Dragoste, peisaj, odihnă, cor. Variațiuni în performance
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𝗟𝗼𝘃𝗲, 𝗹𝗮𝗻𝗱𝘀𝗰𝗮𝗽𝗲, 𝗿𝗲𝘀𝘁, 𝗰𝗵𝗼𝗶𝗿
𝗣𝗲𝗿𝗳𝗼𝗿𝗺𝗮𝗻𝗰𝗲 𝗩𝗮𝗿𝗶𝗮𝘁𝗶𝗼𝗻𝘀 𝗽𝗮𝗿𝘁 𝗜 𝗮𝗻𝗱 𝗽𝗮𝗿𝘁 𝗜𝗜;
𝗝𝘂𝗹𝘆 𝟭𝟲𝘁𝗵 𝗮𝗻𝗱 𝗝𝘂𝗹𝘆 𝟮𝟬𝘁𝗵, 𝟳-𝟭𝟬𝗣𝗠
𝗦𝘂𝗽𝗿𝗮𝗶𝗻𝗳𝗶𝗻𝗶𝘁 𝗖𝗼𝗺𝗯𝗶𝗻𝗮𝘁 & 𝗦𝗲𝗰𝘁𝗼𝗿 𝟭 𝗚𝗮𝗹𝗹𝗲𝗿𝘆, 𝗕𝗮𝗶𝗰𝘂𝗹𝗲𝘀𝘁𝗶 𝟮𝟵
𝗩𝗶𝘀𝗶𝘁𝗼𝗿𝘀 𝗰𝗮𝗻 𝗲𝘀𝘁𝗮𝗯𝗹𝗶𝘀𝗵 𝘁𝗵𝗲𝗶𝗿 𝗼𝘄𝗻 𝗶𝗻𝗱𝗶𝘃𝗶𝗱𝘂𝗮𝗹 𝘁𝗶𝗺𝗲 𝗼𝗿 𝗷𝗼𝗶𝗻 𝗮 𝗰𝗵𝗼𝗿𝗮𝗹 𝘁𝗶𝗺𝗲. 𝗧𝗵𝗲𝗿𝗲 𝘄𝗶𝗹𝗹 𝗮𝗹𝘀𝗼 𝗯𝗲 𝗮 𝗱𝗮𝘆’𝘀 𝗽𝗿𝗼𝗴𝗿𝗮𝗺𝗺𝗲
After the blue rain, Theatres and artist Adriana Gheorghe invite you for a programme in two parts around language, mostly verbal, and the multiple ways it can become embodied and for a reflection on what this does to meaning and to what is needed from art now. And to see the blue mountains.
Languages recognisable from different mediums – poetry, philosophy, music, dance, visual art – all can be embodied and become art and performance – both belonging and not belonging to their respective fields. And they acquire an unbearable ‘open ended trust’ in how frontal or oblique words need to be to become gestures in reality and in what kind of realities they produce or how it is sensed in the body.
We invite you to variations of choreographed attention and modes of encounter by means of uses of language that do not represent but embody the space of love, making it corporeal, allowing us to be in the process of saying something that is not already dead or dying.
Love
The whole world is being literally held together by the love of a very few people.
Love, in all its forms, is the most important matter that we will ever face.
Considered by society to be a potential subversive revolution, most lovers are ready to destroy it to ‘survive’ it, ‘love is a bit like the weather, people tremble’. It is disturbing.
‘A spell that emanates from something that becomes more important than yourself’ and at the same time gives you meaning - also gives a sense of belonging, a complicity in something invisible or impossible, or in art and in life, to go on practicing the materiality of this in-between space of love.
‘Like electric energy that branches out into different and contradictory manifestations.
No love is benign’. It can and does engage one’s whole being. It easily creates a sense of terror, it is uneasy.
‘we, when we feel, evaporate: oh, we
breathe ourselves out and away (…)
because the space of your faces changed,
as I loved, into cosmic space.’
‘angels, more angels’
‘gathering their own out-streamed beauty
back into their faces again.’
The invitation for Performance Variations is really for concentrated life, time and desire; as it was for the Martian in the story of the same name by Ray Bradbury – a tiny figure taking the shape of the one secretly longed for, the absent one, that we might not recognise anymore, or we might not care if we do and find it more or less acceptable. It only pleads with us not to doubt, the god that is possible now, art. And it sometimes gets too frail, taking on too much, asking for protection, another transgression. Still, what this tiny figure keeps open is the very space of love.
We feed on time, attention and energy and some outcomes of the disease of our times are numbness and exhaustion, while artists and poets can still access this life and death kind of energy in order to try and stay open to the inside and outside.
When we love we taste from the life of others. Love is life and the loss of one resonates in the other.
Such as the lovers when losing love, we all need art to be a bit of a catastrophe, gestures in our logic of being, an encounter that might become ours to continue, something closer to a mystic transfer, a revolution or nothing (this nothing is not easy, either. I wonder if silence and withdrawal touch it or if they are still powerful gestures).
In art and in nature we are in a new territory in the middle of the territory we think we know and, there, our ontological cry needs to sense how love/art changes the direction of time for us, that what we encounter is something that came from a place that precedes us and then had to leave in order to acquire this new ‘open ended trust’. Also, bridging or superimposing two mediums, or just composing with text and image, brings out a sense of constant ‘inner transportation’ and becoming, the space of love.
And this way we might end up doing something different – find our mode of thinking with the materiality of the language turned corporeal that we experience. Searching for and trusting language to alter perception or to finally touch us and this way, performance could stare back at us and be co-author of our future ways of making or living.
One silvery afternoon, Theatres and artist Adriana Gheorghe invite you to Performance Variations, 3 hours of some forms of concentrated life and singing and speaking voices as time travel on July 16th, first part, and on July 20th, the second part. Together with artists: Răzvan Anton, Alex Bodea, Giles Eldridge, Smaranda Găbudeanu, Mihai Iepure-Górski, Sergiu Matiș, Cosmina Moroșan, Nanci/ Cristian Nanculescu, Anticorp Solar, Irena Z. Tomažin, Kira Valentina.
Love is landscape is choir is rest
‘When in love one becomes a bird: one stretches one’s neck and hears a song not meant to be pronounced.’
‘One would say of a beloved human or artist, everything she did is song.’
‘Angels come and visit her in the form of rain, mountains, sounds.’
A landscape is an excess of presence.
‘Love is the recognition of the unknown in something else by the unknown in us.
Resonance occurs when an external force intersects with an internal one, and something more appears (amplitude).
Landscape cannot exist without the force of love to place everything for long enough to be recognised.
We return to our refrains, to pursue familiarities, to deepen our love. With each return we recognise more of the world, we learn the horizons.
Love as a method means working with the unknown within and without us towards a common horizon. It means trusting that there will be horizons after horizons, continuing to move together with the world towards them.
Love as a method gives birth to a thousand landscapes, held together by the returning motions. Sometimes this movement is in struggle or opposition, often it is in chorus.
When we move, we move the earth beneath us, the world around us. It's not about moving together, it's about moving the earth in the same way as to produce the same horizon together.
Rest is the great cosmic hiss of every chorus together, of every voice, all at once.
When the chorus is total, only then can we rest.’
The articulation of this text was a choral one, together with Etel Adnan, R.M. Rilke, James Baldwin, Ray Bradbury, Malexan and the collaborating artists.
We thank our kind partners Suprainfinit Combinat & Sector 1 Gallery.
Graphic design: Sebastian Danciu
This programme is part of ‘Parameters for life and performance: love, landscape, rest, choir’, produced by Theatres and co-financed by AFCN.
The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not responsible for the content of the project or how the results of the project may be used. These are entirely the responsibility of the financing recipient.
𝗣𝗲𝗿𝗳𝗼𝗿𝗺𝗮𝗻𝗰𝗲 𝗩𝗮𝗿𝗶𝗮𝘁𝗶𝗼𝗻𝘀 𝗽𝗮𝗿𝘁 𝗜 𝗮𝗻𝗱 𝗽𝗮𝗿𝘁 𝗜𝗜;
𝗝𝘂𝗹𝘆 𝟭𝟲𝘁𝗵 𝗮𝗻𝗱 𝗝𝘂𝗹𝘆 𝟮𝟬𝘁𝗵, 𝟳-𝟭𝟬𝗣𝗠
𝗦𝘂𝗽𝗿𝗮𝗶𝗻𝗳𝗶𝗻𝗶𝘁 𝗖𝗼𝗺𝗯𝗶𝗻𝗮𝘁 & 𝗦𝗲𝗰𝘁𝗼𝗿 𝟭 𝗚𝗮𝗹𝗹𝗲𝗿𝘆, 𝗕𝗮𝗶𝗰𝘂𝗹𝗲𝘀𝘁𝗶 𝟮𝟵
𝗩𝗶𝘀𝗶𝘁𝗼𝗿𝘀 𝗰𝗮𝗻 𝗲𝘀𝘁𝗮𝗯𝗹𝗶𝘀𝗵 𝘁𝗵𝗲𝗶𝗿 𝗼𝘄𝗻 𝗶𝗻𝗱𝗶𝘃𝗶𝗱𝘂𝗮𝗹 𝘁𝗶𝗺𝗲 𝗼𝗿 𝗷𝗼𝗶𝗻 𝗮 𝗰𝗵𝗼𝗿𝗮𝗹 𝘁𝗶𝗺𝗲. 𝗧𝗵𝗲𝗿𝗲 𝘄𝗶𝗹𝗹 𝗮𝗹𝘀𝗼 𝗯𝗲 𝗮 𝗱𝗮𝘆’𝘀 𝗽𝗿𝗼𝗴𝗿𝗮𝗺𝗺𝗲
After the blue rain, Theatres and artist Adriana Gheorghe invite you for a programme in two parts around language, mostly verbal, and the multiple ways it can become embodied and for a reflection on what this does to meaning and to what is needed from art now. And to see the blue mountains.
Languages recognisable from different mediums – poetry, philosophy, music, dance, visual art – all can be embodied and become art and performance – both belonging and not belonging to their respective fields. And they acquire an unbearable ‘open ended trust’ in how frontal or oblique words need to be to become gestures in reality and in what kind of realities they produce or how it is sensed in the body.
We invite you to variations of choreographed attention and modes of encounter by means of uses of language that do not represent but embody the space of love, making it corporeal, allowing us to be in the process of saying something that is not already dead or dying.
Love
The whole world is being literally held together by the love of a very few people.
Love, in all its forms, is the most important matter that we will ever face.
Considered by society to be a potential subversive revolution, most lovers are ready to destroy it to ‘survive’ it, ‘love is a bit like the weather, people tremble’. It is disturbing.
‘A spell that emanates from something that becomes more important than yourself’ and at the same time gives you meaning - also gives a sense of belonging, a complicity in something invisible or impossible, or in art and in life, to go on practicing the materiality of this in-between space of love.
‘Like electric energy that branches out into different and contradictory manifestations.
No love is benign’. It can and does engage one’s whole being. It easily creates a sense of terror, it is uneasy.
‘we, when we feel, evaporate: oh, we
breathe ourselves out and away (…)
because the space of your faces changed,
as I loved, into cosmic space.’
‘angels, more angels’
‘gathering their own out-streamed beauty
back into their faces again.’
The invitation for Performance Variations is really for concentrated life, time and desire; as it was for the Martian in the story of the same name by Ray Bradbury – a tiny figure taking the shape of the one secretly longed for, the absent one, that we might not recognise anymore, or we might not care if we do and find it more or less acceptable. It only pleads with us not to doubt, the god that is possible now, art. And it sometimes gets too frail, taking on too much, asking for protection, another transgression. Still, what this tiny figure keeps open is the very space of love.
We feed on time, attention and energy and some outcomes of the disease of our times are numbness and exhaustion, while artists and poets can still access this life and death kind of energy in order to try and stay open to the inside and outside.
When we love we taste from the life of others. Love is life and the loss of one resonates in the other.
Such as the lovers when losing love, we all need art to be a bit of a catastrophe, gestures in our logic of being, an encounter that might become ours to continue, something closer to a mystic transfer, a revolution or nothing (this nothing is not easy, either. I wonder if silence and withdrawal touch it or if they are still powerful gestures).
In art and in nature we are in a new territory in the middle of the territory we think we know and, there, our ontological cry needs to sense how love/art changes the direction of time for us, that what we encounter is something that came from a place that precedes us and then had to leave in order to acquire this new ‘open ended trust’. Also, bridging or superimposing two mediums, or just composing with text and image, brings out a sense of constant ‘inner transportation’ and becoming, the space of love.
And this way we might end up doing something different – find our mode of thinking with the materiality of the language turned corporeal that we experience. Searching for and trusting language to alter perception or to finally touch us and this way, performance could stare back at us and be co-author of our future ways of making or living.
One silvery afternoon, Theatres and artist Adriana Gheorghe invite you to Performance Variations, 3 hours of some forms of concentrated life and singing and speaking voices as time travel on July 16th, first part, and on July 20th, the second part. Together with artists: Răzvan Anton, Alex Bodea, Giles Eldridge, Smaranda Găbudeanu, Mihai Iepure-Górski, Sergiu Matiș, Cosmina Moroșan, Nanci/ Cristian Nanculescu, Anticorp Solar, Irena Z. Tomažin, Kira Valentina.
Love is landscape is choir is rest
‘When in love one becomes a bird: one stretches one’s neck and hears a song not meant to be pronounced.’
‘One would say of a beloved human or artist, everything she did is song.’
‘Angels come and visit her in the form of rain, mountains, sounds.’
A landscape is an excess of presence.
‘Love is the recognition of the unknown in something else by the unknown in us.
Resonance occurs when an external force intersects with an internal one, and something more appears (amplitude).
Landscape cannot exist without the force of love to place everything for long enough to be recognised.
We return to our refrains, to pursue familiarities, to deepen our love. With each return we recognise more of the world, we learn the horizons.
Love as a method means working with the unknown within and without us towards a common horizon. It means trusting that there will be horizons after horizons, continuing to move together with the world towards them.
Love as a method gives birth to a thousand landscapes, held together by the returning motions. Sometimes this movement is in struggle or opposition, often it is in chorus.
When we move, we move the earth beneath us, the world around us. It's not about moving together, it's about moving the earth in the same way as to produce the same horizon together.
Rest is the great cosmic hiss of every chorus together, of every voice, all at once.
When the chorus is total, only then can we rest.’
The articulation of this text was a choral one, together with Etel Adnan, R.M. Rilke, James Baldwin, Ray Bradbury, Malexan and the collaborating artists.
We thank our kind partners Suprainfinit Combinat & Sector 1 Gallery.
Graphic design: Sebastian Danciu
This programme is part of ‘Parameters for life and performance: love, landscape, rest, choir’, produced by Theatres and co-financed by AFCN.
The project does not necessarily represent the position of the Administration of the National Cultural Fund. AFCN is not responsible for the content of the project or how the results of the project may be used. These are entirely the responsibility of the financing recipient.
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Where is it happening?
Strada Băiculești 29, București, România, Strada Băiculești 29, 013193 București, România, Bucharest, Romania
Event Location & Nearby Stays:
Know what’s Happening Next — before everyone else does.
Host or PublisherTeatre /Theatres
