process_in_progress

DATUMI IGRANJA / UPCOMING DATES:

2009-11-18T05:40:00.000-08:00

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::::Izvođenje predstave PROCESS IN PROGRESS (process_grad_03) na Kazališnoj Burzi - Mreža neovisnih kazališnih kazališta i kazališnih družina

2.09.2011. u 16 h,
(1h 10')
Mala Scena Zagreb, Medveščak 2
10000 Zagreb
Ulaznice je potrebno rezvervirati do 30. kolovoza.
tel. 01/ 468 3352,
468 3373, 468 3944
fax. 01/ 468 3370
e-mail:
info@mala-scena.hr

U Zagrebu će se od 1. do 4. rujna 2011. održati PRVA HRVATSKA KAZALIŠNA BURZA na kojoj će sudjelovati 18 kazališta iz 5 županija okupljenih u MREŽU neovisnih kazališta / kazališnih družina.
BURZA će se održavati u kazalištu Mala scena.

Ne propustite ovaj iznimni kazališni poduhvat i pridružite se našem kazališnom svijetu!

“Process_In_Progress”, praizvedena 2004. na 13. Danima hrvatskog filma najdugovječnija je predstava Bacača Sjenki - izvođena je na festivalima i manifestacijama u Hrvatskoj (Zagreb, Virovitica, Pula, Vukovar i Dubrovnik), Italiji (Udine i Bologna) i Rumunjskoj (Cluj-Napoca). Počiva na adaptaciji cjelokupnog Kafkinog romana uobličenog u VJ performans, u kojem su sučeljeni živi mediji glumačke igre i videa, a dramatizacija uključuje sve postojeće djelove Kafkinog romana: objavljene za života, one koje je odabrao i objavio Max Brod, kao i one nađene u Kafkinoj ostavštini. Predstavi je svojstveno i to da troje glumaca igra sve osobe romana u 1h i 10 minuta.

Predložak: Franz Kafka i Orson Welles

Koncept, dramatizacija, režija: Boris Bakal

Dramaturgija: Boris Bakal i Katarina Pejović

Nastupaju: Nina Violić, Damir Klemenić i Boris Bakal (Katarina Bistrovć Darvaš)

Video: Katarina Pejović, Nenad Vukušic, Josip Visković, Ivan Marušić Klif i Boris Bakal

VJ-ing: Mihael Giba (Nenad Vukušić, Ivan Slipčević, Plakor Kovačević)

Prostor i svjetlo: Boris Bakal, Siniša Jakovčević i Milan Žerjav

Kostimi: Martina Franić

USPJESI PRIJAŠNJIH SEZONA:

:::Predstava je gostovala na međunarodnom festivalu INTERFERENCES u Cluj-Napoca Rumunija i igra u NACIONALNOM TEATRU "LUCIEN BLAGA" 5. prosinca 2010. u 21h

::::Gostovanje predstave PROCESS IN PROGRESS (process_grad_03)
29. travanja 2010. u 20h Hrvatski dom Vukovar, J. J. Strossmayera 20, p.p. 70, Vukovar, Hrvatska

::::TRILOGIJA "PROCESS_GRAD" NA PSi#15

PROCESS_IN_PROGRESS -
-Zagreb, PSI#15, 28. LIPNJA 2009. u 20h, mjesto igranja: Studentski Centar - Savska 25
-Zagreb,11. i 13. RUJNA 2009. u 21h,
23. i 25. LISTOPADA 2009. u 21h mjesto igranja: Zagrebačko kazalište lutaka

**PERFORMANCE STUDIES INTERNATIONAL (PSI#15)-ZAGREB**
U sklopu ove međunarodne konferencije cijela trilogija "Proces_grad" (pa dakle i "Process_in_progress") ce biti prikazana kao ogledni rad u terminima od 24. do 28. lipnja. Broj predstava i tocna vremena igranja objavit ćemo kasnije.

Rezervacije i obaviještenja, na +385 01 464 0262 ili + 385 098 28 73 73
(rezervacije: bacaci_sjenki@europe.com)

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*** PROCESS_IN_PROGRESS will be presented b international festival INTERFERENCES in Cluj-Napoca, Romania
@ December 5th at 21h (9 pm) in NATIONAL THEATRE "LUCIEN BLAGA"

***PROCESS_IN_PROGRESS
April 29. 2010
Vukovar City Theatre, J. J. Strossmayera 20, p.p. 70, Vukovar, Croatia

For info and reservation: bacaci_sjenki@europe.com , or Vukovar City Theatre hrvatski.dom.vukovar@vu.t-com.hr, tel. +385 32 450 697.

**PERFORMANCE STUDIES INTERNATIONAL (PSI#15)-ZAGREB**

Within the PSi conference which will be held in Zagreb, 24 - 28 June 2009, the whole trilogy "Process_citty" (and "Process_in_progress") will be presented to international audience. More about exact dates, times, venues and tickets see on this site later on or on the PSi#15 web site.

Reservations and tickets, from 10 to 13h on +385 1 464 0262 & +385 98 28 73 73
( by mail bacaci_sjenki@europe.com)
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Process in progress

2008-09-25T01:04:00.000-07:00

... please HERE for the English version of the text

Inspirirano djelom Franza Kafke i Orsona Wellesa
Po prijevodu Snješke Knežević
Koncept, dramaturgija i režija: Boris Bakal
Nastupaju: Nina Violić, Damir Klemenić i Boris Bakal
Video: Katarina Pejović, Nenad Vukušić, Josip Visković, Ivan Marusić Klif i Boris Bakal
VJ-ing: Nenad Vukušić (Ivan Slipčević, Plakor Kovačević)
Suradnik na dramaturgiji i asistent produkcije: Luka Rukavina
Suradnica na konceptu i dramaturgiji: Katarina Pejović
Prostor i svjetlo: Boris Bakal i Pina Siotto
Kostimi: Martina Franić
Produkcija: Bacači Sjenki (Zagreb), Orchestra Stolpnik (Bologna), Dani Hrvatskog Filma, Galerija SC
Potpora: Gradski ured za kulturu-Zagreb, Assessorato alla Cultura-Bologna i Ministarstvo kulture Rep. Hrvatske

Jedna od osnovnih ideja ovog projekta je obnova bojnog polja - redefiniranje teritorija Kafkinog "metafizičkog" ostranjenja unutar konkretnih političkih i filozofskih postavki kojima se on bavio cijelog života.

U medjuprostoru Kafkinog i Wellesovog djela, pokušavamo porazgovarati o djelu u prostoru i prostoru u djelu, i prodrijeti do onog tajnog i neznanog mjesta iz kojeg progovara Kafka.

Svi danas postojeći dijelovi Kafkinog romana (oni objavljeni za života, oni objavljeni u izboru Maxa Broda, te svi oni pronađeni u Kafkinoj ostavštini) uključeni su u ovu dramatizaciju. Spiralni labirint totalitarizma koji tvori ovaj materijal nije, međutim, ništa
drugo do plod "loših navika" individuuma i njegovog straha od diskontinuiteta.

Koncipiranje i primjena VJ'inga u "procesu_gradu" (snimanje i obrada slike uživo) proistječu upravo iz takvog isčitavanja Kafkinog djela i nastoje izbječi zavodljive mogućnosti koje digitalna tehnologija danas nudi u izobilju ad nauseam. Performerima se nudi sredstvo za ekspanziju vlastitog izraza i rad na trenutačnoj intuitivnoj refleksiji vlastitog scenskog djelovanja.

Tako VJ'ing unutar "procesa_grada" zauzima mjesto ravnopravnog protagonista. Klasični linearni doživljaj koji je, inače, imanentan percepciji performativnog čina, ovdje stupa u dijalog sa drugim rakursima, detaljima, umnažanjem ili rekombiniranjem tog istog čina.

Na digitalnom teritoriju "procesa_grada", ispituje se nekoliko strategija: s jedne strane, digitalno oko nadzire protagoniste u realnom vremenu i prostoru, poput klasičnih kamera za nadzor. S druge strane, kamere ulaze u krupne planove koji, sučeljeni s fizičkim prizorima, stvaraju psihološko-značenjske kontrapunkte, jukstapozicije ili komplementarnosti. U slijedećem koraku, prizori koji se odvijaju u realnom vremenu i prostoru pred gledaocem/gledateljicom, fraktaliziraju se; razmnažanjem i/ili spajanjem tih fraktala, grade se nove cjeline. Notorna primjena digitalnog ogledala u "procesu_gradu" se, pak, okreće metafizičkom: pikselizirani se pogled umiruje, gotovo do Zen stanja.

Katarina Pejovic

Process_in_Progress

About Process_in_Progress (Process_City 03):

The performance is the third part of the trilogy Process_City inspired by Franz Kafka’s novel The Trial and its philosophical and political implications.

Unlike the second part of the trilogy, Ex-position, which tackles one part of The Trial, the parable Legend of the Law, in the form of a unique travel through one’s own memory, feelings and sub-consciousness, as well as the first part of the trilogy, Vacation from History, a meta(physical) comment on Kafka’s work as a travel on the edge of collective and individual consciousness, Process_in_Progress is based on the adaptation of the entire Kafka’s novel and shaped into a VJ opera-performance, juxtaposing the live mediums of actors and video.

It was produced by Bacaci Sjenki (Shadow Casters) in 2004 as part of Festival of Croatian Film in Zagreb in co-production with the festival and Student Centre and performed in the Student Centre Gallery. It was financially supported by the Ministry of Culture of Croatia, City Municipality of Zagreb and Orchestra Stolpnik (Bologna, Italy).

After the initial success at Festival of Croatian Film, Process_in_Progress was subsequently presented at the Karantena Festival (Dubrovnik, 2004), Small Front Festival (Zagreb, 2005) and Festival Contatto (Udine, Italy). The latest presentation dates are October 6 at Zagreb Youth Theatre (ZeKaeM) and October 23 at the Sarajevo International Theatre Festival MESS, where the whole trilogy process_city will be presented.

The performance requires no particular conditions in terms of location and audience setting. The recorded version may be obtained on demand.

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One of the essential ideas of this project is the renewal of battlefield: re-defining the territory of Kafka’s “metaphysical” estrangement within the actual political and philosophical assumptions he dealt with throughout his life.

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.

This dramatisation includes all existing pieces of Kafka’s novel: those published before his death, those selected and published by Max Brod as well as those found in Kafka’s legacy. In turn, the spiral labyrinth of Totalitarianism built out of this material is no more than the fruit of individual’s “bad habits” and his fear of discontinuity.

The concept and implementation of VJ’ing in Process_in_Progress (live recording and processing of picture) derive out of this particular reading of Kafka’s work, tending to avoid the seductive possibilities that the digital technology nowadays offers in an ad nauseam abundance. 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_in_Progress. 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.

Several strategies are being explored on the digital territory of Process_in_Progress: on the one hand, the digital eye surveys the protagonists in real time and space, not unlike the classical surveillance cameras. On the other hand, the cameras zoom in close-ups which, confronted with the total of physical scenes, create psychological-semantic counterpoints, juxtapositions or complementarities. Furthermore, the scenes unfolding in real time-space in front of the spectator are being fractalised; reproduction and/or merging of those fractals construct new entities. As the sum of those strategies, the notorious use of digital mirror in Process_in_Progress turns towards the metaphysical: the pixelated gaze subsides, approaching Zen state.

Katarina Pejovic

Josef's K dream (trans. Katarina Pejovic)

2008-02-08T03:02:00.000-08:00

Franz Kafka:
A Dream (Ein Traum, 1914)

Josef K. had dreamed:

It was a beautiful day and K wanted to take a walk. But soon after he made a few steps, he found himself at a graveyard. The paths there were unnaturally and impractically winding; yet holding himself steady as if floating, he was simply gliding across one of those paths, as if carried by raging water. He noticed already from afar a freshly made grave and he felt like stopping by it. That grave had an almost seducing effect on him and he thought that he would not reach it fast enough. There were moments he could not see it because the flags were hiding it, waving cloths violently clashing against one another; the flagmen could not be seen but it appeared as if there was a big celebration over there.

With his gaze still transfixed into the distance, he suddenly noticed that same grave next to him, beyond the path, almost passing it already. He hurriedly jumped onto the grass. As the path was still running during his jump, he rolled over and fell right next to the grave, on his knees. Behind the grave there were two men who held in the air between them a tombstone. The moment K. appeared, they pressed the tombstone into the soil; it remained as if rooted in there. At that instant, a third man appeared who made K. immediately presume that he was an artist. He wore just trousers and a clumsily buttoned-up shirt, a velvet hat on his head, holding a plain pencil and drawing figures in the air with it as he was approaching.

He then moved the pencil towards the upper part of the tombstone. It was so high that he needed not lowering himself; yet he had to bend forward because the grave stood between him and the tombstone and he didn’t want to climb it. He was therefore tiptoeing, leaning with his left hand on the tombstone’s surface. By some exceptionally masterful skill, he was managing to write golden letters with the plain pencil. He wrote, “Here lies…” Each letter appeared beautiful and straight, deeply engraved and made out of solid gold. As he wrote those two words, he turned back and looked towards K. Craving for the continuation of the inscription, K. barely glanced at him, and went on staring at the tombstone. And indeed, the man went on with writing; yet he could not, as if there was some obstacle. So he put the pencil down and turned again towards K. Now it was K. who also looked back at the artist and observed that he was rather perplexed although he could not tell what might be the reason for it. All his previous vivacity had gone. Hence K. started feeling uneasy. They were exchanging helpless movements; a heavy misunderstanding had occurred that none of them seemed able to resolve. To make things worse, the small graveyard chimes started ringing, but the artist waved with one hand and they went silent. A moment later they resumed but this time very quietly and ceased again without warning: it appeared as if they wanted to rehearse their sound.

K. felt inconsolable because of the situation the artist found himself in; so he began to cry and he sobbed for a long time with his face buried in his hands. The artist waited for K. to calm down and then, seeing no other solution, he resumed with his writing. The first thin line he had made was salvation to K. But the artist made it with strong inner resistance: the inscription wasn’t as beautiful as before, as if there lacked gold in the first place. The line unfolded pale and shaky; the only good thing was that the letter was big. It was a J and it was almost finished when the artist stomped so furiously with his foot on the grave that the soil scattered around. K. had finally understood him: there was no time to beg him so he buried his fingers in the soil that unconditionally surrendered to him, as if everything had already been prepared and a thin layer of soil had been spread over merely for the sake of appearance. A huge pit with vertical walls opened instantly under him; pushed by a gentle breeze in his back, K. sunk into it. And while he was raising his head from below and the impenetrable depth was already embracing him, up on the tombstone, wonderfully adorned, his name was swiftly appearing.

Enchanted by this sight, he woke up.