Concept, director, performer: Sláva Daubnerová
Choreography: Stanislava Vlčeková
Dramaturgy and technical cooperation: Pavel Graus Production: P.A.T. platform for contemporary theatre Opening night: 10th December 2012, Divadlo SĽUK
Financial support: Ministry of Culture of the Slovak republic, Ars Bratislavensis Fund and Slovak Literary Fund
Visual solo performance, inspired by work of Francesca Woodman and the sensation of impermanence evoked by photography.
With photography, we observe something already gone, and what hurts us about this is the suggestion of our own mortality. As Roland Barthes had put it, we “shudder over a catastrophe which has already occurred. We are already dying within our life.”
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KioSK – new theatre and dance festival 2013 Žilina, SK
21 st International festival Theatre Plzeň 2013 – section JOHAN presents, Czech republic
Off Europa Festival 2013 Leipzig/Dresden, Germany
Francesca Woodman (April 3, 1958 – January 19, 1981)
American photographer, famous for her black-and-white conceptual photographs which depicted herself. She worked with fragmentation of the body, capturing it in unusual positions, gestures, in motion, framing it within the architecture of a space, in relationship with various objects. She can be considered one of the female artists of the 1970s who used their bodies as a means of visual expression.Woodman also experimented with video; short black-and-white videos, depicting herself, have survived. Surreal compositions combined with a blurred figure, caused by long exposure time, became the trademark of her works. In the first year of high school, she got a camera as a present from her father, and from that moment on, she would work without a break. In the 1980s, Woodman began suffering from depression caused by her work (or rather by its minimal reception) and a ruined relationship. After an unsuccessful suicide attempt, she lived with her parents, until she finally jumped out of the window of an East Side apartment on January 19, 1981. Shortly before her death, Woodman released the book Some Disordered Interior Geometries. This notebook is filled with mathematical formulas, black-and-white photographs and handwritten notes. It was only after Woodman's death that her work started to attract attention. Most of her photographs are untitled and identifiable only through the setting and date, and are strongly performative. Photographs of herself as the object evoke one's own, future death.
“She usually labeled her photographs as Untitled. This is also the title of a fragile performance, dedicated to the visual artist by Sláva Daubnerová. She is not alone on stage – she surrounds herself with sounds, carefully picked props, but most importantly with emotions. For facts, there are encyclopedias. The minimalist music seems as if composed to the performer's every motion. With choreographer Stanislava Vlčeková, they have created a work of art, delicately touching upon loneliness and nakedness.”
“The actress and director Daubnerová systematically aims for a visually attractive, documentary and fragmentary theatre under her P.A.T. label. In this case, she goes even further. While she was showing fragments of life in her previous performances, in Untitled she goes on to show fragments of a creative process.
Untitled is an aesthetic experience only scarcely offered by Slovak theatre. You don't need to be adept in Woodman's photographs to enjoy it. It's enough to like watching and be able to see beauty.”
“The actress and director Sláva Daubnerová is inspired by work of exceptional female artists. After the French-American sculptor Louise Bourgeois (Cely) and the Slovak theatre director Magda Husáková- Lokvencová (M.H.L.), she adapted the “destiny” of the American photographer Francesca Woodman, who had committed suicide in 22. In Untitled, she reconstructs the creative process behind her best- known photographs, dominated by the artist herself. Daubnerová's theatrical images explore the photographer's feelings. The performance is without words, resting upon the performer's physical bravura, attractive scenic design and well-picked music. Untitled is a suggestive piece of theatre, drawing the audience to a different time and space and intoxicates it with visual and aural sensations. Its title reflects upon the fact of Woodman's photographs being untitled. With no exaggeration, this performance is to be titled as outstanding”
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