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
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