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P e t e r S T A M E RA F A R E W E L L O P E R Aa w o r k s h o po n h o w t o s a y , s i n g , d a n c eg o o d b y eVenue: Music Room, Upstairs, Hobby School Jakobsoni 47c, Viljandi 71004
We want to explore, practice and choreograph the social and gestural ready-mades implied in the act of saying farewell to someone, to a situation, to a relation.
The less discursive language is used, the more ambiguous, ambivalent communicating goodbye seems to be. Once for example it comes to hugging the other, difficulties arise. We all have witnessed hugs intended to express some affection or some sort of friendship and closeness, intended to communicate thankfulness and kindness going wrong: Is the hug appropriate after all? Is this the right moment? Does the other respond to it at all? Now, which side first? What do I do with the head, turning it towards or away? Do I pad the back? Do I kiss his/her cheek? Oh, do I give a full hug or just a one-armed one? Do I press my pelvis against the lower part of my hugging partners body? Well, which starts to be a sign of affection may turn into a piece of slapstick, an awkward moment that makes both, the one who initiates and the one who receives, feel uncomfortable. It seems as if one’s corporeality stands in the way of communication – which turns good intentions into a comedy of human misunderstanding!
In the workshop we will look into social choreographies of saying farewell and explore the affects that are being both displayed and produced by diverse goodbyes in dance, film, everyday life. Rehearsing movie hugs, watching epic, teary goodbyes from Hollywood, singing farewell songs together, and reciting poems of farewell will also be part of our venture as well as choreographing farewell tableaus and stage dramatic situations of goodbye: let’s embrace the farewell like no one has done before!
PETER STAMER (Berlin) works as director, performer, mentor, and curator in the field of contemporary theatre and performance. During his theatre studies in the 90ies he worked as dance dramaturge at Nationaltheater Mannheim, in 2001 he was appointed curator for theory at Tanzquartier Vienna. Based in Berlin since 2008, Peter has created the research environment PRACTICE in 2008 and curated two editions of the festival Tanznacht Berlin in 2008 and Tanznacht Berlin_The Village 2010. Together with Silke Bake he conceived and curated the NU Performance Festival Tallinn in 2011 on the occasion of Tallinn Cultural Capital 2011. In the recent years he has been working as mentor and coach at AMCh Amsterdam, HZT Berlin, PARTS Brussels, ZHDK Zurich, NCDB Bucharest, OFFTA Montréal, CCD Workstation Beijing, Impulstanz Vienna, Tanzquartier Vienna, Theater Wrede Oldenburg, NOTAFE Viljandi or A.PASS Brussels where he is regularly engaged as dedicated and personal mentor and workshop leader. Peter’s performance and theatre projects take on strategies of story-telling and dialogic improvisation. His recent stage works include a.o. the performance For Your Eyes Only (presented at NOTAFE 2014 with Sybrig Dokter and Andreas Müller) or the performative installation 26 Letters To Deleuze which was presented at EMPAC Troy/New York (with Alain Franco and Jörg Laue) in 2014. With Diego Agulló a.o. he has developed the site-specific social installation The Waiting Room which has been performed since 2012 a.o. in Berlin and Leipzig. Together with Silke Bake a.o. he has been conceiving the international building-performance-project A Future Archeology for Berlin, Vienna, and Cairo in 2013 which will be followed by the book How To Collaborate? assembling contributions from a conference he and Bake organized in 2014 together with Interweaving Performance Cultures at Free University Berlin. At present, in close collaboration with Silke Bake and Mezzanine (Ana Rocha and Jorge Goncalves), Peter is curating and conceiving a summer building project at the international beach of Porto for 2015 and 2016 called Ariadne on the Beach. He collaborates regularly with the Viennese theatre group toxic dreams with which he realized a.o. a series of theatre shows called The Big Event 1-3 on Kennedy’s assassination in 2012/2013 as well as the live radio play There’s a rumble in the jungle in autumn 2014. In summer 2015, toxic dreams and Peter will present The Circus of Life A-Z at Tanzquartier Vienna. As dramaturge he recently collaborated with choreographer Daniel Kok on his PIIGS project (presented at Maxim-Gorki-Theater, Berlin 2015) or with performer Luanda Casella on her enduring story-telling project First is the Worst (passaporta festival, Brussels 2015). For and at UnterwegsTheater Heidelberg, Peter is currently conceiving 720h September, a festival academy that brings together architects, dancers, artists to experience an ongoing, month-long practice of shared art production.
P e t e r S T A M E R
H Ü V A S T I J Ä T U - O O P E R
Töötuba sellest, kuidas öelda, laulda, tantsida hüvastijättu.
Me tahame uurida, harjutada ja koreograafiaks muuta juba eksisteerivaid sotsiaalseid ja žestilisi märke, liigutusi, tegevusi vms, mis kaasnevad inimese, situatsiooni, suhtega hüvastijätmisel.
Mida vähem diskursiivne on kõne, mida kasutatakse, seda ebamäärasem ja mitmetähenduslikum tundub olevat head aega ütlemine. Raskused ilmnevad näiteks siis, kui on aeg teist kallistada. Me kõik oleme olnud tunnistajaiks kallistustele, mis - mõelduna teatud kiindumuse või sõpruse-läheduse väljendamiseks või tänu ja lahkuse avaldamiseks - lõppevad valesti: kas see kallistus on siiski sobilik? Kas see hetk on õige? Kas teine üldse reageerib sellele? Nii, milline külg enne? Mida ma oma peaga teen – kas pööran tema suunas või temast eemale? Kas patsutan ta selga? Kas suudlen põske? Nõndaks, kas teen täiskallistuse või lihtsalt ühe käega? Kas ma surun enda puusapiirkonna oma kallistaja alumise kehapoole vastu? Niisiis - miski, mis on algselt mõeldud märgina hoolivusest võib muutuda jandiks, piinlikuks hetkeks, mis tekitab ebamugavust nii algatajas kui ka vastuvõtjas. Tundub nagu inimese kehaline olek seisaks ees suhtlemisel - see omakorda muudab head kavatsused inimlike arusaamatuste komöödiaks!
Selles töötoas uurime lähemalt head aega ütlemise sotsiaalseid koreograafiaid ning avastame tundeid, mida erinevad hüvastijätud tantsus, filmides ja igapäevaelus nii näitavad kui loovad. Lisaks hüvastijätu-stseenideks liikumise loomisele ja dramaatiliste lahkumiste lavastamisele, saab osaks meie tööst ka filmiembuste harjutamine, eepiliste, pisaratega täidetud Hollywoodi hüvastijättude vaatamine, üheskoos lahkumislugude laulmine ning hüvastijätuluuletuste esitamine: võtame hüvastijätmise omaks nii nagu seda kunagi varem tehtud ei ole!
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