Pepper's Ghost 3D using ipad / tabletSee connections
YET TO .COM(E) invites artists to collaborate in artistic dialogue and practice with another artist. The program establishes distinctive virtual residency incubators where two artists can live, brainstorm, and dream about a common future through their unique artistic lenses.
Ona simple phone call, two audience members – nameless strangers to one another – follow a carefully crafted set of directives. Over the course of the journey, a portrait of each other emerges through fleeting moments of exposure and the simple sound of an unseen voice.See connections
When talking to newcomers who had migrated to Europe via the Balkan Route, artist Akira Takayama became interested in the fact that – thanks to free Wi-Fi and phone charging possibilities as well as access to toilets – McDonald’s were seen as meeting points and places where information about the journey could be shared. This inspired him to develop McDonald’s Radio University, a project in which Takayama fulfils the utopian plan for a decentralized and mobile university. Takayama uses these plans to develop a model that passes on knowledge and enables training for people whose knowledge is not recognized in society (newcomers, people in precarious jobs, homeless people, etc.). In a ecture series, “professors” deepen and expand the traditional academic canon of knowledge by drawing on their own life experiences and research interests.See connections
#hologram #peppersghost #telepresenceSee connections
Your Word in my Mouth is a 're-performed' group discussion, read aloud by the audience from scripts. The piece immerses us in the private lives of several residents of [city changes depending on where its shown]. Brussels example: the residents include a polyamorist, a football-mad teenage girl, a notary specialised in matrimonial contracts, a sex assistant for people with disabilities... This unlikely encounter is 're-staged' in a series of venues usually reserved for an in-crowd: a hairdresser’s, a radio studio, the lounge of a brothel, a parliament… Members of the audience are invited to lend their voices to other people’s words and play them. How do these “alien” words sound in our own mouths? A conversation based on profound citizenship in which love might just open up new political perspectives.See connections
Precisely 30 years ago, dance company Rosas put itself on the map with the production Rosas danst Rosas. This choreography has since been staged all over the world. And now it's your turn. Dance your own Rosas danst Rosas, make a video film of it and post it on www.rosasdanstrosas.be. In the following videos choreographer Anne Teresa De Keersmaeker and dancer Samantha van Wissen will teach you the moves, step by step, from the second part of the performance. After that it becomes your dance: you dance Rosas. In a different setting, with a huge number of dancers... any way you like!See connections
For 4 at a time. The seated participants simply read, out loud, the words hi-lighted on the scripts they hold. By 'just saying the lines' all four readers find meaning and intention falling into place (despite no pressure to 'act' or correctly voice anything). What's said is an expression of the same doubt, curiosity and anxiety that can be expected of anyone asked to read out loud, in a group, without preparation.
The text seems to anticipate the readers’ thoughts at any given moment. The result is a sense of the script acting as an uncannily 'live' object; a text being written at the same time as being read.
As the first Autoteatro piece to function without audio or headphones, OK OK can be seen to treat printed text as a comparable if far older 'technology' (a pre-recordable, reproducible guide). Unlike the work with headphones however, the strategy is completely transparent. Everyone can read what everyone is saying.See connections
Autoteatro is a term coined by the artists above in 2007 for Rotozaza's 'Etiquette' to distinguish it from other audio-led performance at the time which was often for single participants.
In Autoteatro, audience members perform the piece themselves, for each other. Participants are given instruction via audio, visual cues or text for what to do or say. By simply following these instructions an event begins to unfold. One moment you may be watching or witnessing the other(s) performing, not unlike a normal audience experience. The next you may be doing or saying something which in turn creates a moment of performance to be witnessed by the other(s). Not to be confused with gaming (or ‘game show’-like improvisation), Autoteatro does not require audience members to be clever or inventive, neither does it necessarily set up instances of competition.
It’s also possible to define it as:
- functioning automatically: once started, there are no actors or other human involvment or labour during the work other than the participants engagement. An Autoteatro work exists as a fixed, often pre-recorded 'trigger' for a performance embodied only by those taking part. As well as sometimes allowing for Showing Without Going, being automated means it's usually possible to run the work on loop for large audiences over longer periods, and to multiply the number of simultaneous performances in different places.
- having no 'audience' beyond the participants themselves. This creates a levelling of what would otherwise be unequal power dynamics giving rise to the usual horror of theatrical participation. There's no director or rehearsed actor who knows how things 'should be going'; no-one sitting in the dark making judgements about those performing. You know that the other person or people are discovering everything with you. Sharing risk often allows us to take more risk.
‘Listening Distance’ is an audio-visual performance that evokes a live portrait of Thomas Tajo, blind expert in human echolocation. The piece is for a small group of audience at a time, sat in a semi-circle around a large monitor. Via 'open' headphones, they listen to Thomas who appears on screen, recounting his childhood spent in a tribal community in Arunachal Pradesh India. As he speaks, the image slowly fades to black, eventually turning into complete darkness. What follows is an experienced illusion of his physical presence in the room, evoked through binaural sound recordings.
In this, viewers are turned into listeners and asked to trust their ears the way Thomas trusts his. In an attempt at wanting to dismiss any preconceived ideas around blindness, most notably as a form of disability, the intention of Thomas is here to shift our attention to a curiosity towards learning to expand our ability to sense the world beyond our culturally dominant sense of sight. How might we share our particular way of perceiving the world with one another? And how can we reach an understanding of difference, of otherness, without falling into assumptions and presumptions defined by fear?
The title ‘Listening Distance’ considers the act of listening (to someone, to something) and that of keeping, measuring and perceiving distance (to things, to people). Both are central to the technique of echolocation, the ability to locate things at a distance through sound.See connections
Building conversation creates spaces in which you can practice conversation. The conversation itself is presented as a work of art and the performances are inspired by existing conversational practices from all over the world; from indigenous communities in New Zealand and Canada, to Occupy, Facebook and the root system of trees. #maybeSWGSee connections
invisible is a game that sends you out into the public space to play a collective game. With a small group of 8 to 12 people, starting from a short score and account of a previous experience, you carry out minuscule interventions. Together, you create a tiny situation, perceptible but invisible, of which you are at the same time the initiator and the spectator - the spectator of a subtle disarray, a strange, comical, political or surprising alteration. Like a secret committee, you briefly create a kind of poetry of the absurd, whose origin is known to you alone. By playing the game, you will likely become aware of all the potentials intrinsic to being together.See connections
In the course of the performance, ACTIONS constitutes an ideal democratic gathering in which asylum seekers, political leaders and volunteers from your city can express themselves. By putting emphasis on the here and now, ACTIONS looks at the great migration crisis and at how it is depicted in the media from a different angle, in order to focus on what only theatre is capable of: gaining direct access to the documentary force of various testimonies, playing its part as a forum within the city, and helping theatres, associations and spectators to make a joint commitment. ACTIONS uses the theatrical representation and its tools (production, dramaturgy, direction and evening programme) to divert them and put them literally at the service of a social issue: the reception of refugees in Europe.See connections
While the content of this performance is a collection of solutions (of any kind), its concept proposes and performs a solution of its own: the artists don’t need to travel around, thereby reducing the project’s carbon footprint. SOLUTIONS invites a constantly growing alliance of international performing artists, scientists and other figures to collectively write a performance script. Each of the participants performs the script’s current version in his/her local environment (only), and every year 3 new authors/performers are invited to join the project. The performance is about a global culture of solutions and leads to action.
The origin of the théâtrophone can be traced to a telephonic transmission system demonstrated by Clément Ader at the 1881 International Exposition of Electricity in Paris. The system was inaugurated by the French President Jules Grévy, and allowed broadcasting of concerts or plays. Ader had arranged 80 telephone transmitters across the front of a stage to create a form of binaural stereophonic sound. It was the first two-channel audio system, and consisted of a series of telephone transmitters connected from the stage of the Paris Opera to a suite of rooms at the Paris Electrical Exhibition, where the visitors could hear Comédie-Française and opera performances in stereo using two headphones; the Opera was located more than two kilometers away from the venue. In a note dated 11 November 1881, Victor Hugo describes his first experience of théâtrophone as pleasant.
In 1884, the King Luís I of Portugal decided to use the system, when he could not attend an opera in person. The director of the Edison Gower Bell Company, who was responsible for this théâtrophone installation, was later awarded the Military Order of Christ.
The théâtrophone technology was made available in Belgium in 1884, and in Lisbon in 1885. In Sweden, the first telephone transmission of an opera performance took place in Stockholm in May 1887.
#acousmatic #earlyformsSee connections
With the large-scale video installation Guilty Landscapes, the Dries Verhoeven brings the reality of uncomfortable news images dangerously close. He poses the question whether a personal connection between the viewer and the viewed is possible. What if the protagonists of the news looked us straight in the eyes? Through livestreaming Dries Verhoeven organises a one-to-one encounter with the ‘victim’ at the other end of the world.
As a “work-in-pandemic” showing, Manila Zoo has taken a form of live performance in the performers’ homes delivered online only to the theatre. It is the third part of a performance series titled Happyland, which refers to a slogan used by the Walt Disney Company for its theme parks and also the ironical name of a notoriously dense populated area in Manila. Eisa Jocson, with German electronic musician Charlotte Simon and four Filipino performers, confronts the psychosis shared by both humans and animals in isolation and confinement in Manila Zoo.
Manila Zoo (work-in-pandemic) was first presentated at Taipei Arts Festival in August 2020, and then in KAAT, Yokohama Japan as part of TPAM2021 where a local performer physically joined this version of work-in-pandemic, as a new attempt.See connections
A bizarre document of an obsessive and darkly comical private performance, Rules of the Game charts the progress of an imaginary drinking game to be played in front of the TV news. A more recent text-only version of Rules of the Game is included in Do It, an online project curated by Hans Ulrich Obrist. You can read the online text only version of this here.See connections
Show Me A Good Time is multi-hour live performance split into several episodes, for online viewers as well as a theatre audience. In the performance Gob Squad send out time-travelling explorers into a strangely unfamiliar reality, to find out how to go on and where, a good time might be found again. Gob Squad warp time, and completely rethink the clock.
In 2020 when most of the festivals were cancelled or moved online, Homo Novus offered a collection of works that were based on approaches presented here. Regardless of international travel restrictions, Homo Novus programme was international thanks to foreign artists who accepted festival's invitation to work from their homes, be it Central London or Mexican countryside, in close collaboration with local co-creators and performers, often leading their voices and ideas to be central in their work. Those were either new works or adaptations of existing ideas that acquired new features thanks to the involvement of local co-creators, be it artists, audience or the city.See connections
Physical Evidence Museum is a silent exhibition with live elements on a display in an ordinary apartment. Its exhibits are things that have witnessed domestic violence. No court would ever recognise them as credible evidence. Here, however, these everyday objects speak louder than deadly silence that follows the act of violence. Part of the museum is a series of recorded and live readings that reveal experience of women who have survived domestic violence.See connections
"Juan Muñoz created moody and challenging installations, most of which featured monochromatic human figures placed amid unnerving architectural spaces and often incorporating animatronics and sound."
(Some of his figurative scuptures would move ever so slightly, amplifying an already palpable liveness to their presence...)See connections
First you choose an object from many displayed on a shelf. You enter the first room and find a table with many tools and a simple instruction to "take the object to pieces". You smash, slice, saw, drill, unscrew, bend, rip… and then place the pieces on a tray which you take into the second room and place on another shelf. There, you take another tray with the remains of someone else's act of destruction, someone else's object, and take it to a worktable where, in the presence of other participants, you put the object back together using a variety of provided materials: thread, glue, staples, twine… A carefully worded sign invites you to spend as long as you like doing this. When finished, you take your "mended" object through to the final room, where it finds its place among many others.See connections
The Czech artist Krištof Kintera often creates work involving animatronics to create uncanny lifelike moving sculptures, often quite funny. This is one of many examples.See connections
"Dispersal Everywhere!" is an invitation to dance, an invitation to a gathering at a polite distance and a moving ritual to conjure up the art of those who are absent: those who take part in the international radio ballet give a body to the voices and movement instructions transmitted via headphones from dance and performance artists from all over the world and makes their movement language tangible. This creates a physical bond across countries and continents despite closed borders and travel restrictions.
The idea for this extraordinary project came from the LIGNA group, which consists of the media and performance artists Ole Frahm, Michael Hüners and Torsten Michaelsen. On the one hand, it is a consistent continuation of their previous work with radio interventions in public space and, at the same time, a reaction to the social changes triggered by Covid-19. In urban interventions and performative installations, the trio has been researching the possibilities for action of dispersed and temporarily connecting collectives since 2002. The artistic format of the radio ballet developed by LIGNA, which has already proven itself successfully in public spaces such as main train stations and shopping centers, provides the ideal setting for your current production.
How have our bodies changed, how have societies changed during this time of global threat from the pandemic? LIGNA asked thirteen international artists this question and asked them for a spoken choreographic contribution. The answers received come from, among others, Geumhyung Jeong (South Korea), Eisa Jocson (Philippines) or Mamela Nyamza (South Africa), who have been associated with the theater spectacle for a long time. LIGNA has put the small, sometimes cheerful, humorous, sad or profound pieces together into a polyphonic choreography. The performance location for the radio ballet, for which the Bulgarian composer Emilian Gatsov wrote the music, is a public square where the audience spreads out in accordance with the applicable distance rules, to set the world in motion as a distanced collective - at least a little. "Dispersal Everywhere!" is a suggestion for a different kind of planetary coexistence and care for one another », writes LIGNA. (kdi)See connections
Nightwalks with Teenagers is a walking performance created in by young people. They have planned and designed this walk through the city at night to share their stories and their favourite parts of the neighbourhood. The project brings together teens and adults who might not otherwise meet, to have experiences related to a shared place and time; it offers an opportunity for adults to socialize with young people in a safe social space, where everyone can let loose, and silences offer moments for contemplation. Potentially, the work could be made with distant guidance of Mammalian Diving Reflex collective.
A group of performers have each memorised a book of their choice. They form a collection of living books that spend their time in the library waiting to be "picked up" by the audience. With disarming naturalness and without the intermediary of a physical object, the living books remind us that learning a text “by heart” is an act of love that mobilises memory as much as forgetfulness.See connections
The Question Project is built on the questions of unknown passersby, a conversation with city dwellers who think in the form of a question. What would you ask the city? What would you ask your body? What would you ask the river? What would you ask the history? The answer is always a question, deliberately avoiding one correct truth.The Question Project is a mobile performance, scenographic installation on wheels that travels the city making different voices heard and questions – visible.See connections
A phonenumber with the description 'Call for a miracle' as part of the exhibition 'Allemaal wonderen' (translation: All miracles) of Museum Catharijneconvent in Utrecht, the Netherlands. Once someone diales the number there are three options. The first option leads to a prerecorded story, a miracle experienced by one of the museum's employees, who survived the 2004 tsunami in the Indian Ocean. The second option grants the listener the chance to request their own supernatural event and the third option opens the possibility to record their own miraculous experience.This work was designed as an alternative way to allow an audience to experience the exhibition without physically visiting the museum, due to Covid-19 restrictions.See connections
A series of animatronic performances performed hourly within theatres set inside artificial hills.
"...the book of Genesis with animatronic lions and hippos... the hourly appearance of the 40-foot Jesus statue that rises up from within a skull-covered Golgotha while Handel’s Messiah blasts from the speakers. The massive savior wiggles his stigmata and closes his eyes in a state of grace before lowering back down into the mountain..."See connections
Written by Iranian writer Nassim Soleimanpour in 2010, White Rabbit, Red Rabbit is a theatre play with no rehearsal and no director. It is to be performed each night by a different actor, who has not seen the script before. Since its joint premiere in 2011 in Edinburgh and Summerworks festival it has been translated into more than 25 different languages and been performed over 1000 times.See connections
In the move to a Virtual National Arts Festival 2020, which was largely motivated by a desire to support artists to earn income and gain exposure, we have created the vFringe, a digital platform for artists to share their work with home-based audiences. The vFringe accommodates a ticketed video-on-demand platform, a visual art directory, a virtual green trading space for crafters, and an advertising space for live events held on third-party platforms.See connections
Watch National Theatre Live recordings, filmed in high definition for cinema to capture all the twists and turns, laughter and heartbreak.See connections
Ogutu Muraya’s fragmented memoir, How do you observe a stone that is about to strike you? exists as a part of a long-term practice of publishing; an ongoing symbiosis between reading, writing and publishing, where chapters are released through different means of meeting with an audience. Mine Is To Say Something Small is the third chapter and will be engaged as a text for this reading group, to give closer attention, zoom in and zoom back out. The session is initiated by an introduction and reading by Ogutu via an audio recording.See connections
Microcosm is a live concert situation with participation of self-playing piano and six moving lights "dressed" in paper, foam, fur and other materials. The creatures move slowly and monotonously as if being absorbed in deep listening.See connections
A Closeup on the Sound of Blooming is a durational performance that attempts to enable the impossible task of reinstatement of 70 Palestinian homes in East Jerusalem demolished by the IDF on 22 July 2019. For that journey, artist Raafat Majzoub uses Hekmat – one of the fictional characters in his novel – to travel to Palestine, a neighboring country that he is not allowed to visit due to a state of war between Israel and Lebanon. The sound generated by sketching and re-tracing architectural drawings of the destroyed homes and a live Whatsapp group chat on the autobiography of another Arab World yields a visceral, paramilitary response to the demolition.
Due to denial of Schengen visa Raafat has presented this work from a distance, using live sound broadcast of him sketching at home in Lebanon, and Whatsapp to interact with faraway audience.
Being Here for You is an ongoing work by Dutch artist Rita Hoofwijk and South African artist Hannah Loewenthal, living and working far apart. It began as a response to the situation of lockdowns and the impossibility of relocating themselves and their work. They asked: Do you have to see something with your own eyes, hold it with your own hands in order for an experience to be considered ‘real’? Would it be possible to ask someone else to be your eyes, ears, hands? These questions resulted in an ongoing exchange consisting of (im)possible requests and led to the following question: Is it possible to make work for another? As an exploration of this last question geographically distant artists, partners and sites are connected in an exchange to create in-situ work, without travelling physically.See connections
A subtle, experiential performance that invites to walk hand in hand with a series of strangers around the city to discover it anew. Designed for one audience member at a time the piece asks people to challenge prejudices in the flesh, and experience first hand what it is to walk in someone elseʼs shoes – or hands. Walking:Holding engages with local participants as performers in each location.See connections
The 20 minute online work-in-progress takes the form of a live-streamed conversation with multiple voices speaking through the artist's digital avatar. The piece is concerned with the notion of presence conveyed through physical absence, and the minimal threshold of technological simulation that can produce the feeling of the performers's presence in the space for the audience. It featured a live dialogue conducted between the artist and a physicist on the topics of presence, virtual qualia, black box technologies and ways of breaking free from technological determination, presented through the morphing visage of a single avatar.See connections
A long distance conversation about love, birth, soap operas and missed calls.
For the past three years Samara has been living and studying in Amsterdam. During this time, she was often on the phone with her cousin Zac, back in Australia.
“Call me anytime you want”, is a phrase he’d often say to her as they’d hang up the phone.
Since lock down they have been speaking every night at 10pm.
These phone calls last no more than 3 minutes and always end with the promise of another call, the next night.
The short, serial nature of the calls started to feel like a soap opera, a genre that Zac is very familiar with. Every day at 4:30pm he watches the American soap opera, Bold and the Beautiful. He even quit a job at a salad bar because he couldn’t get home in time for 4:30pm.
Samara’s practice explores conversation as performance and performance as conversation. She is particularly interested in ways to stage absence and in exploring notions of presence, of remote performance and of the tension between distance and intimacy. Call Me Anytime You Want is a conversation about being together, across physical and emotional distances and is an attempt to fantasize about all the things the future may or may not provide.See connections
"During November and December 2014 I staged a production of Beckett's NOT I as a 3D holographic projection.
Nobody realised that it wasn't real - that in fact there wasn't anyone there on the stage.
It was the kind of hologram that doesn't require the audience to wear goggles"
Written for 'Imagined Theatres', ed. Daniel Sack
with a reflection / gloss by Peggy PhelanSee connections
In this digital conference, Simon Senn, a videographer and visual artist from Geneva, demonstrates how the virtual world and the real world are not always in opposition, revealing the unexpected entanglements between technology, representation, gender, and law.
The sanitary crisis caused by the Covid-19 epidemic forced the Théâtre Vidy-Lausanne to close its doors on 13 March 2020, just a few days before the performances of Be Arielle F were due to start. Simon Senn, however, refused to give up his connection with the audience and developed a version of the performance specifically adapted to the ‘at-home’ confinement situation that the fight against the virus had imposed. He invited a limited number of spectators into his home to watch this live digital performance for audience members and artists in lockdown, in a virtual living room, by way of a webinar on the video-conference app Zoom.See connections
The solely performer in this work is a humanoid robot, a copy of a real person, the writer Thomas Melle. It performs a lecture on instability, written and narrated by Melle, who is not actually present.
A group of students in Rome started during the first lockdown a small network of 'window listeners'. Each student opened their window and let the others listen in on what whas happening in their neighbourhood. They extended the network to students all over the world.See connections
A poem a day is an audio-graphic jugalbandi (duet) where poems are selected and read by Sudhanva Deshpande and the artworks as responses to the poems are created by Virkein Dhar. It also has guests taking over, to record their favourite poem in a language of their choice. This started as an exercise to reflect on and archive their days during the pandemic.
The audio poems are also published as a podcast.See connections
Surrender Control is an interactive work comprising an escalating sequence of text message instructions delivered direct to the mobile phones of individual users. Participants subscribe to the project by sending a message to a particular number and from that point on receive a certain number of text message instructions over a specified time period (for example – 75 instructions over 5 days). Responding to the intimate context of the mobile phone and of SMS as a form of communication, Surrender Control invites the user into an evolving game of textual suggestions, provocations and dares.See connections
Beautiful Trouble is a book, a strategy card deck, an online toolbox and a creative campaign incubator. It's put together by an international network of artist-activist-trainers helping grassroots movements become more creative and effective. The modular toolkit linked to here documents and disseminates the breakthroughs and innovations of practitioners the world over.See connections
Kathe is conceived as a networked performance, subverting the productivity aspect of video-conference platforms and instead turning it into an intimate shared experience. It occurs as a semi-conversational performance traversing oral storytelling, theatre and poetry as the script navigates complex technological concerns such as surveillance capitalism and geopolitical issues. The video image of the storyteller is distorted through a series of off-screen video manipulations and the audience's camera and microphones are choreographed in the narrative.
Dematerialise is the work in progress video version of this performance.See connections
A book of instructions and drawings by Yoko OnoSee connections
The description of the examples included in the database have been put together by the authors or users of the atlas with information publicly available. If you are the author of one of the performances quoted as an example and would like to have it removed from the atlas or to suggest some changes in the way it is described, please send an email to : firstname.lastname@example.org