{"id":10407,"date":"2013-09-25T20:32:56","date_gmt":"2013-09-25T18:32:56","guid":{"rendered":"http:\/\/film-mag.net\/wp\/?p=10407"},"modified":"2013-09-25T20:32:56","modified_gmt":"2013-09-25T18:32:56","slug":"kazalisna-premijera-badco-dodatak-histerije-ubrzanje-pogon-jedinstvo-03-10-2013","status":"publish","type":"post","link":"http:\/\/film-mag.net\/wp\/?p=10407","title":{"rendered":"Kazali\u0161na premijera: BADco. \/ Dodatak histerije, ubrzanje… (Pogon Jedinstvo, 03.10.2013.)"},"content":{"rendered":"

DODATAK HISTERIJE, UBRZANJA\u2026 \/ A POUND OF HYSTERIA, ACCELERATION\u2026 \u2013 MELODRAMA \u2013 03., 05. & 06. 10. 2013 19:30 @ POGON JEDINSTVO, ZAGREB<\/strong><\/p>\n

BADco. vas poziva na zagreba\u010dku premijeru na\u0161eg najnovijeg projekta!
\n03., 05. i 06. 10. 2013. 19:30 @\u00a0POGON Jedinstvo, Trnjanski nasip bb, Zagreb<\/a><\/strong>
\nCijena pojedinacne ulaznice 40 kn (25 kn za studente i umirovljenike, 20kn za grupe).
\nRezervacije:\u00a0lovro@badco.hr<\/p>\n

\u201cSmatram da se u kinu mo\u017eemo bolje povu\u0107i, jer sjedimo u nepoznatom prostoru okru\u017eeni nepoznatim ljudima, ali kad sjednemo da gledamo televiziju s obitelji\u2026 tada stvari postaju napete.\u201d
\nRainer Werner Fassbinder<\/p>\n

U televizijskom razgovoru iz 1989. o raspadu Sovjetskog Saveza\u00a0Heiner M\u00fcller<\/strong>\u00a0iAlexander Kluge<\/strong>\u00a0vra\u0107aju se na Brechtovu re\u010denicu\u00a0\u201cNafta se opire peto\u010dinki\u201d<\/strong>. U toj re\u010denici sa\u017eet je problem pred kojim se nalazi epski teatar. Kako kroz dramski materijal prikazati historijske procese sa svim njihovim unutarnjim kontradikcijama, napredovanjima i nazadovanjima koji nadilaze likove i njihove me\u0111usobne odnose? To isto pitanje \u2013 \u0161to je prikazivanju organiziraju\u0107ih na\u010dela dana\u0161njice adekvatan dramski materijal \u2013 problemski je ulog i predstave\u00a0Dodatak histerije, ubrzanja\u2026<\/em><\/p>\n

Nafta jest i dalje problem epskog prikazivanja, ali ona je iz dana\u0161nje perspektive i nevidljivi supstrat kolanja energija i materije u suvremenom dru\u0161tvu. Podloga za trajnu ekspanziju proizvodnje i konzumacije u cilju akumuliranja kapitala koja prijeti da planetu dovede do antropogenog uskuhavanja. \u017ditka teku\u0107ina koja nas nepregorivo vezuje uz o\u010duvanje trenutnog na\u010dina \u017eivota.<\/p>\n

Povla\u010denje ko\u010dnice lokomotive povijesti Benjaminova je metafora revolucionarnog prekida nepodno\u0161ljivog razvoja moderne. Metodolo\u0161ko pitanje katapulta za metafore, dakle formalnog registra u kojem dramsko zbivanje mo\u017ee uprizoriti historijske procese, okosnica je razgovora izme\u0111u Heinera M\u00fcllera i Alexandera Klugea. Scenski postaviti kompleksnost povijesnih previranja i dru\u0161tvenih odnosa nije pitanje teatarskog dokumentiranja zbilje, ve\u0107 brehtijansko pitanje funkcionalne transformacije sredstava kojima predstavljamo tu zbilju. Polemiziraju\u0107i s tendencijama u dana\u0161njem teatru, tu M\u00fcllerovu intuiciju mogli bismo prevesti u kritiku da politi\u010dki ulog teatra nije u tome da prika\u017ee druk\u010diju dru\u0161tvenu zbilju, ve\u0107 da postoje\u0107u dru\u0161tvenu zbilju prika\u017ee pod druk\u010dijim uvjetima.<\/p>\n

Predstava je postavljena u alternativno televizijsko okru\u017eenje, u druk\u010diji ciklus kolanja slika i dru\u0161tvenog komentara zbilje. Ako je televizija bila suputnik zlatnog doba dru\u0161tva blagostanja, posttelevizijsko vrijeme novih ekranskih tehnologija suputnik je njegovog razaranja. Posttelevizijsko vrijeme, u kojem se medijatizirani horizont dru\u0161tvenog trenutka atomizira, istodobno je i stanje nove agonije tzv. srednje klase, novo melodramatsko stanje kojim dominira op\u0107i osje\u0107aj nezadovoljstva jednom naizgled temeljito blokiranom dru\u0161tvenom zbiljom koju treba mijenjati \u2013 iako iz svakodnevnog iskustva ostaje nedoku\u010divo kako je mijenjati. Naboj tog agonijskog rastrojstva i predreflektirane ideologije nemo\u0107i ova predstava gradi i razgra\u0111uje, dovode\u0107i izvedbom intenzitet tog naboja do nu\u017enosti njegovog prekida: \u201cKada sva ta masa stvari ne kola sve br\u017ee i br\u017ee, postoje\u0107e stvari pretvaraju se u duhove.\u201d<\/p>\n

Koreografija i izvedba:<\/strong>\u00a0Pravdan Devlahovi\u0107, Ana Kreitmeyer \/ Darija Do\u017edor, Nikolina Prista\u0161 i Zrinka U\u017ebinec
\nKoncept i dramaturgija:<\/strong>\u00a0Tomislav Medak
\nOblikovanje dramskog materijala:<\/strong>\u00a0Goran Sergej Prista\u0161
\nDramaturgija:<\/strong>\u00a0Ivana Ivkovi\u0107
\nProdukcija:<\/strong>\u00a0Lovro Rumiha
\nSoftver za algoritamsku video monta\u017eu ALVES:<\/strong>\u00a0Daniel Turing
\nDizajn kostima<\/strong>: Silvio Vuji\u010di\u0107
\nOblikovanje svjetla:<\/strong>\u00a0Alan Vukeli\u0107
\nOblikovanje zvuka:<\/strong>\u00a0Jasmin Dasovi\u0107
\nScenografija:<\/strong>\u00a0Miljenko Sekuli\u0107 Sarma
\nRekvizita:<\/strong>\u00a0Ana Ogrizovi\u0107
\nGlazba:<\/strong>\u00a0Alban Berg,\u00a0Wozzeck<\/em>
\nPrijevod:<\/strong>\u00a0Tomislav Medak
\nFotografije:<\/strong>\u00a0Dinko Rup\u010di\u0107
\nOblikovanje tiskanih materijala:<\/strong>\u00a0Dejan Dragosavac Ruta<\/p>\n

U predstavi koristimo razgovor Alexandera Klugea s Heinerom M\u00fcller pod naslovomPjesnik kao katapult za metafore<\/em>. Zahvaljujemo Alexanderu Klugeu na dopu\u0161tenju da ga upotrijebimo. Predstava je nadahnuta djelom Douglasa Sirka, Rainera Wernera Fassbindera, Pine Bausch, Michaela Heinricha, Timothyija Mitchella, Nannija Balestrinija i kolektiva Midnight Notes.<\/p>\n

Predstava je pripremana u\u00a0Centru za kulturu Novi Zagreb<\/a><\/strong>,\u00a0Centru za kulturu i informacije Maksimir<\/a><\/strong>\u00a0i\u00a0POGON \u2013 centru za nezavisnu kulturu i mlade<\/a><\/strong>.<\/p>\n

Projekt je podr\u017ean od: Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture RH.<\/p>\n

Predstava je dio projekta\u00a0TIMeSCAPES \u2013 slike i izvedbe vremena u kasnom kapitalizmu<\/em>\u00a0\u2013 partnera BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Be\u010d), Teorija koja hoda \u2013 TkH (Beograd) i Film-protufilm (Zagreb). Platforma TIMeSCAPES je podr\u017eana od programa Kultura Evropske unije.<\/p>\n

Hvala:\u00a0AVC Zagreb<\/a><\/strong><\/p>\n

\n
\n
\"Prizor<\/a><\/dt>\n
Prizor iz predstave ‘Dodatak histerije, ubrzanje…’ ; Foto D. Rup\u010di\u0107<\/dd>\n<\/dl>\n<\/div>\n

\n

A Pound of Hysteria, Acceleration\u2026<\/em><\/strong>
\n – melodrama –<\/strong><\/p>\n

BADco. invites you to the Zagreb premiere of our newest project!
\n03., 05. and 06. 10. 2013 19:30 @\u00a0POGON Jedinstvo, Trnjanski nasip bb, Zagreb<\/a><\/strong>
\nTickets 40 kn (25 kn reduced, 20kn groups).
\nReservations: lovro@badco.hr<\/p>\n

\u201cI believe cinema allows us to withdraw as we sit in an unfamiliar place surrounded by unfamiliar people, but when we sit down to watch television with the family \u2026 that\u2019s when things get tense.\u201d
\n– Rainer Werner Fassbinder<\/p>\n

While discussing the disintegration of the Soviet Union in a 1989 televised interview,Heiner M\u00fcller<\/strong>\u00a0and\u00a0Alexander Kluge<\/strong>\u00a0return to Brecht\u2019s sentence\u00a0\u201cPetroleum resists five acts\u201d<\/strong>. That sentence sums up the problem that faces epic theater. How can dramatic material depict historical processes with all their inner contradictions, progressions and setbacks that transcend characters and their relationships? The same question \u2013 what dramatic material is an adequate means of representation of the organizing principles of today\u2019s reality \u2013 is the speculative problem of\u00a0A Pound of Hysteria, Acceleration\u2026<\/em>\u00a0BADco.\u2019s new performance attempts to find the answer in the historical dialogue of two artists, the playwright Heiner M\u00fcller and the film director Alexander Kluge. At the end of the eighties two artists speculate about politics and social upheaval, yet today that speculation resounds as a document of our own present.<\/p>\n

Oil remains a problem of epic representation, but from today\u2019s perspective it is also as an invisible substrate of the circulation of energy and matter in modern society. The basis for permanent expansion of production and consumption for the purposes of accumulation of capital that threatens to bring the planet to an anthropogenic boiling point. A viscous fluid that incombustibly fetters us to the preservation of our current lifestyle.<\/p>\n

Grabbing for the emergency brake of the locomotive of world history is Benjamin\u2019s metaphor of revolutionary rupture in the unbearable progress of modernity. The methodological question of a catapult for metaphors, a formal register that enables dramatic representation of historic processes, is the foundation of a conversation between Heiner M\u00fcller and Alexander Kluge. Staging complexities of political turmoils and social relations, of circulation of matter and affect, is not a matter of documentary representation of reality through theatre but a Brechtian question of the functional transformation of means we use to represent that reality. If we were to argue with a certain tendency in contemporary theater, M\u00fcller\u2019s intuition against the documentary material into criticism: the political stake of theatre is not to present a different social reality, but rather to stage the existing, melodramatic social reality under different terms.<\/p>\n

A Pound of Hysteria, Acceleration\u2026<\/em>\u00a0is set in an alternative television environment, in a different cycle of circulation of images and social commentary of reality. If the television was a companion to the golden age of welfare state, the post-televison age of new screen technologies are a companion to its dismantling. And that post-television age is marked by a new agony of the so-called middle class, a new melodramatic condition dominated by a generalized feeling of discontent with what seems to be a completely blocked social reality that screams for change \u2013 although what change that may be remains completely intransparent from the everyday experience of that reality. This performance reconstructs and deconstructs the affective charge of that agonized confusion and ideology of helplessness by performatively pushing its intensity to its needed point of interruption: \u201cWhen all that mass of things does not circulate ever faster and faster, existing things turn into ghosts.\u201d<\/p>\n

Choreography and performance:<\/strong>\u00a0Pravdan Devlahovi\u0107, Ana Kreitmeyer \/ Darija Do\u017edor, Nikolina Prista\u0161 and Zrinka U\u017ebinec
\nConcept and dramaturgy:<\/strong>\u00a0Tomislav Medak
\nRecasting of dramatic material:<\/strong>\u00a0Goran Sergej Prista\u0161
\nDramaturgy:<\/strong>\u00a0Ivana Ivkovi\u0107
\nProduction:<\/strong>\u00a0Lovro Rumiha
\nSoftware for algorithmic video editing ALVES:<\/strong>\u00a0Daniel Turing
\nCostume design:<\/strong>\u00a0Silvio Vuji\u010di\u0107
\nLight design:<\/strong>\u00a0Alan Vukeli\u0107
\nSound design:<\/strong>\u00a0Jasmin Dasovi\u0107
\nSet design:<\/strong>\u00a0Miljenko Sekuli\u0107 Sarma
\nProps:<\/strong>\u00a0Ana Ogrizovi\u0107
\nMusic:<\/strong>\u00a0Alban Berg,\u00a0Wozzeck<\/em>
\nTranslation:<\/strong>\u00a0Tomislav Medak
\nPhotography:<\/strong>\u00a0Dinko Rup\u010di\u0107
\nGraphic design:<\/strong>\u00a0Dejan Dragosavac Ruta<\/p>\n

The production includes a conversation between Alexander Kluge and Heiner M\u00fcller titled\u00a0The Poet as a Catapult for Metaphors<\/em>. We thank Alexander Kluge for the permission to use it. The production is inspired by the works of Douglas Sirk, Rainer Werner Fassbinder, Pina Bausch, Michael Heinrich, Timothy Mitchell, Nanni Balestrini and the Midnight Notes collective.<\/p>\n

The production was rehearsed at the\u00a0Culture Centre Novi Zagreb<\/a><\/strong>,\u00a0Culture and Information Centre Maksimir<\/a><\/strong>\u00a0and\u00a0POGON \u2013 Center for Independent Culture and Youth<\/a><\/strong>.<\/p>\n

Supported by: Zagreb City Council for Education, Culture and Sport; Ministry of Culture of Republic of Croatia<\/p>\n

The production is a part of\u00a0TIMeSCAPES \u2013 Images and performances of time in late capitalism<\/em>\u00a0\u2013 a partner project of BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Vienna), Walking Theory (Belgrade) and Film-protufilm (Zagreb). With the support of the Culture Programme of the European Union.<\/p>\n

Thanks to:\u00a0AVC Zagreb<\/a><\/strong><\/p>\n

[izvor informacije BADco.<\/a><\/strong>]<\/p>\n

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