WHO IS? ROGER BERNAT/ FFF - MAY 2015
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WHO IS? ROGER BERNAT/ FFF MAY 2015 FFF is an open structure consisting of Roberto Fratini (dramaturg), Txalo Toloza (assistant director and technical director), Cristobal Saavedra (sound designer), Ana Rovira (light designer), Marie-Klara González (graphic designer) and Helena Febrés (coordinator). FFF is based in Barcelona. Contact: email@example.com // tel: 00.34.639.540.859 www.rogerbernat.info
WHO IS? ITINERARY ROGER BERNAT/FFF Roger Bernat: Uncompleted studies of painting and architecture. Gradua- ted with the 1996 Extraordinary award from the Direction and Dramaturgy program of the Institut del Teatre, Barcelona. Founded and directed the General Elèctrica workshop together with Tomás Aragay. His work has been awarded the Catalan Critics’ Awards. In 2008 he started creating performances in which the audience takes the stage and becomes the protagonist. «Spectators go through a device that invites them to obey or conspire and in any case, to pay with their own bodies and commit». USER'S MANUAL 6. These shows do not promote participation. They are inert 10. Unlike audience members that think they can judge from their seat, Slogans for a theatre mechanisms until some audience you will be immersed in a mecha- without spectators member gives form to them. If you nism where you’ll have to find your 1. The first instructions are to stop decide not to use them and none of way without ever knowing whether reading! Just like with games (and the other audience members does you’re choosing the right path. It will electric home appliances), it is so either, the show will develop be hard for you to judge and you’ll easier to discover the rules while virtually, such as when you read a probably leave the room judging you play. If you still want to skip the play or novel. yourself, asking yourself if you did it first instructions, here are the others: well. However, the show takes no 7. No audience member will have ideal form. Each new presentation 2. Projects like Domini públic, The the privilege of observing what the gives rise to new forms. Rite of Spring and Pending Vote rest do from the outside. Even if you were created without the aura that are one of those audience members 11. The price you will have to pay to Benjamin attributed to much of the that decide not to participate, you act will be that of forming part of a pre-industrial establishment and that will still form part of the mechanism. mechanism that will seem strange 20th-century theatre was determi- In keeping with the simile above, to you at first. You will be immersed ned to conserve. Rather than rely you’ll form part of a book starting in a mechanism whose objectives on the presence and emotions of from the moment you decide to you won’t know and whose obliga- actors, these shows stand over an read it, even if you skip some tions you’ll fear. You will have to emptiness that the audience paragraphs or whole chapters. obey or conspire or, in another members have to confront. perverse version of the equation, 8. You will make decisions that will obey while conspiring. But in any 3. You'll think that there are no not be shared by the rest of the case, you’ll have to pay with your actors in my shows and no sceno- audience members. The mecha- own body and commit. graphy. You will not be able to nism tends to individualise people. identify with the people and objects This solitude, which is more ghostly 12. We end not with instructions, but that ought to populate the stage. than physical given the presence of with advice from the physicist John Your only indications will be a few the other audience members, will be Archibald Wheeler: «May the signals on a stage of which you and accentuated because, as Agamben universe in some strange sense be the rest of the audience will be the notes, the mechanism tends to brought into being by the participa- sole inhabitants. You'll be actor of evacuate all authority.1 You will not tion of those who participate? The the piece. In fact, there is no find yourself before a strong vital act is the act of participation. spectators in my pieces. system, taking on the challenge of Participation is the incontrovertible turning unity into a weapon, creating new concept given by quantum 4. You will be asked questions and a feeling of community along the physics. It strikes down the term invited to respond. You will have to way. Here you’ll feel alone. ‘observer’ of classical theory, the decide whether to follow the man who stands safely behind the directions or remain on the sideli- 9. The mechanism will isolate you thick glass wall and watches what nes. The show will take shape and you will confront your own goes on without taking part. It can’t based on your answers – and your desire (for a show). Rather than see be done, quantum mechanics silences. You will share responsibili- a show, you will cross paths with says.»2 ty for the show. one. Nevertheless, you will wonder what it means to form part of a 5. Your role as audience member community or if it makes sense to will be that of an avatar that talk about it. In other words, you will assumes an identity to be the star wonder what we’re saying when we of a story. Your responsibility will be say us. 1. Giorgio Agamben, Què vol dir ser contemporani?, 2008. circumscribed by the time and 2. John Archibald Wheeler, space of the fiction. Gravitation, 1973.
WHO IS? ON TOUR ROGER BERNAT/FFF Le metteur en scène Roger Bernat trace ainsi les lignes éphémères d’une sociologie mystérieuse, celle de son public. Carole Rap, DOMINI PÚBLIC (2008) Libération (France), 01.04.2010 «Domini Públic is a society game where the spectator is barely something more than a Le moins que l’on puisse dire, c’est que puppet. A group of people –the audience– Roger Bernat aime redéfinir les limites du get together in a plaza. Who are they? théâtre. Aurélie Olivier, Voir (Canadá) Where do they come from and what’s the 20.05.2010 relation between them? As they listen to a series of questions and instructions through This performance was fascinating, their wireless headphones, they start joining thought-provoking, enjoyable and sure to in small groups. Through these micro-com- re-surface in your mind in the days to come. munities the group exposes the social Katherine Kirwin, thepublicreviews.com patterns and models which are commonly (England), 18.07.2010 hidden. Even though Domini Públic starts as a 3D field study, the project ends up as a Extraordinario. Carmen del Val, El País thrilling fiction.» KunstenFestivalDesArts (Spain), 26.04.2015 Spanish director Roger Bernat’s production 239 81 22 of The Rite of Spring exudes such turbulen- GIGS CITIES COUNTRIES ce, sensitivity and classical beauty that it leaves many traditional—and essentially visual—theatre productions behind. [...] THE RITE OF SPRING (2010) Agamben’s piercing thoughts are hard to Members of the audience are given express in a show, yet Bernat manages to three-channel headphones and welcomed create a captivating and sensitive work of art. into the performance space to the sound of Maria Säkö, Helsingin Sanomat (Finland), Stravinsky’s The Rite of Spring, one of the 26.10.2014. leading ballets from the last century, of which Pina Bausch made a historic version in 1975. A intensa experiência do encontro com o Several voices can be heard – different ones passado ainda colocou em jogo discussões on each channel. Voices in parallel that próprias à dança, como autoria e o poder do diverge and overlap. Spectators play the coreógrafo em relação aos intérpretes. leading role in a show that is both a game Adriana Pavlova, O Globo (Brasil),11.11.2013 and choreography. Les metteurs en scènes peaufinent, à chaque représentation, ce doux dosage qui 181 58 16 désoriente le spectateur balloté en réalité et GIGS CITIES COUNTRIES fiction, entre Shakespeare et meurtre sur fond de misère sociale. L. Leroux, Le Monde (France), 12.10.2012 PLEASE, CONTINUE, HAMLET (2011) Le juge conduit la procédure comme si l’on by Roger Bernat & Yan Duyvendak était à la Cour. C’est lui le metteur en scène du procès. E. Demey, Mouvement, n°65 For one night only, a judge, a prosecutor, a (France) 09/10. 2012 solicitor and a bailiff will judge a case outside the City Court. Given the crime’s similarities ...à la fois performance et vrai-faux procès to Hamlet’s murder of Polonius in Shakes- étayé par un solide dossier d’instruction (...). peare’s eponymous play, the names of those Car l’affaire s’inspire d’un fait divers réel. La on trial have been substituted by characters référence à Shakespeare permet quand à from the theatre classic. The accused and elle la distanciation subtilement ironique en witnesses are all actors. élargissant la perspective. Mais l'enjeu est on ne peut plus sérieux. Parfois acquitté, Hamlet est le plus souvent condamné. H. Le 125 44 9 Tanneur, Les Inrockuptibles, n°885 (France) GIGS CITIES COUNTRIES 10.2012
WHO IS? ON TOUR ROGER BERNAT/FFF PENDIENTE DE VOTO (2012) The theater room is transformed into a Parliament where every single spectator, armed with a remote control device for voting, Pendiente de Voto est une véritable réflexion rules in a chamber hemicircle in which the politique, plus sérieuse qu'il n'y paraît, sur les political colours are yet to be defined. mécanismes du pouvoir en jeu dans toute démocratie et sur les dérives totalitaires en germe dans une collectivité. Cristina Marino, 70 31 12 Le Monde (France), 16.02.2014 GIGS CITIES COUNTRIES Esta irónica velada en tres actos viene a sugerir que en todas partes hay quién elige DESPLAZAMIENTO DEL PALACIO DE LA las preguntas y quién se ve emplazado a dar MONEDA (2014) respuestas unívocas. Javier Vallejo, El Pais Different social organisations raise El Palacio (España), 01.03.2012 de La Moneda in Chile and transport it to the neighbourhood with the lowest per capita Bernat nos deja pensando en lo que significa income in the city, the emblematic La Legua ejercer o renunciar a ejercer (...) el derecho a district. Each group is responsible for voto, pero lo hace invitándonos a jugar. carrying the Palace on their shoulders for a Simplemente brillante! Soledad Lagos R., stretch, deciding what to say from the Diario La Segunda (Chile), 10.01.2013 balcony and whether to accompany their stretch with music, dancing or silence. Mientras que tradicionalmente la teatralidad se ha identificado con la cita explícita o 1 1 1 reduplicación de la representación, ahora lo que se cita no es el personaje o la trama, a GIG CITY COUNTRY través de algún juego metateatral, sino el propio aparato que lo produce. Óscar Cornago, Teatralidades y dispositivos. NUMAX-FAGOR-PLUS (2014) (Spain), Óscar Cornago «History repeats itself. In 1979, the workers at Numax, the Spanish manufacturer of Une sorte de karaoké théâtral et politique household appliances, learn that an experi- d'autant plus stimulant qu'il retraverse 30 ans ment of collective self-management to save d'histoire sociale. René Solis, Libération their business has failed. Aware of the (France), 22.05.2014 defeat, they decide to capture their last days on film. In 2013, the cooperative Fagor, one Puissant et fragile: Soudain les spectateu- of the largest manufacturers of household rs-acteurs s'identifient réellement à leur rôle electronics in Europe, were forced to close dans le drame ouvrier. On les voit réfléchir à their books. Roger Bernat invited the workers leur responsabilité individuelle au sein du from Fagor to restage the last deliberations collectif. Et cela à deux niveaux: responsabili- at Numax in the style of re-enactments of té dans l'histoire racontée et responsabilité historical battles. An original presentation that en tant qu'interprète de cette histoire. revives a real moment of collective crisis Simplement en lisant les mots inscrits sur un through a collectivisation of the discourse. écran. Cela révèle la force et la vulnérabilité We have the last word.» KFDA d'un collectif, lui donne corps. On ne pourra plus dire que le théâtre n'est qu'illusion. 32 11 5 Pieter T'Jonck, De Morgen (Belgium), GIGS CITIES COUNTRIES 21.05.2014 QUERIDO PÚBLICO: El espectador ante la participación: jugadores, usuarios, prosumers y BOOK fans (2007- 2009) Edited by Roger Bernat & Ignasi Duarte, Centro Párraga/ CENDEAC. «The audience is asked to participate, to take part in the artistic work, in the digital game or to express themselves in countless online forums. The public space becomes a representa- tion space, where almost any character fits in. The democratic game’s aesthetification seems to encompass the whole surface of the planet by increasingly transforming the citizens into spectators, life into a play. Is this movement a step forward in citizens’ emanci- pation towards full participation or does it reduce all actions to a play celebrating the never-ending entertainment, while ‘others’ make the decisions for us?» 14 specialists –from a neuroscientist to an anthropologist– approach the Arts realm as an analytical field trying to define the spectator’s characteristics.
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