this week — 6, 7 and 8 June in Voronezh, Russia at the Platonov arts festival showed “100% Voronezh”, staged in collaboration with the Swiss theater company Rimini Protokoll leaders of the modern European theatre, making innovative projects in the documentary genres that are more similar to studies than to the theatre. The company is known in Russia performances X Remote (held in Moscow, St Petersburg and Perm), Cargo Moscow “. Europe”. Project 100% City who works with the statistical sample of hundreds of citizens of the city, first appeared in Berlin in 2008 and then traveled through the major large cities of Europe and beyond. Co-founder of Stefan Kaegi told the browser “the Tape.ru” that tempts him, as he constructs a sexless robot and why do jellyfish survive.
“Ribbon.ru”: Contemporary theatre art in some of its examples are more like journalism, science or cognitive technology. Long ago there is this idea that art is, in General, is not very necessary concept, and that the time comes slowly to get rid of it. That you, as a representative of this type of documentary theatre, I think about this idea?
Stefan Kaegi: My first job after school was working as a journalist, and my interest in the study of reality and talk about reality remains the same. But the theatre is a very good context to share the study materials to get access to the archives and to tell stories about the different political injustice. In the theater, people are usually much more time, therefore I can create the kind of experiences that touch people much more directly and immediately than reading Newspapers. Art is generally a great platform for reality.
I Think you can just about imagine what you like in the theater, but that you at the theatre scary? That you bored when you want to leave or not to participate? What do you think is harmful in the modern theater?
I do not see that the theater was harmful or dangerous tedious. But I get bored when the theatre only describes himself, when he leaves the audience behind the fourth wall in every sense of that phrase, or when actors use theater just to show their skills, abilities, only to admire them.
Looking at your work, or more precisely, to participate in them, easy to understand, what are you most interested in theater. But how would you put it words?
I like the part of the audience would be tempted to go beyond my usual habits of observation, my daily Outlook; I want the theatre was calling and put for me as a spectator or participant challenges; and, of course, I love to make discoveries, unexpected love.
How do you see the political and civic potential projects of Rimini Protokoll? I have to say that for the participants from Russia and for me including — Remote X (performance-promenade, in which a group of 50 people moving through the city following the instructions of a computer voice in headphones — approx. “Of the tape.ru”) was absolutely liberating experience: the majority of Russians do not see urban space as something that belongs to them — more like an empty or hostile area, which you must cross on the way to work, to the theater or home.
I think others are better to judge than me, but I’m certainly happy if my projects do have this releasing effect. I remember that there was quite a lot of fear around our gaming scene meeting in a Remote Moscow just a few hundred metres from red square. But in the end we never had any problems with it, and this in a sense gave me and others hope that Russia perhaps somewhat more freedom of expression than it often seems. Despite all these heinous stories around the arrested stage Directors journalists and killings of journalists.
do You work with the subject of artificial intelligence — as if throwing the bait in the near future, but in the Remote X computer guide speaks as if on behalf of two persons with apparently a male and female voice. Theorists postgenderism also believe that the future is connected with the liberation of man from gender and there and release it from the body. Are you interested in these ideas and movements? Do they find a place in your projects?
Well, now I’m going to build an anthropomorphic robot. On the one hand, it will be a copy of German writer Thomas Mella — that is, be a man; on the other hand, he’s obviously a robot, so I can’t have a gender.
do not you think that we’re pretty close to the post-human era? As you imagine it?
honestly, I don’t see that the people disappeared somewhere. The man has a very strong creative potential and abilities, and artificial intelligence is still a lame duck when it comes to identity. If anything will outlive the person, it will be insects and jellyfish. They are not so narcissistic and self-centered as people.
You say that like working with ephemeral, invisible architecture and disappearing, but the space for your most high-profile projects — Remote X, Cargo X, Nachlass is a city landscape or specially built rooms in the Museum spaces. Do not you think that the most ephemeral architecture is in the space of virtual reality? Do you work with VR or maybe you have it some plans?
Virtual reality is boring. Look what happened with the project of the 2nd World (refers to the virtual online world Second Life — approx. “Of the tape.ru”), he completely disappeared from the space of discussion. Personally, I see much more potential for the theater, including in augmented reality.
do You think of the theater as a global? Can your projects be perceived in different countries with more or less the same degree of success?
the Theatre is always local. He always works very individually. But ideas can travel and move around, the concepts can be borrowed and Peresopnytsia on the spot, depending on the specifics of this particular place. The theatre can bring people together, organize them in the community, while the Internet and television usually do the opposite, they often make you feel alienated and even exotic in relation to people and events that are not inside your bubble of information that have a different cultural background.
Can you say something about the General state of European and global contemporary theatre?
No, you can’t.
how do you see the state of contemporary theatrical criticism? It is generally included in the scope of your interests?
I see that theatre criticism is a bit improved and transformed from the banal — “great/terrible” — descriptions of performances. This is good and important to share experience and reflection, which appear after the performances, it is important to put this into context — as is common criticism of contemporary visual art. However, until now, magazines and online media are limited to the ratings from one to five stars.
what you see is a hypothetical extreme point of liberation, of emancipation of the spectator-participant, and place it in the center of the play? Audience Rimini Protokoll is much freer than any other, but you still offer some of the circumstances of the process and the game conditions in which the viewers exist.
For me, the theatre — this is not about achieving the most extreme borders of some form. It’s a concept from the seventies. Form without content is empty. But I like when they invented experiments and formats, in which you can share with other relevant perspective on other worlds and other cultural civilization.