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tot ce conteaza in viata sint aparentele

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February 2014

am ramas tablou

simbata am debutat intr-o piesa de teatru.
am avut citeva minute si citeva replici in tabloul de ionesco.
in rolul vecinei care intra la finalul reprezentatiei.
a fost ciudat sa stau ascuns intr-o camera (neincalzita) si sa intru (neincalzit), mai ales ca nu am repetat niciodata si nu mai vazusem spectacolul de doi ani.
dar a fost ok, mai ales ca ales ca in public erau aproape numai necunoscuti si purtam si un start gros de machiaj. mai greu a fost sa ies din rol, m-am prostit inca o zi cu vocea si manierele personajului.

tablouasul

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a portrait of the artist as a researcher

You’re an artist and that means: you’re a dreamer, you’re a clown. That is what some people think. It’s a great excuse for not paying any attention to all the thoughts you have. So what happens is that you, as an artist, put ideas into projects that others will show in their museum, in their Kunsthalle, in their exhibition space, in their gallery. So you are a thinker. You develop reflections nobody really cares about. You take intellectual risks. You speculate about artistic problems, you critically kick ass. You’re a transcender. You cannot put all your research efforts into one kind of artistic problems. So you interdisciplinarize your reflection. You link the reflections you make. You would say it differently. I know. You say you work within the framework of cultural studies. Within which all over the world you have many buddies. You are a video maker, but also a writer. You have a magazine, you’re an editor, but you also organize conferences. You make videos of interviews with intellectuals. You organize a conference when you present a journal, you insert video stills of interviews with intellectuals in your journal, you organize conferences and you’re the host. You’re part of this little think tank, you walk around at your conference, you talk to people and ask if they want to contribute to your reader, you’re an editor and co-editor, you’re a research coordinator and co-coordinator, you co-edit and coordinate all the time. You want your readers to attend your lectures, you want your conference participants to read your texts, you invite those who contribute to your reader to come to your conference, you make installations with interview videos. You meet people in order to interview them and you interview people in order to meet them. (dieter lesage) se continua aici

nu stiu cine a inventat notele pina la 10…

…insa viata unui om doar din doua cifre este (laurentiu duta, cifre)

n-am luat niciodata premiul I. de doua ori am primit premiul II, in primii doi ani de scoala.
cu fiecare an, notele mele au devenit tot mai mici. in liceu am supravietuit, aveam note mari doar la sport si, ocazional, la romana.
de obicei, nota 7 justifica valoarea si interesul meu pentru cele mai multe materii.
in facultate am trecut ca gisca prin apa. multa vreme mi-a fost usor rusine sa spun ca am terminat filosofie-jurnalistica la universitatea spiru haret.
la masterul de antropologie am avut note decente, chiar bune.
ca toata lumea.
oricum, la master, in general, se dau note mari.
la cel de la CESI este pentru prima oara in viata cind, cu o singura exceptie, am numai note de 10. am sa-l sun pe tata, care-mi facea zile negre pentru fiecare 7 sau 8 luat in scoala generala sa-l pun sa-mi semneze carnetul. si sa-mi cumpere bicicleta.
e o senzatie ciudata ca la 38 de ani sa astepti nerabdator niste note pe referate.
ce-i drept, mi se pare am scris si niste chestii misto.

apel HomeFest pentru scene domestice

Daca esti interesat de organizarea de evenimente culturale si ti-ai considerat intotdeauna sufrageria o scena a vietii de zi cu zi, acum poti gazdui artistii si publicul HomeFest chiar la tine acasa. Scrie-ne pe homefest2014@gmail.com pina pe 10 martie despre locul unde stai, daca esti in relatii bune cu vecinii si ataseaza si o imagine (primim si desene). Fii cel mai tare din blocul tau si alatura-te festivalului HomeFest!

HomeFest este primul festival cultural din Romania care deschide usa larg proiectelor artistice ce incap in sufragerii si dormitoare. Intre 12 si 20 aprilie 2014 piese de teatru, de dans, concerte, ateliere si workshopuri vor vizita apartamentele din cartierele bucurestene.

HomeFest este un proiect initiat de lorgean theatre, finantat de Fondul Mega Image pentru Comunitate, gestionat de Fundatia Comunitara Bucuresti si sprijinit de fundatia Gabriela Tudor
Partener: tranzit.ro/ București

tocator homemade culture

Acum patru ani si jumatate, cind am locuit pentru o perioada in Berlin, am fost invitat de o prietena care stia ca organizez piese de teatru in propriul apartament la un eveniment al companiei Theater der Migranten. Am ajuns pe strada Lenau din Neukoln, in fata unei cladiri masive, cu aspect destul de sumbru. Am aflat ca era un azil de batrini. Impreuna cu ceilalti spectatori si cu prietenii care ma insoteau (si mai imi traduceau) am intrat intr-o sala de adunare, destul de mare, care slujea probabil si drept sala de sport, dar si de intruniri sau evenimente culturale. Ne-am asezat pe scaunele dispuse ca la o conferinta. Asezat la un prezidiu, regizorul si animatorul evenimentului a sustinut un speech. In sala au intrat performerii (pe vremea aia nu stiam prea bine ce presupune acest termen si nici cel care il origineaza, performance) care au dansat si au cintat printre noi. Neintelegind nimic, ma pregateam sa petrec o seara in care aveam sa ma uit mai mult la spectatori decit la actori. Am primit un cartonas de culoare albastra pe care se afla o harta. Mi s-a spus sa-i gasesc si pe ceilalti care au cartonase de aceeasi culoare. I-am gasit, am format un grup. Am asteptat un pic, am facut cunostinta intre noi. A aparut un ghid care ne-a condus in subsolul cladirii. Era umed si rece, o schimbare binevenita dupa caldura de afara. Dincolo de o plasa de sirma, intr-o boxa de beton, se aflau doi actori. Mi s-a spus ca textele lor se bazau pe scrisori gasite chiar in acel subsol si ca datau dinaintea celui de-al doilea razboi mondial. A fost prima si ultima oara cind am mai avut oarecare idée despre textul pieselor. Din subsol am iesit in strada, am inaintat citiva metri si am intrat intr-o frizerie. Trei actori, in mod evident emigranti au jucat o alta piesa de teatru, utilizind la maximum decorul (scaunele de frizerie, crème, oglinzile). Din frizerie am urcat pe scarile unui bloc pina la la ultimul etaj si am intrat intr-o garsoniera unde performau doua actrite . Si m-am trezit brusc intr-un un alt lorgean theatre, o senzatie stranie si usor socanta. Faptul ca nu intelegeam textele ma ajuta mai bine sa observ spatiul si prezenta celorlalti. La un moment dat din balcon a aparut o alta actrita care a cintat la vioara. Din garsoniera am ajuns intr-o brutarie/patiserie (bakery) unde, dupa risetele celorlalti, probabil ca s-a jucat ceva foarte amuzant. Scena urmatoare s-a petrecut intr-o scoala. Pentru actul final ne-am reunite pe acoperisul azilului, luminat cu torte, unde s-a dansat si recitat din nou. Am ajuns acolo urcind pe scari, in liniste, ca sa nu-i deranjam pe locatarii in virsta care se culcasera deja. Dupa terminarea performance-ului spectatorii si actorii au ramas pe terasa, unde s-a baut vin si s-a socializat.

un fel de interviu

acesta nu e un interviu pentru media, e parte dintr-o aplicatie pentru proiectul home base jerusalem. (februarie 2013)
a urmat un alt interviu pe skype (primul din viata mea). se pare ca nu a fost un mare succes, pentru ca m-au anuntat ca am ramas pe lista scurta si ca voi fi invitat la anul.
urmarindu-le site-ul am observat ca, din pacate, proiectul nu s-a mai tinut deloc.

22. How would you define the meaning of Home?
A funny statement that I found is: Home is where you feel free to fart. Home is the place where the society ends and the kingdom of self arises but in the same time is a nodal point for a series of polarities: departure – arrival, family – community, space – place, interior – exterior, domestic – social, work – spare time, feminine – masculine, being – becoming, none of this category being strictly determined.
23. What topics do you find to be at the forefront of contemporary culture?
The triumph of society of spectacle which led, paradoxically, to the disenchantment of the world. „Hell is other people” vs „global village”.
24. What are your sources of inspiration?
The amazing diversity of interractions between people; hazard factor which can help to rise new things; genuine passion.
25. Please define three artists / thinkers who have been important for the development of your work
Jerzy Grotowsky, Daniel Miller (the anthropologist), Jerome Bel
26. What are three of your professional and/or personal achievements of the last year?
The selection at danceWEB, Vienna 2012
The premiere of my first solo, Zuzgwang (eXplore dance festival, Bucharest 2012)
The expanding of my project, lorgean theatre, a living-room theatre to other flats of Bucharest, on campaign entitled „Playing with Open House”.
The publishing of the book „The Living-Room Theater” – http://www.amazon.com/dp/B00AZCCYD4
27. What are professional and/or personal goals you hope to achieve during 2013?
I want to develope Universal Performance piece, project that I started to work since last year with another 5 performers from France, Norway, Sweden, Germany, Slovenia. I want to start preparations to first edition of HomeFest, established for spring 2014, which would be the first festival which would take place only in the flats of communist blocks.
28. Why are you interested to be part of HomeBase Project VI Jerusalem?
I’m intersted to dig into the topic of the specific relationships which develops between the dwellers of a city and the city itself. I want to experience different approaches of what home means to other people and to research how can be a flat transformed into a „domus artistica”. I’m intersted to share and to gain experience with other artists and to meet people with the same interests.
29. What can you contribute to the program?
lorgean theatre is the first romanian living-room theater. It was opened in december 2008.
– lorgean theatre involves theater and dance in the domestic spaces.
– performative work at lorgean theatre is reinterpreted and personalized.
– lorgean theatre’s audience is as important as the performance. sometimes is part of the performance.
– at lorgean theatre the audience don’t pay the entrance fee, but bring objects related to the theme of the performance.
I manage this place by my own and therefore I have a lot of experience relating with art taking place in domestic places. One of my generally goals is to establish the house as a „institutionalised” stage of contemporary times. Maybe the Jerusalem Home Base project is a step further in this direction.
30. What previous experience do you have in collaborative projects?
I worked with other four performers in the piece Inertia For Everybody, 2010
Currently I work with another five performers in the project Universal Performance. During the years I’ve collaborated with most of the artists that performed at lorgean theatre (where I don’t perform)..
31. What does community mean to you?
This is a tough question. Because I am person who spend a lot of time on my own, but more than 1000 people cross the threshold of my flat in the last 4.5 years. Using lorgean theatre as a cultural frame I try to produce communitas. What this type of theatre can bring forward is a re-enchantment of the domestic space, which becomes the place of events with liminoid character, where strangers or people, who know each other too little, like the inhabitants of a block, can become a communitas, with potential of community. In a world where everything is already known, consumed and construed, the house, the place of the most banal actions in the indicative mood can become a space of the subjunctive mood.
32. Why Jerusalem?
Unlike Jerusalem, from ethnical and cultural point of view, Bucharest is almost monolithical. People have the same behaviour in cultural situations, they relate with their houses in the same way. Working in the field that I love in a multicultural and multireligious city like Jerusalem would be a great achievement. I could learn a lot, it could be a turning point in my career.

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care e filmul tau favorit de woody allen?

am o problema cu oamenii care produc prea mult. 

un film pe an, o carte pe an, patru albume de muzica in cinci ani. acest prea plin revarsat regulat ma face sa receptez circumspect creatiile unui artist.

din 1969 woody allen face cu regularitate un film pe an (sint foarte putini in care a facut pauze). premiera de woody allen a devenit un fel de eveniment obisnuit, ca sarbatorile religioase. ai vazut ultimul woody allen? este o intrebare pe care o auzim an de an, ca “unde faci revelionul?”.  se comenteaza: “si-a revenit woody allen, a mai facut un film slab woody allen samd”, pentru ca si cinefilii si spectatorii obisnuiti consuma in continuare woody allen. multe dintre filmele lui sint foarte bune, iar citeva sint exceptionale. de cel putin 10 ani insa, regizorul se incapatineaza sa livreze acelasi film caruia ii schimba actorii si locul de filmare. 

woody allen e un reper cultural contemporan. prezenta lui este atit de puternica incit nici nu mai conteaza ce produce acum, ca o robinet uitat deschis. datorita trecutului cinematografic ii este iertat orice. cel mai grav este ca e iertat si in calitate de cetatean. n-a ajuns niciodata in fata unui tribunal desi acuzatiile legate de abuzarea fiicei (fosta fiica, exista si acest statut) au fost serioase. 

situatia lui imi aduce de personajul tatalui din festen.

citind scrisoarea lui dylan farrow (chiar daca exista posibilitatea ca dylan sa fi inventat totul) m-am decis sa nu ma mai uit niciodata la un film de woody allen.

dylan farrow:

What’s your favorite Woody Allen movie? Before you answer, you should know: when I was seven years old, Woody Allen took me by the hand and led me into a dim, closet-like attic on the second floor of our house. He told me to lay on my stomach and play with my brother’s electric train set. Then he sexually assaulted me. He talked to me while he did it, whispering that I was a good girl, that this was our secret, promising that we’d go to Paris and I’d be a star in his movies. I remember staring at that toy train, focusing on it as it traveled in its circle around the attic. To this day, I find it difficult to look at toy trains. restul aici

in concluzie, pentru ca nu o sa mai vad vreodata un alt “woody allen”, favoritul meu va ramine pentru totdeauna deconstructing harry

 

12-20 aprilie 2014

in sfirsit, se intimpla

blazon cu bec

Homefest este un proiect lorgean theatre și este finanțat de Fondul Mega Image pentru Comunitate, gestionat de Fundația Comunitară București

noroc!

la curs, acum doua saptamini
colega din dreapta stranuta. ma intorc si intilnesc privirea colegei aflate in dreapta ei. ne uitam unul la altul, ne uram din ochi sanatate, fara sa avem contact vizual cu fata care stranutase si ne reintoarcem privirile catre profesor, eu chicotind de absurdul situatiei.

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