Während des Prosanova-Festivals für junge Literatur arbeitete Peter Stamer am 10. Juni 2017 in einem Workshop mit jungen AutorInnen an Techniken des story-tellings und der narrativen Weitergabe, der eigenen Vorstellungskraft und ihrer Mit-Teilung.
From mid-August to mid-September this summer, the fantastic toxic dreams et moi-meme undertake a road trip of a marvellous kind: seven talented people in a huge 7-seater mobile home, packed with ideas and inspiration, manpower and magical gadgets travel Austria to search for some real adventures!
A brand-new workshop by Peter Stamer on history, theory, and practice of that strange thing called dramaturgy from 8 – 13 July 2017 at NOTAFE Viljandi!
Fünf neue Videoarbeiten für die Performance ZOOROPA von friendly fire!
Our new book on ‘How to Collaborate?’ will be released at book fair Frankfurt on October 19th, 2016! Berlin book presentation on December 20th, 5.30pm, at Uferstudios!
Peter Stamer und Yosi Wanunu laden das Publikum am 24. Oktober ab 17 Uhr zu einem theatralen Vorspeisenabend ins Salzburger RAT ein, buchstäblich…
The fourth year of SEAD’s dance education program in Salzburg has less than a week to create the opener of a so far non existing musical! From 18th – 23rd September 2016, 24 students collaborate to come up with text, music, and choreography for ‘Kitchen Talks’ (working title).
A research workshop on the (im)possibilities of insurrection at Impulstanz Vienna on July 18th to 22nd and August 1st to 5th, 2016.
I invited Rirkrit for a joint workshop venture during Impulstanz from 8th to 12th August, 2016.
“Contemporary art has two major problems. One is that it’s absolute meaningless when it comes to a larger scale. Whatever is being produced, performed, presented has no potency to leave the bubble of those who are in one way or the other involved in the respective field.” (Gianluca di Fratelli)
Der Workshop ‘Play Seriously’ vom 14. – 16. Mai 2016 bei Zeitraum Exit in Mannheim nimmt Methoden des ’Theater-Machens’ aus meiner eigenen künstlerischen Praxis in den Blick. Es werden kurze Szenen erarbeitet, in welchen die Bedingungen von Sprechen und Verkörpern spielerisch im Vordergrund stehen.
Woran erinnern wir uns, wenn wir über Tanzaufführungen sprechen? Welcher Tanz wird dann erinnert?
Dance and language still seem to have precarious ties to each other. On the one hand, contemporary dance maintains a close bond with the language of theory, with its reflexivity attempting to inflect the dance process. On the other hand, there is the notion that dance dwells beyond the reach of language and cannot be touched by it.
Based upon the performance-installation-project 26 Letters to Deleuze which was presented at EMPAC/Troy, New York in spring 2014, this video essay is a condensed and reworked version of the video material presented on stage.
“In some remote corner of the universe that is poured out in countless flickering solar systems, there once was a star upon which clever animals invented knowledge.” Next to be seen on 11 and 12 August 2017 at Human Resources LOS ANGELES and on 18 August 2017 at Silent Funny CHICAGO, presented by Goethe-Institut.
From September 1st to 30th 2015, more than 25 dancers, performers, choreographers, theatre makers, architects, and art-loving people gather at UnterwegsTheater Heidelberg to explore the bliss of theatre making, physical practices, performing pieces, producing musicals, and sharing their work with the world. The theatre is accessible 24/7 for everyone during this period. Come and join us!
The crisis in Greece has proven it necessary to not only pose important questions of solidarity but also to practice new ways of learning how to live, think, and learn together. The recent European rhetorics of guilt and blame reflect this shortcoming of a common practice: in the end we all do sit in the same boat.
This research project at Porto from July 13 to 24th, 2015 tends to react to the political short-comings the citizens of Porto and Europe are facing in the light of the multiple crises our continent goes through for more than seven years: we want to invite the citizens of Porto to join in the intellectual and physical work and create hands-on a ‘common contemporary imaginary’ by building a labyrinth a.o. on the beach.
The Circus of Life ist eine performative Weltausstellung des Lebens im 21. Jahrhundert. Entlang des Alphabets entwickeln wir am 26. und 27. Juni am Tanzquartier Wien 26 temporäre ‘Pavillons’, die an zwei Abenden à sechs Stunden besucht werden können.
Let’s embrace the farewell like no one has done it before in July at Notafe Viljandi!
I was performing in a live audio play by toxic dreams, set in pitch darkness at Semper Depot in Vienna, from November 12th to 16th, 2014. Neither the performers nor the audience could see a thing…
How to collaborate? is a format of five dialogues each entertained between two researchers who meet up for the first time at Interweaving Performance Cultures in Berlin. On October 10 and 11, five one-on-one encounters exchange on diversities, challenges, theories and practices of collaboration.
This footnote has been written after block 2/2014, called ‘Milieu’, at apass Brussels (see also: http://apass.org/)
Sybrig Dokter and Peter Stamer conducted an interview on ‘Performing choreographic scores’ for the second edition of the Swedish Koreografisk Journal.
A try-out to kick off a series of (auto-)portraits depicting friends and colleagues, using original material and found footage.
Am 18. und 19. September 2015 im UnterwegsTheater Heidelberg! Siehe auch: www.720stunden.de
There is nothing in front of me. There is nothing underneath my feet. There is nothing to my left. There is nothing here. There is nothing beyond the door, nothing the cat is running away with. There is nothing buried underneath the tree. There is nothing bruised, nothing growing in my kidneys. There is nothing funny about a gold fish. There is nothing in the house, nothing in the Milky Way. There is nothing left to see. Funny.
“A man, running along the street, stumbles and falls; the passers-by burst out laughing. They would not laugh at him, I imagine, could they suppose that the whim had suddenly seized him to sit down on the ground. They laugh because his sitting down is involuntary.”
Henri Bergson: Laughter. An Essay On The Meaning of the Comic
Vom 23. April – 3. Mai 2014 sind Peter Stamer, Doris Uhlich und Diego Gil als Faculty Members nach Zürich eingeladen, einen Research Workshop zu Fragen des Zeitgenössischen zu leiten. In Zusammenarbeit mit dem Departement Darstellende Künste und Film/Zürcher Hochschule der Künste und Institut für Theaterwissenschaft – Lehrstuhl Tanzwissenschaft/Universität Bern; in Kooperation mit dem Tanzfestival Steps/Migros Kulturprozent
Milieu is a collective artistic research environment for the participants, mentors and other workers of the a.pass program. In a shared workspace we develop our practices in a collaborative context, on the basis of self-organisation and self-rule. Through individual actions Milieu generates a dynamic territory for exchange, cooperation and (tacit) negotiation. A mutual creation of the individual and the common.
In three sessions between winter 1988 and spring 1989 philosopher Gilles Deleuze, sitting in his living room, faced up questions of a television crew. The principle was as simple as sophisticated. The topics he was confronted with followed the letters of the alphabet – one letter, one concept, from ‚A as in Animal’ to ‚Z as in Zigzag’. To avoid zig-zagging in his discourse, Deleuze received the list of topics beforehand and thus worked assiduously on the answers he then extemporized on during the recordings. A project by Peter Stamer, Jörg Laue, and Alain Franco at the Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute, Troy, New York