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Visions for revisions
While rehearsals are usually understood as an open phase of development, the premiere represents a caesura in the artistic process for a large number of theater productions. Something is supposed to have come to a conclusion! Now is the hour of critique. After that, in terms of time and financial resources, there are usually no more complex work/adaptation phases. There are unintended postponements, corrections, adaptations and some works are even process-like in the repetition, but in this they possibly carry out a scheme laid out before the premiere.
What interest is there in the performing arts – on the part of the audience/the artists – in more extensive re-visions after the premiere? Is there perhaps even a best practice model already in place? Can we imagine the beta version of a premiere? Do we even want that? And how much time should/may/must be in between for us to talk about a re-vision? Let’s imagine that there would be a re-vision funding. Under what criteria should it be awarded? What should it enable and when? And what about re-vision of criticism? With so many questions, I look forward to numerous fellow discussants!
- Film and interview documentary on the revival of the play “Vertanzt” (2011) by Antje Pfundtner in Gesellschaft (DE)
- Podcasts – The Tischgesellschafter:innen introduce themselves and their project.
- How does repetition work? In the form of an audio walk, the collective fachbetrieb rita grechen leads the digital visitors of the Tischgesellschaft through solo paths of remembering and repeating.
To explore the economies and principles of sustainability and sharing from an artistic point of view, Antje Pfundtner in Gesellschaft has been organizing a multi-part table society with HELLERAU -European Center for the Arts since 22.1.2021, which focuses on re-performance and opens the dialogue between national artists:inside, sociologists:inside, philosophers:inside, archivists:inside and spectators:inside.
How does re-performance work? In the spirit of sustainability as a repeating and passing-on practice, Tischgesellschaftler:innen invites you to join their multi-part online program: Through April 3, 2021, they are hosting audience:in conversations in the form of speaking engagements, recording their own discussions, putting them up for disposition, and interrogating the resources of art. To what extent are they reusable? What is the function of waste in art? What produces repetition? What does re-performance have to do with sustainability? For whom does one perform something again?
For the opening of her table society “Wieder da!” in January 2021, Antje Pfundtner in Gesellschaft (who is more known for her choreographies at HELLERAU), opened the discourse of artistic sustainability with her own re-performance process of her piece “Vertanzt”, once premiered in Hamburg in 2011. In a film documentary, as well as numerous interviews, she shared her work process of reappropriation and recontactualization, which lasted several weeks, with the visitors of the Tischgesellschaft “Wieder da!”.
Since the “Wieder da!” table society members cannot meet at HELLERAU or elsewhere due to the pandemic, they have shifted their exchange to the digital and share their discourses and practices online. They share their approaches to the topic of recycling with digital viewers, gradually uploading various podcasts, videos, and audio talks and organizing consultation hours to share questions live in smaller groups, depending on their expertise.
Participating in the table company “Back again!” are:
Antje Pfundtner in company (Anne Kersting, Jana Lüthje, Hannah Melder, Antje Pfundtner), Christina Ciupke (performer and choreographer), Henning Fülle (dramaturge, cultural researcher, founder of “Performing the archive”), Adrienne Goehler (theorist, publicist, curator and initiator of the traveling exhibition on expeditions in aesthetics and sustainability “RECOMMENDED FOR IMITATION! “), fachbetrieb rita grechen (interdisciplinary artistic collective), the HELLERAU team, Michael Hirsch (philosopher, political scientist, art theorist and author), Andrea Keiz (video artist and documentarian), Konglomerat e.V. (practitioners of sustainable development), Christiane Kühl (journalist and theater maker), Barbara Lubich (freelance filmmaker), Fabrice Mazliah (dancer and choreographer), Michael Müller (artistic director of Theaterdiscounter Berlin), Patrick Primavesi (Prof. for Theater Studies Leipzig and Director of the Tanzarchiv Leipzig e.V.), Anke Strauß (Organizational Sociologist and Head of MA Strategic Sustainability Management Eberswalde), Anna Till (Freelance Dancer and Choreographer), Katharina von Wilcke (Cultural Manager and Curator).