CALL FOR INTERNATIONAL COLLABORATORS

Transcription

1 CALL FOR INTERNATIONAL COLLABORATORS PARTNERS Maladype Theatre Budapest - Hungary

2 DADAMAP OLD new Dada Cities of the world

3 CONTENTS CONTENTS CONTENTS Invitation to collaborate from Director 4 Project description 5 Synopsis 7 The Director s Concept 8 Project Timeline 9 Dada Cabaret A Collaborative project 10 About Maladype Theatre 11 About the Director 12 Writer, Musical Director 13

4 Maladype Theatre invites you to take part in commemorating the 100th anniversary of Dadaism. By collaborating on the Dada Cabaret, you will participate in an innovative and progressive international project which aims to create the Dada Manifesto of our times, reflecting on today s world and seeking liberating ways to form new relations between life and art. Small-scale project and larger institutions, private and public associations, theatres, art centers, universities and festivals alike are encouraged to join efforts and contribute to the re-evaluation and re-formation of the Dada legacy. Together we redraw our world map into a Dada Map of partners from historical Dada cities, as well as new locations. In this Dada Network the philosophy of the movement gets expanded by and through the participating artists and audiences, while cultures and ideas of past traditions and present endeavors are exchanged and developed. Get involved and share your geographically and individually unique vision of Dadaism in order for us to together seek artistic means to react through this joint project. Let us create a theatrical collaboration in which the theater stands as it has always done so as a site of meeting and sharing, where the creator s task is to unveil the mistakes, duplicity, and insincerity of the world. Join us in making something special. For further information, please contact: Arabella Wynne-Hughes - Project Manager, International Relations arabella@maladype.hu Zoltán Balázs Artistic Director Maladype Theatre

5 PROJECT DESCRIPTION Freedom: Dada Dada Dada, a roaring of tense colours, and interlacing of opposites and of all contradictions, grotesques, inconsistencies: LIFE. Tristan Tzara To commemorate the 100th anniversary of Dadaism ( ), Maladype Theatre is creating a unique project, Dada Cabaret, and is looking for international collaborators and partners to together realize the world premiere of an unexampled performance endeavor. Dada Cabaret is a cross-cultural artistic project which embodies the ideology and philosophy behind Dadaism and embraces its relevance in today s challenging times. Developed through the creative collaboration of international artists, the project aims to question, revitalize, and ultimately, empower through the now ever-relevant power of the Dadaist philosophy of freedom and human dignity. The project is based on a play by the same title, written by internationally acclaimed, award-winning playwright Matei Vișniec and produced by Maladype Theatre. Directed by Zoltán Balázs (Artistic Director of Maladype Theatre) and music arranged by Gábriel Gábor Farkas (founder of the Budapest Jazz Orchestra all star Big Band), the play, following a research and rehearsal phase in Budapest, will be further developed and finally staged at various international locations with the involvement of a local cast and crew. The various shows produced reflect on the diffused nature of the Dada itself, the gesture of creation and creative solutions to artistic expression. The performances are accompanied by, according to an agreement between the partners, a masterclass, a workshop, a conference, or other professional events, expanding and furthering the scope of this reinvigorated Dada legacy.

6 - technical development and destinations - The core of the play is rehearsed and developed in Budapest. For each international performance, our partners in the given cities are expected to delegate actors who would become part of the collaborative project at the individual venues within the Dada Network. The peformers are selected by the director (through local or online casting) and are required to learn their roles on their own. The main cast and the local actors convene to rehearse together for about a week before the performance at venue provided by the local partner. The rehearsal period is strongly characterized by the dialog-based, interactive process, directly responding to the both Maladype Theatre s specific theatrical language, as well as the Dadaist principle of free expression. The play is then planned to be performed at least twice at each location, entailing the drafting of its own, specific Dada Manifesto as well. The project culminates in a final event in Zurich or Budapest at the beginning of 2017, where all participants are invited in order to analyze and evaluate Dada Cabaret as a whole. The project intends to bring the performance with its joint events to all the major historical locations and destinations of Dada, echoing the legacy along with the topical issues and themes that may arise from performing it at the newer Dada locations. (see Dada Map) The tentative schedule of the performance is as follows: the premier is set for Avignon (Budapest or Bucharest) and the performance then travels on through Bucharest -- which, according to the playwright, as a Dadaista occurence, is, interestingly so, often confused with Budapest -- and other locations as outlined in the project timeline, and eventually it ends in a grand closing event in Zurich.

7 Dada Cabaret by Matei Vișniec the Play Synopsis of Do you think the world is sometimes illogical, irrational and lawless? Is it sublime, grotesque or somewhere in between? How can we still breathe when seeing the horrors of war? How can glamour and glitter sit side by side with death, how can bodies and lust hold hands with corpses and destruction? Dada. Dada is the spark that changes everything. Yes, Dada is an art movement, yes, Dada crumples rules and morals, crushes language, buries and revives ideologies, yes, Dada is the panacea, the ultimate solution, yes, Dada knows all and cares about you. Dada is all and none of the above. Dada Cabaret has nothing and everything to do with the reality we live in. It is a cocktail of dark humour, biting irony, sorrowful perspectives and... hope. The story of Dada Cabaret originates in Cabaret Voltaire, Zurich, during World War I. Meet one of the creators: Tristan Tzara who is being questioned about the hidden agenda of the Dada movement and its obscure political messages. He seems to have planned nothing of the sort. We also get acquainted with Lenin, before his ascension. He writes touching letters to his mother and plays chess with Tristan Tzara. Nothing harmful. Yet. Mr. Dada himself is questioning Lenin, accused of applying the concepts of Dada, the concepts of a revolution creating, thus, the premises for an evil world. He just happened to live on the same street with Cabaret Voltaire, the headquarters of a gang of artists who created a different kind of history: Tristan Tzara, Hugo Ball, Emmy Hennings, Richard Huelsenbeck, Jean Arp, Marcel Janco, Sophie Taeuber. They all come back to life in a Wax figure museum and talk about historical and human truths. A secret conference of the Old People reveals a terrible secret: youth should die, therefore a war is to happen. Terrifying images are on display throughout the play. A division of soldiers learn how to polish the crosses on their own graves. A huge battlefield replaces the exuberant Cabaret Dada, while artistic parades are traded for military defeats. On the background death seeps in. An itinerary brothel brings a human touch, as prostitutes work for the soldiers, so that tenderness substitutes violence.

8 THE DIRECTOR S CONCEPT The Origins of Dada Dada was born in the Great War - the first modern war in the history of mankind. Dadaists decided that war was madness, so they created their own war - the war of the madness in the arts. Dadaism was the only dogma without a dogma - the unlimited freedom as Dadaists did not accept rules. The Dada revolution eliminated the most serious battlefields between art and life. The Dada absurdity as well as its purity shifted, merged, and integrated into the constitution of human civilization like a chameleon, invisibly. Philosophy Never more has the world been filled with so many wars, invasions, and environmental disasters, which, in effect, has led to the global issue of forced migration. In many parts of the world dictatorial regimes are emerging, generating extreme nationalist ideologies. The world seems to be in a moral crisis; traditional values have deteriorated whilst people s lives have been reduced to fighting for mere survival. We are witnessing the transformation of Western civilization. Only the rebels, standing strong in the name of freedom and human dignity, can confront this unacceptable and absurd world. NEW MANIFESTO The general intention of the Dadaist movement was to return to an end where anything is possible. The new age Dadaist movement is based on the same principle. The revolutionary, liberating force of Dadaism is a possibility to rethink the now and reunite the people of the present. The new Manifesto reflects the world today. Its aim is to build bridges between people, life and art and to strengthen common values, creativity, communities and self-expression. Art in our community should work to strengthen beliefs and to refuse the unacceptable, to expose the errors of our world, and to criticize. CONCEPT OF MUSICAL ARRANGEMENT Music accompanies the scenes of the play as a soundtrack. Besides incorporating original songs of the Weimar era and the Voltaire Cabaret, new pieces are composed to the lyrics of the play. Computer-generated sounds, authentic instrumentation, as well as organic voices are infused as the authentic sounds of the Weimar Cabaret meet with the experimental fatalism of Cabaret Voltaire. While technologies, such as the vocoder, the looper or the keyboards, are applied to call upon rhythms and sounds from the Cabaret Voltaire, the play also focuses on the exploration and experimentation with repetitive words and syllables, as well as nonsensical throat sounds developing a unique, sonic style. This is an exiting opportunity to add Gábriel Gábor Farkas Orchestra s music and musical theatre innovations to this creative work.

9 PROJECT TIMEline Call for international performers september 2015 Shortlist performers and collaborators and finalise project details mid-october 2015 Casting and workshops with selected international participants from each historical locations and new destinations of Dada (on proposed tour) November 2015 Rehearsals start with Hungarian cast in Budapest November / December 2015 Play and Musical Score finalised and distributed December 2015 Finalise international touring schedule for 2016 January 2016 Second phase of rehearsals with Hungarian cast incorporating two French actors in Budapest and Avignon (to be confirmed) May / June 2016 Press Night and run of the show in either Festival d Avignon, Budapest, Bucharest July 2016 International tour begins in collaboration with partners end of July 2016 until mid-december 2016 Final performance in either Zurich, Bucharest, Budapest end of December 2016 Evaluation of Project in Budapest or Zurich with all participants January 2017

10 CABARET DADA Dada Cabaret is a collaborative theatrical project of a network of artists, resulting in a series of performances all around the world unified in and through a concept of Dada A COLLABORATIVE PROJECT The realization of the projects requires various contributions from both the developer, Maladype Theatre, and the collaborating partners. The suggestions below are subject to discussion but, nevertheless, provide the outline of circumstances and requirements, should budgets allow the most ideal realization of the project. MALADYPE THEATRE provides Project management Concept development and scriptwriting Directorial Concept development and realization Music concept and arrangement Choreography stage movement, concept and direction Management of casting procedure Rehearsal space in Budapest Fundraising activities Professional team the touring company Maintaining the Dada Network Joint events PARTNERS provide Delegating actors A rehearsal space Staging of at least two performances Venue for the performances Technical support for the performances Captioning system for the performances Accommodation and food/per diem for touring company members Support with transport Local promotion and marketing with support from Maladype Theatre Local fundraising (experts of Dadaism as theater professionals, aestheticians, art historians, sociologists, psychologists, etc.) Touring Company Breakdown Creatives (6) Director Designer Musical Director / Composer Movement Director / Choreographer Dramaturg and Playwright (optional) Project manager Performers (12 + 2) 8 x Actors (2 x Local Actors from collaborating theatre company) 6 x Musicians / Performers Technical / Production Team (5) 2 x Lighting / Stage Technicians 1 x Sound Technician 1 x Stage Manager 1 x Wardrobe Technician driver *2 SPONSORS, PARTNERS Maladype Theatre reaches out to a variety of organizations to seek funding for the Dada Cabaret project. Public grants, such as funding from the Hungarian state (National Cultural Fund of Hungary, Ministry of Human Capacities) or international schemes (EU s Creative Europe programme, the International Visegrad Fund), and private/nongovernmental partnerships are sought for sponsorship. Institutions and networks from both the broader scope of the arts at the specific performance locations, as well as those related to Dadaism internationally are essential.

11 About Maladype Maladype Theatre - founded in is an independent theatre company based in Budapest, Hungary. Maladype is financially independent, allowing the company an artistic freedom that resonates throughout their work. Maladype relentlessly seeks extraordinary situations, generating new perceptions and embracing natural elements as an organic component of theatre making. Playfulness, acting and reacting is the essential part of Maladype s work. Its theatrical method is structured around two main principles. The first principle is the continuous development and conditioning (both physically and mentally) of its actors. The second principle focuses on an intensive and continuous relationship between the artist and audience. Maladype s philosophy revolves around Risk and Reward. A certain set of rules or preconceived ideas (like the structure of a theatre company or how to live your life) can become more interesting and exciting when unexpected events and uncertainty occurs. However, risking your organised world requires courage, since convention implies safety, and you might lose your sense of security. But why should you give way to random events and unpredictability? Because there in lies an opportunity to elevate your sense of joy and achievement as a result of taking a chance! Enthusiastic risk taking and creative experimentation offers a limitless world of new possibilities of both identity and destiny. Our imagination is guided by the unexpected opportunities of chance. We choose to take the risk and play the game. Maladype has received numerous awards, has toured both nationally and internationally (including countries like India, Iran and the US), and is founded and led by Artistic Director and Director Zoltán Balázs.

12 BALÁZS ZOLTAN Artistic Director and Director of Maladype Theatre Zoltán Balázs graduated as an actor and director from the University of Theatre and Film in Budapest. He participated in several international workshops such as Anatoly Vasiliev and Josef Nadj s workshop in Avignon. He studied from Robert Wilson in Paris and graduated from the European Theatre Union s directors course in Stuttgart. In 2001 he founded Maladype Theatre, and since he has been its artistic director in Budapest. Through his work he aims to give create theatrical experiences that are complex and appeals to emotions and senses. His main works includes: School for Buffons by Michel de Ghelderode, The Blacks by Jean Genet, Empedocles by Friedrich Hölderlin, Pelléas and Mélisande by Maurice Maeterlinck, Leonce and Lena by Georg Büchner, The Vampire by Heinrich Marschner, Faust I-II by J. W. Goethe, King Ubu by Alfred Jarry, Platonov by A. P. Chekov, The Kitchen by Arnold Wesker, Inferno by Dante, Swan Lake by P. I. Tchaikovsky, Don Carlos by F.Schiller, Master and Margarita by M. A. Bulgakov and Macbeth by W. Shakespeare. The aim of Zoltán Balázs s method - uniquely developed for training actors - is to develop the techniques for moving, dialogue and enhance the sense of body through self-examination. He focuses on the actors intensive common work and continuous communication with the audience. Therefore the importance to improve the actors analytical and synthesizing skills; the everyday tone of their speech; and the constant condition of the improvisation based play that gives immediate and spirited reaction to the audience is inevitable. Please see more info about Zoltán Balázs here:

13 Matei Vișniec playwright Matei Vișniec the Romanian writer living in Paris is amongst the most famous contemporary Romaninan authors, often compared to Beckett, Kafka, Pirandello and Fellini, or even referred to as the new Ionescu still he is not so well-known in Hungary. Matei Vișniec was born in 1956 in Radauti, southern Bukovina, Romania. He is a significant representive of the 1980 s generation of Romanian literature. He is an acclaimed poet, playwright, and he also achieved great success with his novels in the past decade. He lives in Paris since 1987, and works for Radio France Internationale. His plays were staged in more than 30 contries so far. Matei Vișniec has especially written this new piece to celebrate the 100th anniversary of Dadaism. His contemporary plays have been published, translated and staged worldwide. His most significant works include: The Body of a Woman as a Battlefield in the Bosnian War - The Young Vic Theatre, London, The Story of the Panda Bears told by a Saxophonist who has a Girlfriend in Frankfurt - Edinburgh Festival, How to explain the History of Communism to Mental Patients - First produced in March 2000 by The Open Fist Theatre Company in Hollywood. It then transferred to the Playing French Festival in Chicago. Paparazzi or Chronicle of an aborted Sunrise had a public reading at the Actor s Studio in New York, Matei s awards include: EUROPEAN AWARD of The French Society of Dramatic Authors and Composers SACD 2007, 2002 and DRAMA AWARD of the Romanian Union of Writers DRAMA AWARD of the Academy of Romania 2009, 2008, 1996 and PRESS AVIGNON-OFF AWARD AWARD of the Romanian Theatrical Society for Clown wanted, the best play of the year. For more information about Matei Vișniec please visit: GÁBOR FARKAS GÁBRIEL Musical Director Farkas is a composer, dancer, painter, musician and singer and founder of the Budapest Jazz Orchestra - all star Big Band. At the age of 24 Gábriel began his career with the opening show Revue DeJaVue at the Budapest Moulin Rouge. In the past 15 years his shows have sold out leading nightclubs and concert halls. He has performed in Hungarian versions of Broadway musicals such as Cabaret and Dance Of The Vampire directed by Roman Polanski.

14 Maladype Theatre