Program for Aron Blom "SAM" and Salka Ardal Rosengren & Mikko Hyvönen "Trash Talk"

8/7/2019 Program for Aron Blom "SAM" and Salka Ardal Rosengren & Mikko Hyvnen "Trash Talk"

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Program text on the occasion of "SAM" by Aron Blom and "Trash Talk" by

Salka Ardal Rosengren & Mikko Hyvnen at MDT, March 30 + April 1-2 2011.

Printed, folded and stapled on a Konica Minolta Bizhub C220 All-in-one

Color Copier in a special cost price edition.

Copyright (c) 2011 MDT and authors. All rights reserved.


3/16

Imagie we are i a sma theatre eue

smewhere i Wester Eurpe. Its .

pm, the ights are dimmed, the perrmer

steps i the direti the prseium,

takes his r her pae behid a eter

ad starts takig. Thats a that seems thappe i the eyes a thse preset. Yet,

smethig dieret as happes, ad it is

mst the time erked by thse wh

are kig at a stage. Preisey beause

their sesry atteti is absrbed by the

ati the stage, thse preset d t

tie that the atteti eery sige

spetatr disappears i a etie gaze

(whih urse iudes a etie

ear whe text r musi is used). Hw tuderstad this gaze r, mre geeray,

this desati etie sesry

atteti? As a autmus sia medium

that udameta r eery srt ie

perrmig art, besides r istae the

medium text i the theatre r the bdy-

as-medium i dae. This medium is per

deiti a temprary ad tiget

prdut that emerges agai ad agai

r t! durig a perrmae. Dae rtheatre makers d urse atiipate

pubi atteti durig the preparati ad

the rehearsas a piee. They try t diret

r steer this simutaeusy desired ad

eared medium by meas the timig

a perrmae ad a kids rhetria

deies (suh as jkig, isutig the pubi

r just gig stage aked) . Yet the

simutaeusy stitutie ad tiget

ature the etie atteti durig aie perrmae at be stimuated r

tred: the risk gig ie is the risk

beig rted with the bak he

sattered atteti r a distrated audiee.

A prerbia atteti ud des r des

t emerge, ad whe it des, it has y

partiay resee eets, Athugh this

atteti is aythig but umediated (a

pit t whih I wi retur at the ed this

essay), the desati the dieret

idiidua pereptis it a autmus

quasi-reaity is a tempra eet i the

strit sese: a passig mmet i time.

Durig a partiuar perrmae, this te

happes seera times, aways with dieretutmes, s that it is prbaby mre

apprpriate t speak a series eets

ad, sequety, a iherety istabe

medium.

The sia medium etie sesry

atteti is t just the passie sum the

dieret idiidua pereptis, but a

atie, ee trasrmatie, quasi-reaity.

Eidety, the idiidua atteti eerysige member the audiee tributes

t the emergee a etie gaze (ad/

r a etie ear). The eemets the

medium d ideed sist idiidua

pereptis, but their mutua upigs

geerate a autmus surpus eet. It is

remiiset the prdutiity iterati

eets i s-aed mpex systems, but

e ud as we reer t the semati ad

rhetria autmy a simpe phrase ireati t the wrds that are its stituet

eemets. The media autmy etie

atteti is rmed by its apaity t

trasrm, r istae, sme simpe steps

a stage it meaigu memets,

r t hage a reatiey g-astig

siee the perrmers it a prud

statemet. As, as eery spetatr kws,

the mmetary etie atteti may

greaty ifuee idiidua perepti.Simutaeusy, it is itse argey ifueed

by the era way the audiee behaes.

Ideed, either idiidua etrati r

the emergee a etie atteti is

pssibe withut the siee ad adequate

behaiur thse attedig a perrmae.

We take it r grated that, e the

ights are dimmed, the spetatrs beme

THE PolITIcS o collEcTIvE ATTEnTIon

Authr: Rudi laermas (). The pitis etie atteti. I: Gehm S.,

Husema P., Wike K. (Eds.), Kwedge i mti: perspeties artisti

ad sietii researh i dae (pp. -). Bieeed:. Trasript verag.

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siet ad attetie, thus trasrmig

themsees it a audiee. Atuay,

this ruia pat betwee perrmae

ad audiee is a histria ad sia

strut. At east i the West, it is the

utme briefy speakig the

burgeis redeiti the arts. Histria

researh ideed shws that durig the rstha the th etury siee ad se-

restrait did t yet predmiate i theatre

eues r durig musi perrmaes.

The expetati geuie bdiy se-

tr ad a distaed, primariy midu

atteti was y graduay impsed withi

artisti spaes, rst ad remst by the

ew urba burgeis eite. They did this

beause (party iidig with the rst

geeratis ew artisti pressias)they saraised thse segmets theatre,

musi, supture r iterature that were

sidered t embdy the best makid

t use a amus phrase the British pet

ad riti Matthew Ard i cuture ad

Aarhy() (rigiay pubished i ). I

this iew, partiipati i the arts beame

syymus with the study pereti.

The et utme was a thrugh puriati

seera utura geres, resutig i thewe-kw distiti betwee high (r

sared) uture ad w (r ppuar)

uture. Thus a a t diret bdiy r

emtia iemet, r istae big

r iterim appause ad udy etiated

euragemets, beame tab durig

artisti eets. I rder t tempate

the deeper meaigs a wrk art,

siee ad etrati were a must:

y i this way ud Immaue Katsamus iteresseses Whbehage()

(disiterested peasure) the hamark

eery aestheti experiee be reaised.

This mde partiipati geeraised

withi the ew sphere high uture the

mder way readig a text as the basi

mde i euters with wrks art. The

ew burgeis mde iitiated equiaee

betwee the arts, siee ad se-tr,

tempati, ad readig the meaig(r dedig the message). I trast a

mre urestraied iemet was awed,

ee expeted, durig the attedae

the arius rms ppuar etertaimet,

suh as the ew gere abaret r a

kids sprts eets.

rm a brader histria pit iew,

muh a be said r the thesis that

the th etury redeiti uture

tiued a muh ger press i whihrst the aristray, the the burgeisie

tried t distiguish itse rm the pepe

by meas a high ee physia ad

aetie se-tr. or, t paraphrase

the amus study by sigist nrbert

Eias(), the s-aed press iiisati

that aeerated durig the eary-mder

perid withi urt ires was tiued by

the ew sia eite that tk er emi

ad pitia pwer by the ed the thetury. Yet, with bemig burgeis i the

iiisati press, the primary us se-

restrait as shited rm the demstratie

shwig gd maers ad a reed,

highy eabrated pubi behaiur t the

siet partiipati i the sphere high

uture. The we-kw Germa ti

Bidug egitimised this shit; it was

as i Germay that the ew reigi

Art ahieed its rst mmetum with theGesamtkustwerk Rihard Wager ad

the estspiee i Bayreuth. What happeed

t the burgeis mde arts partiipati?

nt-withstadig the disurse pst-

mderity ad the reatie ersi i the

distiti betwee high ad w uture,

siee ad se-restrait sti the rue i

museums r durig pubi artisti eets. At

a rst gae, the basi parameters this

mde are as respeted by perrmaeartists wh jyusy apprpriate expressis

ppuar uture. T just e exampe:

i the rst ersi Jrme Bes muh

disussed The Shw Must G o, the

perrmers iustrate i a ery itera way the

tet we-kw pp sgs. Athugh

the umber pubi aughs eiited, t say

thig their etie itesity, was

muh higher tha durig a reguar theatre

pay r a straightrward hregraphy,the audiee remaied seated ad did

t start t ye ag with the sgs, et

ae start up a party. like may ther

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artists, Be rsses the symbi distiti

betwee high ad w uture i his wrk,

yet he eies ad presets this rss-

er ardig t the era ies the

dmiat partiipati mde emtia

se-tr ad a primariy text-rieted

mdus perepti ad appreiati. oe

may therere argue that the perrmigarts remai mder (t mderist!) as

g as they rey the medium etie

atteti as the ditiig rame r the

prduti ad the reepti idiidua

wrks.

Bes perrmae wrk is te assiated,

ad righty s, with that Mare Duhamp,

the dye aat-gardism. T a arge

extet, the histry the th eturyaat-garde has bee a exteded pay with,

smetimes ee a ere batte agaist, the

passiity the audiee withi the dieret

artisti disipies. This mes as surprise

i the ight Peter Brgers ifuetia

aut aat-gardism.() r ardig

t the iterary therist Brger, wh tries t

reate a mm ramewrk r uturism,

Dadaism, Surreaism ad cstrutiism i

a era way, the histria aat-gardequestied the autmy the arts i the

ame the pssibiity a emaipatig

merger the arts ad daiy ie. It is

highy istrutie that withi the traditis

Dadaism ad Surreaism, the arius

attempts t reate mre diret rms

pubi iemet agai ad agai drew

ppuar uture geres, partiuary abaret

ad medy. Ater their reewa durig the

s ad the eary s, with the wrk liig Theatre, whih is prbaby sti kw

best, bth traditis wet udergrud

ad made rm withi the sphere the

perrmig arts r mre subte rms

iemet with the era passiity the

audiee (witess Bes The Shw Must G o

ad may ther exampes).

Withi temprary art, the aat-garde

dream the pitiay iberatig ptetia a diret merger art ad daiy ie has

beme a margia bet. Yet withi the ream

the perrmig arts, temprary dae

has reety deeped a strikig refexiity

regardig audiee partiipati ad the

medium etie atteti. Sme artists

sti questi the era mde passie

partiipati ad aim at a mre diret bdiy

iemet. Prttypia exampes are the

Highway prjet by Meg Stuart, the arius

exursis it the ed istaati art byBris charmatz, r the perrmaes withi

uusua pubi settigs by Patriia Prtea

ad the Deep Bue etie. I geera,

these ad reated prjets try t putuate

the s-aed urth wa that distaes the

spetatrs rm the perrmers ad aws

the audiee t hide away i the dark. Thus,

Thmas lehme i Statie ad Meg Stuart

Au de Tish! paed the audiee arud a

tabe. lehme ee mpetey reersed theres ad asked members the audiee

t tak abut their pressis. Yet the

exampes a mre diret iemet

the audiee are reatiey rare ad d t

iustrate the mre geera iterest withi

temprary dae i the medium

etie atteti. Des this iterest as

hae a wider pitia ad sieta reeae?

I rder t aswer this questi, I seyrey the reet writigs the reh

phispher Jaques Raire.() I his

iew, eery pitia rder impies a

aways spei distributi isibiity ad

pereptiity. Sme sia grups a, thers

at, raise pubi issues i a egitimate

way. This pwer reatiship impies the

itera iisibiity withi the pubi sphere

arius etie ad disursie subjets

that are t sidered t be part themmuity. I temprary siety, this

impsiti a partiuar rder isibiity,

ad ee pubi atteti as suh, is rst

ad remst the wrk the mass media i

their bradest sese (iudig adertisig,

r istae). Mass media mmuiati

struts ad reprdues a highy seetie

represetati ie. What is primariy et

ut the piture, iteray ad guratiey,

...is the hetergeeity ad autmy daiy ie. Bth are preisey the subjet

may temprary dae perrmaes,

whih take issues rdiariy usee r

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made iisibe ia arius apprpriatis

daiy memets ad pstures. Mass

media mmuiati egates the sheer

aymity the bdy aked ad thed

at the same time, the mpex eedbak

betwee the bdy as a ameess bigia

etity ad its arius artiuatis ardig

t geder-spei, ass-deed r ethiutura des. ctemprary dae takes

up this simutaeusy geeri ad mediated

bdy as its primary materia, kwig

that it is aways aready ised, ee

i the ways it is ked at. This refexiity

eessariy ies spei epts

represetati ad partiipati. lkig

at maiestatis the bdy erked

withi the spetae siety, this is hw

e ud summarise the subjet thsetemprary dae perrmaes that

take a mre refexie stae. Ideed, a quite

imprtat part temprary dae is

the geera er t apprpriate epts

isibiity r pereptiity ad it regards

itse, impiity r expiity, as begig

t a uter- pubi. May temprary

dae prdutis d t just rey the

medium etie atteti but try

t re-artiuate it beause it is ieitabyieted by the dmiat ways that

temprary mass media mmuiati

uses t raise ad diret sesry perepti.

A temprary dae perrmae that

takes it aut this simpe at therere

deeps arius eessariy risky tatis

t re-egtiate the siaised ature

sesry atteti. Sme the better kw

predures are the use ide ameras ad

digita images, the swig dw r thetrary the speedig up memets,

the sheer repetiti pses r gestures, ad

the perrmae eary upereiabe

mir-memets. These ad reated rms

pubi bdy wrk try t destabiise the

dmiat mdes perepti, whih a

us are amiiar with thrugh tat

with temprary mass media. They d

t questi the burgeis mde arts

partiipati, but take it up as a pssibiity

t reate rms etie atteti thatdier rm the es geerated by teeisi,

Hywd m, r gamur phtgraphy.

ctemprary mass media mmuiati,

i the brad sese, has beme the primary

sieta rame r the prduti pubi

atteti i a sieta dmais, iudig

pitis. This is t surprisig, sie t

raise pubi atteti ad t reate sia

isibiity is the priipa mmdity themass media system. As suh, this system

equas a atteti regime, a apturig

mahie that tries t raise, x ad rame

sesry perepti. The perrmig arts

at aid reprduig r disputig the

dmiae the mass media sie they

wrk with the ery same medium sesry

atteti, abeit i a etie ad s-aed

ie situati Yet it is t this ie harater

as suh matters, but the way e deas withthe etiisati sesry perepti

that is: with the priipa medium

the perrmig arts. The deisie pit is

t take up, r t, the at e tiget

ad ditia etie atteti

durig a ie perrmae as the pssibe

reshadwig a mmuity yet t me

a tgetheress that may aude t the

shared isibiity withi a mmuity withut

serets.

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Reerees

Ard, Matthew: cuture ad Aarhy, oxrd: oxrd Uiersity Press .

Brger, Peter: Thery the Aat-Garde, Mieapis: Uiersity Miesta Press .

Eias, nrbert: The ciiizig Press, oxrd: Bakwe .

Kat, Immaue: The critique judgmet, ld: Der Pubiatis .

leie, lawree (): Highbrw/wbrw. The Emergee cutura Hierarhy i Ameria,

Bst: Harard Uiersity Press.

luhma, nikas (): The Medium Art, i: idem: Essays Se-Reeree, new Yrk:cumbia Uiersity Press, pp. -.

luhma, nikas (): The Reaity the Mass Media, oxrd: Pity Press.

Raire, Jaques: Disagreemet: Pitis ad Phisphy, Mieapis: Uiersity Miesta

Press .

Raire, Jaques: The Pitis Aesthetis, ld/new Yrk: ctiuum .

Smithuijse, cas (): Ee erbazede stite. Kassieke muziek, gedragsreges e siae

tre i de ertzaa, Amsterdam: BekmaI stihtig.

ntes

. Matthew Ard: cuture ad Aarhy, oxrd: oxrd Uiersity Press .. c. Immaue Kat: The critique Judgmet, ld: Der Pubiatis .

. I c. nrbert Eias: The ciiizig Press, oxrd: Bakwe .

. c. Peter Brger: Thery the Aat-Garde, Mieapis: Uiersity Miesta Press .

. c. Jaques Raire: Disagreemet: Pitis ad Phisphy, Mieapis: Uiersity

Miesta Press , ad idem: The Pitis Aesthetis, ld/new Yrk: ctiuum .

5


8/16

- In the time of working, what kind of methods of working do

you plan to employ?

So I would like. This is also how I. How I say like.... I

would like to have uhmm.... so not ending up in this kind of

ok have a vague idea and we go into studio and like ehh it'shard to grap on to things or it's hard to start uhmm a work

process so I would like to have that's why this training

thing that I talked before I ... I would it could be nice to

have ehmm some routines or we maybe it's also just for us to

kind of warm up or get eh get to know each other better

somehow. That could be included in the in the what we create

later but, ehmm... Sorry what was the question again like

if...

So I would like. This is also how I. How I say like.... I


ok have a vague idea and we go into studio and like ehh it's

hard to grap on to things or it's hard to start uhmm a work







if...

So I wouldlike. This is also how I. How I say like.... I

would like to have uhmm.... so not ending up in thiskind of


hard to grap on to things or it's hard to start uhmm a workprocess so I would like to have that's why this training



kind of warmup or get eh get to knoweach other better

somehow. That could beincluded in the in the what we create

later but, ehmm... Sorrywhat was the question again like

if...

So I wouldlike. This is also how I. How I say like.... I



hard to grap on to things or it's hard to start uhmma work



have ehmmsome routines or we maybe it's also just for us to




if...

So I wouldlike. Thisis also how I. How I say like.... I


6


9/16

Se-iteriew by Ar Bm

Q: Hw shud we d this?

A: We ask me sme questis ad I wi try t aswer, ?

Q: ok. D yu wat t start rm the begiig? Whe did yu start t wrk SAM?

A: ok. I thik it started at P.A.R.T.S. smehw. I bega wrkig a s there i the ed

but the I brke my arm ad I was wrkig i tw ther piees at the time s the s had

t wait.Q: Yu brke yur arm?

A: It was a stupid thig.

Q: ok, we. Ad the?

A: S I deided t wrk it ater.

Q: Ad whe was ater?

A: We, I was thikig abut it a bit durig the summer but thikig didt d me muh gd.

Ad the I started t d it i the midde otber ast year.

Q: Why didt the thikig d ay gd?

A: We, I dt kw. I thik I et ike its te misguidig r distratig ad I didt kw hw

t thik abut it. But i the ed it gae me a idea hw t start that I wated t try s...atuay maybe its a bit stupid t tak abut it ike thikig i geera beause there are may

dieret kids thikig ad maybe what I a thikig that ist dig me gd ist ee

thikig, but its a dieret tpi. lets g .

Q: This ud be gd t tak abut thugh?

A: Maybe, but t w.

Q: Yu said that it gae yu a idea hw t start, what was that?

A: We I didt hae a studi t wrk i at the time ause I gt i t MDT ater s I started t

dae the street kid .

Q: ok, we. What did yu d?

A: I was perrmig pubi paes.Q: Hw was that?

A: I dt kw. It et a bit weird.

Q: Ad why did yu d that?

A: We, I remember thikig that It wud be ie t pratie perrmig with a pssibiity

haig a audiee eery time ad beig i paes that are t ike a dae studi.

Q: But ee i yu wud be wathed its t the same thig as i a perrmae, right?

A: Yes, it was a i my head. Ayway it was u t d but t s iterestig whe it ame

t makig the wrk. I mea I thik its u t sptaeusy me smetimes ad t ee

restrited beause where I am but I didt ee ike I wated t make a s rm that

situati ee i it might hae ifueed what I did ater i the studi.Q: S did it ifuee the s?

A: like I said, it might hae but it dest matter s muh. I y did it a ew times.

Q: Ad the yu started t wrk i the studi at MDT?

A: Yes.

Q: Ad hw wud yu desribe that press?

A: I dt kw. We I kid aed it that I d what I d ad the I make a s ut it but

thats t reay what I am wrkig . or maybe the I d what I d part it is a part what I

wrk .

Q: What is that, I d what I d? What d yu mea?

A: Jag et ite. I thik it suds gd. I thik sayig that ame rm hw it et t d what I wasdig at the time. There yu g (augh). n, but I thik that i this wrk I hae bee wrkig r

guidig the wrk rm the iside my experiee whih is the y thig I/we hae. But that

as iudes thigs ike my sese empathy. Ad ther thigs that Im t sure what t a

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them that puts me i paes utside my se. Hm, its a pai i the ek...

Q: What d yu mea by iside my experiee ad that beig the y thig I/we hae?

A: We I guess... or , its t a guess, its hw I ee/thik abut it. Ayway, what was the

questi?


A: r exampe, whe my sese empathy is at wrk it is wrkig iside me, it is happeig i

my bdy. But empathy is smethig that is wrkig pepe r maybe thigs that are kid

utside r at east they are t me t me, r maybe the pepe r thigs are wrkig me...what was the questi agai?


A: I dt kw ay mre.

Q: ok... It seems ike this rmuati d what I d is smethig that ps?

A: Whe I g i t the studi ad d what I d whih ud be aed mig r daig I

pereie thigs ad I d thigs ad thats ike a p, smetimes.

Q: Hw is that a p?

A: It dest matter. I am bred takig abut this kid thigs.

Q: Yu seem t be a bit araid amig thigs. Are yu?

A: Maybe I am, I dt ike t ee biged t.Q: Are yu biged?

A: I dt kw. I kid hse t t g there i this presses.

A: I eed t g s we hae t ish w.

Q: ok.

A: This was a bit strage, we didt reay get ay where.

Q: nt reay.

A: We. ok.

8


11/16

Se-iteriew with Saka Arda Rsegre

Q: What is this pratie that yu ad mikk hae bee dig?

S: I dt remember why ad hw, but we started t iite pepe t ur studi, ad we wud

pratie beig tgether with them.

Q: Why did yu wat t sit i rt a audiee, withut kwig what t d?

S: ehh, I thik I was kig t get ser t pepe, r t meet them i a -prtetie

maer. Its ike smetimes it ees that whe yu wak utside the dr yu hae this shied

attitude. Why is it s hard smetimes t ae ther pepe? Hw a we share thughts

ad mmuiate? oy ia wrds ad aguage? Ad i we ai? I thik I try t share my w

eeigs i rder t get ser t the pepe utside me. I at kw what they are thikig

abut, yet I a hae a idea, smehw I smetimes hae the eeig that I share a mmet

with smee, the subway r i ay ther pubi spae, that eeig sharig the same

time. like yu tue i t the timig ather pers, ad beme a bit ser t eah ther.

hm.

Q: aha, yu seem ery emtia abut this, ad w yu wat t tue yur timig with the

audiee?

S: we, maybe. I mea we prpse a situati ad its a theatria set-up, ad thats exaty

what I ike abut this meetig i the theatre, r whie perrmig, yu dt hae t w

thse etia sia rues, r at east t i the same way as ut here.

Q: Beause rmay yu w these sia rues i yur daiy ie?

S: ehh... we, , yes, r smetimes... smetimes I reaize I d it t make myse mrtabe i

a situati, r ee make ther pepe mrtabe.

Thse rues makes it easier i may ways, easier t make ast ersati ad mmuiate

with eah ther. But smetimes its t gd, as i the wrst thig that ud happe is t hae

thig t tak abut. The s i e e .

Q: S what wud yu ike t ahiee with this perrmae?

S: What iterest me with this thig, is hw its beig pereied r a pubi; i they eter urthughts, hw the mid trae (ad bdy-gesture) whe d yu get bred? D yu pae

what is gig ? What d yu see? I wat t put pepes atteti t their psiti as a

idiidua, grup r etie wathig the perrmae. Were t traeig muh i spae,

but imagiati a trae ad atasy ad ideas...

I kw it makes me ery aware hw hard it is t k pepe i the eyes r exampe, ad

why that is hard.

Q: Why is it hard t k pepe i the eyes?

S: Beause its a bit ike kig right it the pers, ad theres a t gig ; ear,happiess, embarrassmet, gig... we, smetimes yu dt see aythig. Sme pepe

are reay gd at hidig what they g thrugh iside, its ike there u-time atiity.

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Q: ie, but dt yu thik it wud be a he a mess i eerybdy a the time wud express

eery itte thig they ee r g thrugh? Des eerythig hae t be dispay a the time?

S: It prbaby wud be a mess, yes ad , Im t sayig that we shudt hae priay, but

there are s may ways beig with eah ther, ad smetimes we rget that ad ba ba ba

ba ba ba

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Se-iteriew with Mikk Hye

Q: S hw me did yu start t wrk with Saka ad what were yur expetatis abut the

wrk?

A: Hmm, I thik that e iterest r a idea that ame t my mid whe we rst spke abut

abrati was that we wud d smethig expressie. I thik I had this iew beause Saka

has s expressie persaity ad I ike t be expressie smetimes t i I g r it.. Its iet use that i perrmaes t. S I guess e questi was hw t d ways t wrk with

expressis r expressiity i sme sistet eugh maer ad I thught this wud be gd

abrati t try t g r that.

Q: Ad what happeed?

A: We, the ther iterest that we had abut pyig pepe ame atuay rst. We were

thikig abut pyig sequees rm ides, rm pepe i the streets r rm mies.

Ad we eded up pyig ides abut ursees, s there is expressiity ied r sure, but

msty i a quite subte, eeryday maer.

Q: Wud yu a that expressiity, ike are we the expressig smethig a the time?

A: Yea, I wud say s, ee i were t sius abut that. Ad I thik i this piee we are

tryig t highight this kid eeryday expressiity, thig speia, but sti ery speia

i ked sey. Theres ts stupid gestures ad sma expressis whe were tryig t

speak abut thigs r expai smethig. I wated t k at thse materias as a dae

ad hregraphy, ike as a subte ad mpex hregraphy that iudes the thughts

ad emtis ad speeh at sme ee t. other way t k at thse materias wud be

that they are atig wrk where yu hae t ear the sript, with ertai itetis admemets. I dt kw atuay whats the dieree there betwee atig r just earig

memet materias with expressis.... Irs smehw ie t bur thse ies whe perrmig,

ike i its smethig that we hae eared bere, r smethig de mre sptaeusy i

the situati.

Q: Maybe its mre iterestig t tak abut hw its see rm utside. I dt kw i it

matters r pepe wh me t see it i the ed i yu a it atig r daig. What did r

what d yu atuay waa d with thse materias r make rm them?

A: Thats a gd e, a tugh e. I thik its ie t perrm smethig that ks t sspeia but that a beme speia at mmets. Maybe smethig that is there eeryday

whe we speak t eah ther ad that we a k as rih thig that is happeig a the time

ad hse t k at it as a perrmae i we wat t. like the i yu bsere arud, there

are great perrmaes happeig a the time, eery day ad yu a be part them r just

stay bserig.

Q: S yu wat t mix r bur art ad eeryday ie i this ase r what?

A: I guess theyre aways mixed, its just matter degrees r me mre, ike gig twards e

r ther...

Q: ok, ast questi, stay sharp, I wi gie yu te etters radmy ad yu hae t make a

shrt aswer rm eerye them, Ready?

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A: Yes.. what the uk?

Q: ok,

g Gig great!

H haig t thik r t adapt t the situati.

D days passig ast i the ast week

b But are yu sure yu waa tak abut this with audiee?

R right eeige E.T.

ights i a rw!

b bemig a mkey-at

j jesus a yu repeat that?

********.

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MDT is an international co-production platform and a leading venue for

contemporary choreography and performance situated in a reconstructed

torpedo workshop in the Stockholm city center. MDT has since 1986

supported and collaborated with Swedish and international emerging

artists. MDT is supported by Kulturrdet, Kulturfrvaltningen Stockholm

stad and Kulturfrvaltningen Stockholms lns landsting.

MDTSlupskjulsvgen 30

11149 Stockholm, Sweden

+46 (0)86111456

[email protected]

Find all MDT Program Texts on www.mdtsthlm.se


16/16

Special edition

Documents

Program for Aron Blom "SAM" and Salka Ardal Rosengren & Mikko Hyvönen "Trash Talk"