Bastards seminar om publikums tilstedeværelse

Read in English


4. september 2015, 09:30


Gratis - Gratis




5 timer



Fredag 4. september er det tid for seminar om publikums tilstedeværelse i scenekunsten. Seminaret er tilpasset fagfolk og studenter innen kunst- og scenekunstfeltet, men er også åpent for deg som har sett en del scenekunst i det frie feltet.



Vi har invitert en teaterviter, en kurator og en teatersjef til å snakke om sine refleksjoner om publikumstilstedeværelse (og kanskje atferd) i scenekunsten. 

Vi er stolte av å presentere årets talere:
Jon Refsdal Moe, kunstnerisk leder på Black Box Teater i Oslo
André Eiermann, dramaturg og teaterviter, Berlin University of the Arts
Elena Pérez, forsker og foreleser ved institutt for kunst- og medievitenskap på NTNU


Seminaret holdes på engelsk.

Mer om tematikken (kun engelsk):
The last decades of theatre and performance have been decades of exploring the relationship between audience and performer. As a theatre and a festival we are very much interested in both the mental and physical presence and participation of the spectator, but not romantically regarding the division between spectator and performer as non-existing. We believe it exists and that it is productive. The question is whether it creates a fixed image of the world as divided into the doers and sayers on the one hand and the spectators and listeners on the other; the ones who have something to say and actions to perform and the ones who haven’t.

For this festival we have not been thinking in terms of politics or social intervention, but in terms of finding freedom in reflection; a kind of independence for the spectator. The artists and projects in the program are in one way or another dealing with questions of the audience’s self-awareness.

In the last three years there has been a trend where festivals have been calling for the audience to take a stand towards political questions. Not that we think they shouldn’t, but the amount of festival initiated information production sometimes only adds to the immeasurable amount of information processed through all traditional and social media. We need, we believe, to reflect on the benefits of a deeper understanding based on reflection and learning. Bastard 2015 has invited artists who open the doors towards another form of presence in the world, at least in the world of performance. This year we want to create a space for new reflection on being present, together and separately. We invite to a different kind of action; a fellow presence where we can choose exactly the right degree of involvement. I do not know if we will succeed in starting a process of reflection. This can only be judged by others, the audience and maybe the artists alike.



Jon Refsdal Moe

Jon Refsdal Moe (1974). Artistic Director of Black Box Teater and Oslo International Theater Festival. Ph.D. in theater studies with a dissertation on Antonin Artaud’s “Le théâtre et son Double”. Theater and visual arts critic from 1999 – 2009.

For a theme Moe will repeat what Thomas Hirschhorn once told him, and that all small-time art world intellectuals do not understand, or probably do without acknowledging, as the business constantly forces us to dumb down, to keep selling what keeps us alive, to perpetuating the practice that – as opposed to intellectual reflection – does keep a natural habitat in the omnipresent governing experience economy, i.e. art: I am absolutely convinced that the people in front of a painting by Mondrian or Malevich or Warhol or a sculpture by Beuys or Judd are as active as anyone. They perform the noblest act there is, namely thinking. But nobody knows. Nobody can commensurate your activity if you go to the Louvre and see Piero della Francesca. That is the only important thing that was ever said about relational aesthetics, about “what takes place between spectator and actor etc. Or as Peter Brook said introducing Grotowski’s Acropolis to American TV viewers back in 1968: This has got nothing to do with communication


André Eiermann

André Eiermann is a theatre scholar working at the intersection of theory and practice. Currently, he is visiting professor for theory and history of theatre at the Berlin University of the Arts. As a dramaturg, he collaborates with Heine Avdal and Yukiko Shinozaki / fieldworks. He studied at the Institute for Applied Theatre Studies in Giessen, where he also did his PhD in 2008. The respective thesis titled Postspektakuläres Theater (Postspectacular Theatre) was published in 2009. Besides realizing performance projects as member of the artist duo parabiont, he has been working as a lecturer and researcher in various academic contexts, amongst others as postdoctoral fellow in Giessen and as substitute professor for theatre studies at the Institute for Theatre, Film and Media Studies in Frankfurt/Main.

A classical means to bring about audience participation is to throw things at it – like fish in a Kantor-Happening, or eggs in a Nam Jun Paik-Happening. A classical way to understand this participation (especially in its physical forms) lies in the notion that it brought about a particular immediacy of the relation between performers and spectators (respectively participants) – or that it even emphasized an immediacy assumed as characteristic for performance in general. In contrast to this, based on an example which leaves the action of throwing over for the audience, the talk describes an alternative perspective on audience participation – and performance in general.


 Elena Pérez

Elena Pérez (1978) is a researcher and lecturer in the department of Art and Media Studies at the Norwegian University of Science and Technology, NTNU. She is doing her PhD where she is looking at how digital media impacts contemporary performance, more specifically, how digital media challenge theatrical conventions in multimedia theatre, telematic and pervasive performance.

Abstract: Gameful participations: benefits and discontents
In this talk I will use my own experience developing and orchestrating Chain Reaction (2011), a hybrid performance piece of interactive theatre and ubiquitous game, as a starting point to talk about participation. I will describe the piece, explain the intentions and dramaturgical choices, to then discuss the kind of participation that was created, using current theory from the fine and performing arts. Here, I will try to discuss both my wishful thinking around participation and what it could ideally bring, and a more realistic approach to what what can be achieved in practice.

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