for an open dance world dr dragan klaic amsterdam www draganklaic eu d klaic 2010 l.
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FOR AN OPEN DANCE WORLD Dr Dragan Klaic (Amsterdam) www.draganklaic.eu © D.Klaic 2010 KEDJA Umeo, 6 May 2010 BEN HUR live ! The legendary charriot race, with stunst and effects, fire and water, love and revenge, falcons and eagles. A symphonic soundtrack.

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for an open dance world dr dragan klaic amsterdam www draganklaic eu d klaic 2010
FOR AN OPEN DANCE WORLD

Dr Dragan Klaic

(Amsterdam)

www.draganklaic.eu

© D.Klaic 2010

KEDJAUmeo, 6 May 2010
ben hur live
www.draganklaic.euBEN HUR live !
  • The legendary charriot race, with stunst and effects, fire and water, love and revenge, falcons and eagles. A symphonic soundtrack.
  • Music by S.Copeland (The Police)Book by S.McKenna (“Lord of the Rings” at London Westend)Direction by P. Wm. McKinley (“Wizard of OZ” and “Hair” at Broadway)Design by M. Fisher (“The Wall” / Pink Floyd, Ceremonies at Olympic Games in Bejing)Lighting Design by P.Woodroffe (Design for Floating Stage Bregenz and Rolling Stones)
public theater under pressure
www.draganklaic.euPublic theater under pressure
  • By the commercial theater and industry of entertainment
  • Caught in despair, public theater tends to imitate the commercial theater.
  • Loses credibility and legitimacy instead of affirming its own values and virtues
markers of public theater
www.draganklaic.euMarkers of public theater
  • Non-commercial, subsidized
  • driven by artistic vision
  • eager to find its own public, also by differentiated price policy
  • serves debate and criticism
  • emancipated from the hit/flop polarity
  • open for complexity, ambiguity and uncertainty
  • surviving on the loyalty of the audience and not on the turn on / turn off hype of anxious consumers
the paradox of the contemporary dance
www.draganklaic.euThe paradox of the contemporary dance
  • marginal art form in a society obsessed with body, speed, movement
  • engaged in the critical probing of the human body, not in its glamorization and commodization
  • uses human body to address pain, sadness, failure, decay – not just beauty, love and elegance
  • explores erotic twists rather than to engage in erotic titillation that marks the advertising
  • hasn't capitalized much on tango and salsa craze nor on hip hop and breakdance popularity Why not?
contemporary dance is a small scale form
www.draganklaic.euContemporary dance is a small scale form
  • a small scale form, small casts
  • small budgets, small venues, small audiences
  • [smallness is neither a virtue nor a bad thing per se]
  • small venues are comfortable, flexible, safe and cozy
  • yet sustainable only with subsidies (that will be reduced in the coming decade as public authorities fight their accumulated deficits by cutting all expenditure in public services)
  • small venues need to expand and renew their loyal audience by recruiting refugees from the tsunami of triviality, produced by the cultural industry
  • Need to alter producing and presenting practices and patterns
how dance work is being made
www.draganklaic.euHow dance work is being made
  • Choreographers are lonely creators. What prompts their creation? What shapes their worldview, if they have one?
  • Creation in a dance company context is a rarity
  • Even there, various choreographers at work do not deliver coherence and a common framework
  • Most creation occurs in the ad hoc circuit
  • 5-60 min pieces, packaged by producers and presenters. A marketing nightmare.
  • If shown together in the same evening program, what do they have in common?
initiate production partnerships
www.draganklaic.euInitiate production partnerships
  • choreographers and/or directors share a conceptual framework
  • working together or in parallel
  • work on the same premises, question, topics, issues, each in own way
  • use the same initial material
  • share the same dramaturg
  • or share visual or sound elements
  • their work is presented together, in the same program or in a clearly profiled series
make larger programming templates
www.draganklaic.euMake larger programming templates
  • venues should program in clear cut coherent series, thematic or otherwise defined
  • rather than in a hodgepodge of constantly changing names and titles that confuse and disoriente the average potential theatergoer
  • concentration and serialization do not have to affect creative freedoms but enhance distinction and recognition in a clogged cultural market
  • add various additional components to a program, from other artistic domains or of discursive nature.
  • An example: Sascha Waltz Medea in Radial, Berlin: a temporary community of concern
  • rather than to fish for a not yet existing audience for a single isolated artistic work or an arbitrary combination of pieces by different, unallied choreographers, to be shown 3 or 5 times
series could be more thematically profiled
www.draganklaic.euSeries could be more thematically profiled
  • framed by the same question
  • or by a well known artist who inspired the work shown
  • or a well known artistic work to which the program refers
  • anything that gives some meaning to the whole
  • not a marketing issue but a cognitive question and an intellectual stimulus,
  • ultimately, a political question: affirm public space against corporate encroachment and profit oriented entertainment
creative platform discursive platform
www.draganklaic.euCreative platform, discursive platform
  • the more a venue dares to function as a discursive platform, the more it frames productions featured with debates, dialogues, discussions, linking the work shown to some of the burning questions of the day,
  • the more the venue becomes a facility of the local civil society, a resource of deliberative democracy
  • rather than a place of entertainment – such as the commercial venues are
  • in the creative process, a self-referential work of art can emerge
  • but in presenting strategies, referentiality will strengthen the appeal of the work and recruit a public for it
  • seek an audience of shared interest, concerns, values, life styles
don t forget ben hur
www.draganklaic.euDon't forget Ben Hur
  • Vibrancy, complexity, polemic intonation wont compete with the Ben Hur
  • but will strengthen theater as a public good and as a public space, in a democracy distorted by the overwhelming mediatization of politics
  • Encourage contemporary dance creativity, but not in a self-built ghetto