occurs very year when everyone is talking about.

The word "Apocalypse" evokes terror and cataclysmic stereotypes that anticipate the end of the world but few know that "Apocalypse" means nothing more than "revelation", literally "the rise of a veil, the veil of ' illusion.

Every death is the end of something and the beginning of something else, and the Book of Revelation is first of all at the level of consciousness. I believe that the world we live in needs to go up a step on the path of awareness, and I also believe that the change to which we are heading is not anything else: the planet with a tap shakes off quite a bit energy funeste.

Ma è proprio per questo che dobbiamo essere preparati; è per questo che non dobbiamo smettere di salire, di evolverci, di metterci in discussione. E' la vita stessa che ce lo chiede.

Io, quando penso alla mia vita fino ad ora, ringrazio con tutto il cuore quelle che sono state le mie "malattie". Un malattia è sempre una benedizione, perché ogni malattia contiene con sé anche la sua guarigione, e la possibilità di fare il salto quantico. La malattia è una manifestazione, un'esplosione, è energia che viene mossa. Una malattia porta sempre con sé un mare di possibilità.

Guarire non è altro che interpretare la malattia, e vincere sulle nostre resistenze. Il problema vero non è il cambiamento in sé, ma la paura del cambiamento. Non è la morte in sé ma la paura della morte.

La morte è un aspetto della vita, e nulla più. L'aldiqua e l'aldilà non dovrebbero essere percepite come un qualcosa di separato, ma due dimensioni che si interscambiano tra di loro, e che si alimentano a vicenda. Quando siamo veramenti aperti all'universo, sentiamo con chiarezza questa assenza di confini.

Il tempo e lo spazio sono soltanto coordinate di cui abbiamo bisogno per vivere, per stare in questa dimensione. E stare in questa dimensione ci serve per evolverci, perchè l'evoluzione è possibile solo nella relazione.

Nell'ultimo mezzo secolo il progresso science has made great strides, but this also did not follow a human and civil progress. We are a nation of barbarians and we have the tools of a people's genes. But we have not saputi use, and we have depleted our lives rather than enrich it.

If I were to define a word I would use the evil of the century that according to our Buddhism is the second of the Ten Worlds (second only to the world of Hell): greed.

E 'is so ingrained in our world that we do not even notice it, which emancipate itself becomes a titanic task. Yet we never think how much misery it brings our greed.

The planet is dying, I said. Cleared forests, kill the animals, we use energy resources as if they were our own. We live as if we were the masters of all, we think that the world is in our service. But the world is something we should have only care, as we should have of ourselves and our inner life. And the world just a nothing to rebel and resize our assumed power.

I must say that the change will not only feel, but I hope and supported it. What we have there so we deserved. What we have, we can decide, based on the cases that we now, at this moment, we have the desire to get involved. Being powerful does not mean being above someone else. I really do not know who first he thought that there are rankings among living beings, I do not know who might have felt so detached from the universe not to understand that their happiness is not different from that of others, and "others" I mean everything that has life on the planet, what is visible and what is not.
Being powerful does not mean to go and rhythm with the universe, pervaded by the same energy to feel, perceive themselves as a part of everything. Being powerful is like breathing in the wind.


Tonight the moon is almost full, I hurt a tooth, and look like a real witch menstruation (long ago, in some tribes can not remember the name, the women who cycle with the full moon were considered witches and burned alive), this yellow light reminds me of the summer just past, the majestic nature, the sea in a storm. In a few days I will do 32 years and continues to support that life is but a progressive younger, from birth to death. I have never felt so young.