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7/5/2004

Process _City, Part 3

Galleria SC, Zagreb

(VJ process-in-progress)

BACACI SJENKI & ORCHESTRA STOLPNIK present:
Inspired by the works of Franz K.afka and Orson Welles
Translation to Croatian by Snjesk.a K.nezevic
Concept, Dramaturgy and Direction: Boris Bak.al
With: K.atarina Bistrovic Darvas, Damir K.lemenic and Boris Bak.al
VJ’ing: Ivan Slipcevic, Plak.or K.ovacevic
Dramaturgy and Production Assistant: Luk.a Ruk.avina
Collaborator on Concept and Dramaturgy: K.atarina Pejovic
Space and Lighting: Boris Bak.al & Pina Siotto
Produced by: Bacaci Sjenki (Zagreb), Orchestra Stolpnik (Bologna), Croatian FilmFestival, Gallery SC, Cultural Centre Pescenica & ZPA (Zagreb Dance Ensemble)
With the financial support of: Zagreb City Council of Culture and the Ministry of Culture of the Republic of Croatia and Bologna City Council of Culture

Gallery SC, Savska cesta 25, Zagreb, Croatia
Friday, May 8, 2004 at 21.00
Saturday, May 9, 2004 at 21.00

Reservations at 00 385 (01) 459 35 10

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In the space between Kafka's and Welles' oeuvre, we make an attempt to talk about the creation in space and the space in creation, to dig the tunnel that would lead us to that obscure and secret place from which Kafka’s voice arises. The interactive use of video – VJ’ing or the treatment of picture as dynamic music sequence prone to live manipulation – is the tool which enables us to enter the close-ups of the story and its protagonists: ourselves. Thus a peculiar sort of real-time movie unfolds in front of the audience, a complex interweaving of physical and digital action that the audience itself is also cutting and sewing by the mere choice of view.
This time, we started at the end in order to reach the beginning. Art, or however you might call this kind of creation, is the only place-time in which reversibility is possible and acceptable to our perception.

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The concept and implementation of VJ’ing in «process_city» derive out of scrupulous reading of Kafka’s oeuvre, tending to avoid the seductive possibilities that the digital technology nowadays offers in an ad nauseam abundance. Instead of a mere visual décor, the performers have at their disposal a device for expanding their own range of expression and for working on a sort of instant intuitive reflection of their stage actions.
Thus VJ’ing holds the position of equal protagonist within the frame of ''process_city''. As each stage event is a travel through real time and space, the travel in ''process_city'' is interweaved with the travel across the digital territory. Here, the classical linear experience, otherwise immanent to the perception of performing act, enters the dialogue with other perspectives, details, reproductions and/or re-combinations of that same act. The opening of the other dimension of real time-space experience is familiar to the idea of the unconscious being more similar to the digital picture (a seemingly chaotic structuring of pixels) than to the analogue picture (linear physical data encoding). Several strategies with precisely determined goal and function are being explored on the digital territory of ''process_city'': on the one hand, the digital eye surveys the protagonists in real time and space, much the same as the classical surveillance cameras. Hence the digital territory takes over the role of basic ''tuner'' of the atmosphere of performance. On the other hand, cameras zoom in close-ups which, confronted with physical scenes, create psychological-semantic counterpoints, juxtapositions or complementarities. Furthermore, the scenes unfolding in real time-space in front of the spectator fractalise and build new entities by reproducing and/or merging fractals. The notorious use of digital mirror in ''process_city'' turns towards the metaphysical: the pixelated gaze subsides, approaching Zen state.

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The city coils around a man like a sweet serpent.
The streets change their direction without respite.
The accused becomes the prosecutor and goes to buy a pound of potatoes.
Each bed is a courtroom, each orgasm a death sentence.
The punishment is the path, liberation lies in continuance.
B.B.

You need not leave your room.
Stay inside, sit by the table and prick up your ears.
You might not even listen, just wait.
You might not even wait, just learn to be peaceful, quiet and alone.
The world will unswervingly offer itself to you, with the urge to be revealed.
Having no choice, it will swirl in ecstasy beneath your feet.
F.K.

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ON THE PERFORMERS

Katarina Bistrovic Darvas - actress of theatre and cinema; member of the ZKM-Zagreb Theatre ensamble; one of the more actress important of the contemporary Croatian scene. Has interpreted memorable roles in shows which ''An uncertain Tale'', ''Slow Down'', ''Marat/Sade'' and ''Big White Rabbit'' and in the films of Zrinko Ogresta ''Washed out'', Antun Vrdoljak, ''Long and dark night'' and many others. Rewarded in the 2004 from the Croatian Theatre Award.
Damir Klemeric - performer, actor; leader and or founder of the famous group of theatre-we danced Montazstroj, later on Performingunit. Shows which ''RapOpera'', ''Everybody goes to disc from Moscow to Saint Francisco'', ''Terrible Fish'' and ''Who is Vojcek?'' they have been introduces from numerous and important festival and theatres to you in the world.
Boris Bakal - director, actor, writer and multimediale artist; author of numerous shows and plans introduces from several festival and winner of various prizes in Croatia and all'estero to you. Founder of the group ''Theatre of Obvious Phenomena'' (1986, Zagreb, Croatia), ''Orchestra Stolpnik'' (1995, Bologna, Italy) and ''Bacaci Sjenki''(2001, Croatia and international scene).



Galleria SC
Savska 25, Zagabria
tel ++385.01.4593602

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