On the 7th day it started to rain.
There was no Putin on the back of a stork
Chasing the clouds away.
There was just Marco on the back of a mirror.
He is OUR Marco.
And what is Marco’s is ours.
“Fijn stof,” we say.
Sensei’s nap during the Opened Stage.
Oh, I wish to sleep in the same harmony.
He was in the OPENED STATE.
He was opened.
Tossing over the floor
In his woolen socks.
What about cooking?
I’ll go home
Put a pan on the fire
And fry some meet.
Yeah, this is a fine stuff.
notafe in 2014.
Was it miraculous? Isn’t life always kind of miraculous? Or: who needs dramaturgy when life is so interesting, as Andrew Morrish said.
As the yesterday’s performance we were given a chance to see Maria F. Scaroni and Frank Willens move “Towards Another Miraculous”. Later in the artist talk Maria said: “We were trying to explore the possibility of being partners not as lover nor as twins.”´But something else.” She didn’t know before if she can do it.
The introduction text for the performance says: “an integral part of the process was a month-long dérive through the streets of berlin whereby we strove towards removing the constraints and procedures of production.” The performance itself showed us two young talented potential revolutionaries of dance. I’m sure both of them will do great deeds and we’ll hear from them again.
The opinions I heard about the performance were divided. But I spent a good hour after the party last night, discussing what we had seen and thought about during “Towards Another Miraculous” so in that sense the performance worked it’s magic on us as the audience.
A recycling festival.
Will a butcher, a shoemaker, a miner come to teach at notafe?
But how can we use them?
When an apocalypse comes.
I build a tent.
I set up a microphone.
I sit on my tiny chair.
I invite my sister.
We walk on the rooftops.
When it’s deaddark.
And the lake is poisongreen.
You and me baby.
Ain’t nothing but mammals.
And I set up a songfestival.
I’m an Estonian, after all.
An example of “laulurahvas”.
Hippies die, I remain.
I hum even when I’m the last one left.
Writing about Maria F. Scaroni, Jan Ritsema, their workshops and the soup for lunch seems difficult. But let’s see where we’ll end up.
Maria Scaroni’s workshop “Body/Material” is a morning workshop, today they started with warm up inspired by the techniques of kundalini yoga, pilates and finding the centre of the body. It was necessary for the next exercise where Maria put on suitable music for ballet and asked everyone to dance with the fantasy of being a ballerina.
That was lovely to see how different dancers moved because everyone put their personality into the dance.
This 10 minutes of ballet was followed by a trio of exercises SHAKING-JUMPING-STRECHING, the main idea of it was to release the tension in the body which they achieved through making sounds and breathing.
The last part of the workshop was also improvisational dancing but this time instruction by Maria was: “Remember the gentle feet from ballet. So let’s say this is a room full of oracles. Let the dance come to you. We will keep this for 20 minutes. You can stop and watch any time and I’m not going to talk anymore, so…”
The music was more melodic and gentle. The movement arbitrary.
When the 20 minutes was over the participants had to make groups of three and were to do sessions of Fake Healing (the authors of the technique are Jennifer Lacey and Keith Hennessy). In the group one person was going to be healed by the rest two for 20 minutes and then they’d switch.
The rules of Fake Healing:
1. There’s nothing wrong with the healed person.
2. I have no special power as a healer.
3. I’m trying my best as a healer.
You can use everything: sound, movement, words, etc.
Later Maria said that this practice works on a symbolic level. And it shows the body as a great material. “As performers and dancers, we DO heal [others and ourselves]. It changes people when we do this [healing], no matter if we do it bad or good,” Maria explained in the end of the workshop.
This was followed by the soup for lunch for everybody. Andrew Morrish sang some songs and life everything seemed to be like the soup we ate: kind of sweet and surprisingly spicy.
It was difficult for yours truly to decide between the afternoon workshop because I’d heard something intriguing about Jan Ritsema’s workshop – some had hated it and left but others loved it. I also would have liked to go and learn more from Andrew Morrish but in the end decided to go for philosophy and Ritsema.
We got to hear a play for radio theatre by Andres Noormets titled “The River” which was inspired by Jan Ritsema’s workshop from last year’s Notafe. This followed a discussion on the subject of life, love, using and knowing, antropocentrism, permeability, and memory loss. ‘Twas most invigorating.
Thanks to all – the maestro of healing dance, maestro of soup and the maestro of love for wisdom.
It turned colder.
Some call it “death”.
But not all can realize.
Maybe it’s beacause it’s buried in words?
In “big words” as the current…
Conversations require corrections.
Where is my voice?
Why isn’t it heard?
When you cut off my tongue, what is left?
But when you paralize my body?
But why do you want to take THAT away from me?
Nothing is left.
Nothing. KIWA. Nothing.
In million of variations.
It’s still “super” instead of “very”.
In the frame of “say yes”.
Ground breaks under the buttock of an artist.
You can always restart.
Do. Re. Mi.
Peter Stamer and nothing else
The Friday evening’s performance was delivered by Peter Stamer, Sybrig Dokter and Andreas A. Müller. The headline of the piece is “For Your Eyes Only”.
When we entered the hall we were told by a man on the door to not take any pictures but that we can move around. The instant I stepped in the hall I understood why we were given such a recommendation.
There was fog everywhere and the only props that we saw were bundles of lightbulbs hanging from the ceiling just half a metre above the floor. No chairs for sitting, nothing besides walls and the lightbulbs. There was a mystical aura.
The three performers started wiggling about not abrubtly but right after the audience had entered the stage/hall and the doors were closed. There was no separation between the performers and the audience any more than there would be between any other two people.
Audience was a part of the performance as we were supposed to make room for the performers to move about. They used an improvisational theatre technique where there is one storyteller and the rest will act out the same storyline that they hear but everyone’s eyes are closed which creates a dynamic of words and movement and error.
I liked hearing these stories together with the illustrations of the performers. So what if in a way the stories were banal.
For those readers who are joining in with the festival just now: The artist talk is a part of NoTaFe and it takes place after the performances. It gives a chance for the performers and audience to meet and discuss what they just witnessed.
Peter Stamer said during the talk that the piece is about the possibility of showing how to die and what death is. As all the told stories ended with the Character dying, it is dealing with the problem of dying in Theatre. After that statement there rose a small argument between two listeners and Peter.
I think such talks should be part of all performing arts festivals because this talk gave a new perspective on the piece and the festival participants as well.
My thanks to the performers Peter, Sybrig and Andreas. It was delightful watching you move and talk. Evesdropping on some comments right after the performance, I know that the audience was thinking along and enjoyed being a part of “For Your Eyes Only”.