Sorry, this entry is only available in Croatian.
provoked by Samuel Beckett’s Krapp’s Last Tape
authors: Nora Krstulović & Vedran Peternel
dramaturg: Kristina Gavran
performer: Nina Violić
Theatre and Time.
The very example of those love & hate relationships one shouldn’t get into.
First can not live without the other, but can’t withstand its’ scrutiny, either.
And don’t get us wrong, we’re not talking about the Theatre’s sister Drama. Oh, no. That little devil can sometimes go unharmed for millenniums, just ask Euripides.
Nope, we’re talking live Theatre. Should you try to capture it in Time, it will become something else. A movie, a sound recording, a photo. But it won’t be Theatre anymore. Imitating, of course, that chief pretender of them all – Life.
So, imagine our surprise when we discovered that one of the greatest experts on the ill-fated relationship of Theatre and Time, Samuel f***** Beckett, in his most autobiographical mood, opens with this line:
A late evening in the future.
Not the line one would expect, right?
[Well, technically it’s not a line. It’s a stage direction. But still.]
In the future?
And than it deals with the – past?
What the hell Mr. Becket? What the hell?
You, the, very guy who managed to create a piece in which nothing happens and than it does not happen – twice, you of all people, throw your gloves in and go dancing in the future?
It took us some Time to figure you out, but finally we did. We won’t be fooled!
Here’s the deal: we’re taking you on. We’re going to wrestle with you for the next 30 years. We’ll get in that future of yours, prepared. We’ll have the tapes.
We won’t take any Krapp, from you, him, Theatre or the Time.
We’ll be ready when the time comes.
We’ll make it to the tape.
Conceived and directed by: Nora Krstulović & Vedran Peternel
Soundscapes & Sound Design: Vedran Peternel
Set design: SKROZ
Costume design: Hana Letica
Light design: Saša Fistrić
Performer: Tina Hofman/ Mateja Majerle
Produced by: Mala scena & SKROZ
Visual identity: Zita Nakić Vojnović & Klasja Habjan
Photography: Julio Frangen
Expert collaborators: Norbert Schnell, Researcher and Developer, Real-Time Musical Interactions, IRCAM – Centre Pompidou & Frederic Bevilacqua, Head of the Real Time Musical Interaction team at IRCAM – Centre Pompidou
MAX MSP collaborator: Ivan Marušić Klif
Produced by: Mala scena & SKROZ with the support of Ministry of Culture of Republic of Croatia & French Cultural Institute in Zagreb
Producer: Vitomira Loncar
Production Assistant: Tatiana Lisac
Mala Scena is the only theatre in Croatia which has been producing Early Years shows on a regular basis. For over a decade they have been creating theatrical experiences aimed at children from 18 months to 5 years of age, including: The Story About Cloud, The Story About Wheel, The Story About Light and The Story About Water.
For the latest addition to the The Story About… series, The Story About Sound, Mala Scena partnered up with the creative collective SKROZ, consisiting of French-Croatian audio artist Vedran Peternel and Croatian director Nora Krstulovic. They are well known for the use of sound as an autonomous expressive device, both in their high-tech projects such as @BetaSkroz as well as in children’s theatre shows such as Golden Hen or Weasel In The Attic.
The preparations for The Story About Sound included several months of research with the team of international multidisciplinary professionals observing, as well as challenging the levels of sound perception: their connection with other senses as well as with cognitive and emotional development of the youngest audiences.
As a result, The Story About Sound is the first performing arts project ever using revolutionary Modular Musical Objects technology developed by famous French research institute IRCAM (Institut de Recherche et Coordination Acoustique/Musique) as well as the Verbotonal method theory by Croatian scientist and founder of SUVAG, Petar Guberina.
For an unborn baby sound is the first perception of the outer world through its mother’s womb. A baby’s cry is the sound of its first arrival into this world. Newborns recognise their mother’s voice, which soothes them. At the age of three months they start getting excited by the familiar sounds such as bathwater running, footsteps, etc. At the same time, babies start to recognise and locate from where the sounds are coming and their spatiality, whilst the visual perception of space develops at a later stage.
Despite all this, current developmental and educational trends give little space to nurturing and developing our perception of sound, barring listening to music and stories.
Sound however, is far more complex than that.
It transcends geographical area and language, and paints pictures far richer and more memorable than words, images or television screen.
The association that the sounds (including the harmonious and organised sequence better known as music) produce with the listener are far more diverse than any image, word or movement. This is exactly what The Story About Sound explores by using a plethora of sounds: those familiar to children, such as nature sounds, melodies and rhythms, as well as abstract and synthetic sounds.
The Story About Sound aims to be one of the first lessons in the skill of listening: to our immediate surroundings, the ones we recognise and the ones that are new, as well as to our own selves.
«Sometimes we are absolutely ready. Always at the wrong time, but sometimes it could be the right time. We look at each other and we know. Time to take off our clothes. »
Nora Krstulović & Vedran Peternel, or SKROZ, a duo that in 2011 created @BetaSkroz, the first performance ever that took place simultaneously on social networks (Instagram, Twitter & SoundCloud) and live onstage, and then, established Maštodrom, a whole new theatre program for children and young people, return once again to an adult audience.
Their new project entitled ‘Forest, timber, hardly, quite’ was adapted from ‘Book of Orgasms’, an underground cult classic by Nin Andrews, a book that critics claim to be a unique blend of the influences of Swift, Borges and – Buñuel.
Dear Friends and Colleagues,
After 20 years of loyal service, adventures and many projects, as some of you know, I am leaving my studio in Ablon.
During my stay, in addition to good memories, I have accumulated many objects, furniture, equipment, materials…
The list is long and varied, but to make it short and give you an idea, there are sofas, a double bed, table and chairs, all sorts of electronic appliances (fridge, washing machine, coffeemakers, dishes, etc …), a wood stove, lighting, tools, carpets, shelves, etc.. etc..
Obviously, there is also audio equipment, a sound system, a mixer, microphone stands, instruments, and some IT equipment.
All of this will be on sale at more than symbolic prices.
In order to mix business with pleasure, I suggest you come to Ablon on Saturday, August 31st and / or Sunday September 1st between 10h and 20h, have a drink and choose the items that will beautify your home, or be useful professionally.
This invitation comes with no strings attached, it will be a pleasure to see you and spend some time with you, even if you leave empty-handed, which I doubt.
Please, feel free to pass the invitation on!
Hope to see you next weekend at Ablon
‘Forest, Timber, Hardly, Quite’ has been invited to 17th ZadarSnova festival in Zadar, Croatia, where it will be performed on August 13th.
When was the last time you were truly happy? Do you let others run your life or do you make your own decisions? Is the pleasure a matter of physiology or trust? Did you know that word orgasm comes from Greek οργασμός [orgasmos], and acctualy means to – mature?
These and similar issues are debated , through a collage of music, dance and remarkable dramatic situations, in the show ‘Forest, Timber, Hardly, Quite’ adapted from ‘Book of Orgasms’, an underground cult classic by Nin Andrews, a book that critics claim to be a unique blend of the influences of Swift, Borges and – Buñuel.
According to reviews the show is ‘provocative and witty‘ [Večernji list], ideal ‘even for people who have given up on theatre‘ [Hrvatski radio], performed by ‘slick and perfectly tuned ensamble‘ [Kazalište.hr],and therefore ‘the most successful production of theatrical spring in Zagreb‘ [Ziher.hr].
For the past 20 years, the building of l’ancienne gare marchande, or the old freight loading station, in Ablon (just 15 minutes away from the centre of Paris, France), has served as an atelier for artists from all over the world.
Australian band Dirty Three, as well as their front man Warren Ellis; French band Ez3kiel, and Croatian band Darko Rundek & his Cargo Orchestra (to name just a few) have all chosen the facilities to write, record and perform their music. Numerous visual, video and performing artists, writers, photographers, and designers have also been drawn to this unique creative space. The venue even hosted a birthday party for the esteemed French philosopher Alain Badiou, with the help of his colleague Jacques Rancière.
Ablon is close to Paris’ city centre, yet still completely isolated.It has a history as a birthplace for exquisite art and a thoroughly welcoming ambience. Its stone walls create an amazing acoustic. And, handily, there are no neighbors to complain about noise!
Clear and Present Danger
For the last two decades, the French branch of SKROZ, a registered 501(c)(3) non-profit under French law, has been leasing the building from the French Rail Network (RFF). In the last X years, maintenance costs have grown so high that SKROZ can no longer both care for the venue and offer it to artists at affordable fees.
Unless we can swiftly make l’ancienne gare marchande self-sustainable (and by “swiftly,” we mean within the next two months), the venue will be either torn down or converted into commercial storage. Yet another valuable and historic arts space will be lost.
We are now seeking vital support to not only preserve the Gare d’Ablon, but to turn it into a residency venue that will enable artists from all over the world to have a space in Paris, the arts capital of Europe, that can be used for both work and cultural events.
In order to achieve that, we need to renovate and refurbish the space. It has to be made habitable as well as fun to work in. The necessary permits must be applied for and obtained. Most importantly, we hope to build a network of supporters that will enable us to acquire the building from its current owner.
With your help, Ablon’s currently single 100m2 large and 8m high atelier, with separate kitchen and bathroom, would turn into a two-tiered double bedroom residency with a 100m2 of co-working space, sound studio and a garden to match.
All improvements will be done to the highest environmental standards, and the mezzanine will be built exclusively out of re-usable wooden blocks in to create both warm & functional environments, as well as keep the unique acoustics of the space.
Every three months, there will be an open call for applications, with successful applicants being offered a residency in Ablon, with lengths varying from a week to a month.
The residents would then be able to live and work in Ablon, just a 15 minutes RER C ride away from Place Saint Michel in Paris. The atelier is a delightful environment for workshops, presentations, meetings and social gatherings.
Furthermore, we will create a communication platform and a newsletter for the Art Residency Station @ Ablon alumni, so our past and future tenants can share both their work and plans, creatingnew partnerships on their own.
Not All Contributions Need to be $!
We are excited and thankful that you’ve read this far. We are immensely grateful if you chose to donate to our vision. If you can’t, we’re very grateful for your interest – and we ask you to please help us get the word out!
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And, Thank You.
Ancienne Gare Marchande • Rue Gabriel Péri • 94480 Ablon