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jueves, 27 de marzo de 2008

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Ein Berliner, Bitte! Description of the Performance
Our starting point was to do an introspective reflection on our lives and
what we have in common as foreign artists living in Berlin. In the process of
creation, we realized that video and multimedia image dominate our
thought and our look. The multimedia image is not only a document or a
representation but is reality itself, our reality.
This omnipresence of the media is made possible and multiplied by Internet,
the privileged place of social exchange and the base for diffusion of
knowledge and information in our current world. In that case Ein Berliner,
bitte tries to represent how our society has incorporated the technology of
the image into its lifestyle.
In the show we work with images filmed live, emphasizing their analogical
and theatrical component to give emphasis to the relation between virtual
space / time and physical space / time.
The set design is structured on semi-transparent screens that enclose four
different spaces. The projected images are filmed by two cameras located
inside these spaces and are in turn projected – one onto the exterior screen
that encloses the space as a membrane, separating the actors and the
public; the other projected inside the space giving transparency and depth.
Between the two projections is established a constant semiotic game.
The dramaturgy of the performance is structured by four topics that we
consider to be essential in our lives: Cooking (Food), Sex (interpersonal
relations), Party (need for evasion and trance) and Art (creativity).
The content is treated throughout with humour and mockery. In the
overture of the work, we permit ourselves to play a small game with the
public. We allow them to believe that our show will be the typical new age
Happening of the 70’s; the typical Performance that we have seen
thousands of times, slack in content, creativity and rhythm. Later they are
surprised and the climax and the rhythm will rise. In this citing of an already
past style we imitate a ritual; a religious veneration to the cameras and to
the technological world.
The kitchen: the recipe of the pudding and the man eating a lemon. About
the obsessions for the meal that appear in modern life; many people find on
the Internet the route to exorcise these obsessions by becoming a part of
blogs, forums or pages of kitchen recipes.
The sex: the web cam and orange abuse. Sex on the Internet is the antisex;
so although the sex is actually a carnal and corporal experience between
persons, in Internet it is based on the provocation of the imaginary and the
fictitious satisfaction of the isolated individual.
The party: the trance of the individual. In spite of being a place for social
relation the party turns into absolute isolation; although it happens in
group, the rhythm of the music, the darkness and the drugs drive toward a
complete individualism. Its function is the evasion of worries and tensions in
our routine and fragmented lives.
The art: creativity. For us it is the hope, the possibility of using multimedia
to invent new worlds; the relation between the virtual and the real. In the
space Art we find a sub-dramaturgy. Through projected drawings and model
toys we narrate Irene's history. She has the vision of a UFO while driving
and has an accident. The accident is used as formal concept: when in the
virtual narrative Irene suffers the car accident, in the theatrical space –
which is a white cube wherefrom the actors never go out – Irene breaks out
and appears directly in front of the public. It is the only moment in which
this space is violated.
At the end of the play, after the accident, we take entertaining photos of
ourselves that present us as real people (Paco, Sonia, Irene) to the public.
These are the typical photos you take on vacation or with family and friends
using mobile phones or digital cameras. This way we give at the end a
strong presence of ourselves as people identical to the public.
After that the spectacle will end with the reproduction of the scenes filmed
during the same Performance. The public will have the option to see the
whole show again but without the presence of the actors. These images
might be projected thousands of times as if it was a Loop. This possibility
gives the show a last point of reflection on how important is the present, the
real-time, as a property of theatrical discourse; what does the present mean
when the same can be reproduced thousands of times?, how important is
the figure of the actor?, and what is the difference between what happens
live and what is only a projection? … these remain open.
Components: Paco Vallejo, Irene Pascual, Sonia Saura.
Support: Anna Fernandez, Rosa Teixidor, Paula Calvo

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jueves, 27 de marzo de 2008

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