In summer 2019, director Peter Stamer created a theatre solo for dancer and actor Frank Willens based on this famous Kafka text within the architectural machinery of Mumok (the grand museum of contemporary art of Vienna). Serving as the “penal colony“, the bombastic grey basalt stone architecture was turned into another protagonist with vertiginous heights and breathtaking abysms.
“Ich fragte also ein paar Menschen / Ob sie ‘nen Witz in petto hielten / Und diesen ohne Schamesgrenzen / Dann ihrer Kamera verrieten”
Premiere am 1. Juni 2019 bei ArtSpring Berlin
At a time when a strong need and heightened expectations for a new dance centre in Warsaw has been felt among the local dance community, there has been an acute need for fantasizing. Hence, Peter Stamer invited performing artists, directors, visual artists, urbanists, curators, as well as students of the humanities and arts to join a five-day Laboratory inspired by the idea of creating a virtual space for dance.
For decades, the Berlin dance scene has been venting the need for other spaces for contemporary dance, based on the assumption that dance’s specific qualities ask for a particular kind of spatiality. The workshop in February 2018 for Dance Intensive at Tanzfabrik Berlin was an attempt to gain access to that need by creating a playground, however speculative, for common imaginaries.
Eine Geisterschifffahrt auf dem Dachboden des Museumsquartiers Wien, vom 7. – 16. September 2018! Wir bringen nun die theatrale Umsetzung des Moby-Dick-Motivs, das uns im vergangenen Jahr auf einer mehrwöchigen Österreichreise zu den geografischen Mittelpunkten der neun Bundesländer brachte, im Schiffsbauch des Dachbodens des Museumsquartier Wien zu Ende.
Für ihr Projekt Hans im Glück arbeiteten Peter Stamer und sein Kameramann Kike Garcia mit dem Interkulturellen Zentrum Mädea | Stiftung SPI zusammen, das für seine Theaterprojekte Unterstützung bei der Anschaffung von Bühnenscheinwerfern benötigte. Die Mädchen und jungen Frauen von Mädea stellten den beiden Künstlern eine kleine, von ihnen handgemachte Skulptur zur Verfügung. Diese diente als Ausgangsobjekt für eine Mammutaufgabe: ab Juni 2018 versuchte das Hans im Glück-Duo Menschen zu finden, die die Skulptur in einer Kette von Tauschaktionen gegen andere, nach Möglichkeit jeweils höherwertige Gegenstände eintauschten – um am Ende die benötigten Theaterlampen zu erlangen.
Das ursprünglich als Videoreportage angelegte Projekt portraitiert Menschen des Kiezes, ihre Wertvorstellungen und ihr Verständnis von Glück.
Post-Performance Talkshow mit Zeit für Musik, Filme und viel Gerede von und mit Peter Stamer und Künstlern des PNEU-Festivals, Szene Salzburg am 15., 17. und 19. Januar 2018
From mid-August to mid-September 2017 the fabulous toxic dreams et moi-meme undertook 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 traveled Austria to search for some real adventures and the Austrian whale!
First landing of the project in Vienna: Oct 17, 2017 at MUMOK in the framework of Lange Nacht der Museen and on Nov 18 on board of the motor ship MS Stadt Wien! Last landing on September 7, 2018 in the attic of MUSEUMSQUARTER VIENNA!
Imaginary Performance House is a Research-Lab on 24 July – 9 August at Impulstanz Festival Wien, hosted and conceived by Peter Stamer on invitation by the Life Long Burning Network. Open Door on Tuesday, 8 August, 15 – 17 h.
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.
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!
How to Collaborate? investigates the conditions and the challenges of collaboration in philosophical, artistic, cultural and political practices. The essays and images collected in this publication elaborate on the opening question, pushing even further into the fields of ethics, aesthetics, politics, and practices of collaboration.
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.
How do we recall dance performances? And what do we actually remember? Two new editions of that dance-history-telling project by Silke Bake and Peter Stamer took place at Tanznacht Berlin 2018 on 27 August 2018 at 6 pm and 8 pm with 24 Berlin-based dancers and choreographers.
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. Next screening on May 26, 2018, 14 – 18.30h, at AULA Milchhof!!
“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 October 25th 2018 at Mercat de les Flors Barcelona!
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.