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.
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!
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.
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.
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.
Let’s embrace the farewell like no one has done it before in July at Notafe Viljandi!
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.
Auweia, die deutsch-französische Freundschaft. Eintagesworkshop zur Figurenentwicklung im Rahmen des deutsch-französischen Kooperationsprojekts TRANSFABRIK.
Im Bereich zeitgenössischer Kunst wurden besonders im letzten Jahrzehnt Formen der Kollaboration erprobt, die Kollektivität als Motor wie auch als Begründung ihrer eigenen ästhetischen Praxis betrachten. Der anhängige kulturpolitische Diskurs, wonach ästhetische Praktiken immer auch sozialen Bedingungen unterliegen, die die gemeinsame künstlerische Erarbeitung erst ermöglichen und daher in den Blick genommen werden müssen, scheint umgekehrt davon auszugehen, dass soziale Gemeinschaften damit immer auch ästhetisch produktiv sind. Dabei ist jedoch die Frage offen, inwieweit soziale Praktiken überhaupt mit ästhetischen kompatibel sind und nicht fälschlicherweise gleichgesetzt werden.
What does critique aim at, and how does it epistemologically operate? How can we deal with its problematic relation to judgement and truth? What’s the relevance of critique within a system of criticality to overcome the vicious circle of belief and denunciation? What’s the role of discourse and theory in one’s research and practice in order to go beyond backing up one’s work but rather challenging it, eroding it, posing problems to it? Is discourse solving the crisis of practice or should it rather impose a crisis on practice?
Eine Koch-Talkshow beim Festival OFFTA in Montréal vom 31. Mai bis 2. Juni
„Der Augenzeuge eines Verkehrsunfalls demonstriert einer Menschenansammlung, wie das Unglück passierte. (…) Seine Demonstration verfolgt praktische Zwecke, greift gesellschaftlich ein.“ Brechts Straßenszene bildet als Urszene von Theater eine immer wieder übersehene Referenz für die Ästhetik und den Auftrag zeitgenössischen Theaters. Dabei stellt der Text aus dem Jahr 1938 die Frage der sozialen Verhältnisse vor allem als Frage des Theaters und seines Verhältnisses von Körper und Sprache, Zuschauer und Zeuge, von Teilhabe und Vergesellschaftung, von Erzählen und Darstellen. Was heißt nun Darstellen im Zeitalter des Unfalls, unserer Krisen?
In dem Workshops analysieren wir den theatertheoretischen Text Brechts und inszenieren ihn – buchstäblich. Die theoretischen Überlegungen behandeln wir dabei als Regieanweisungen fürs Zeigen, Erzählen und Darstellen sowohl der Brechtschen Straßenszene wie auch von Unfällen im Allgemeinen. Dabei greifen wir u.a. auf Spieltechniken aus der Performance For Your Eyes Only’ filmische Point-of-View-Erzählübungen oder Raumbeschreibungen zurück. Für die Teilnehmer gelten die Worte Bertolt Brechts: „Der Demonstrierende braucht kein Künstler zu sein.“
Im Rahmen von SCORES am Tanzquartier Wien, 12. April – 14. April 2012
Looking for GROUNDS to PLAY: A playground is a site for creation and playful exchange with no or basic tools in one’s hands. Thus simplicity and imagination are needed. A playground is a gathering of those who don’t necessarily work on the same idea but share the same procedures, of those who don’t necessarily know what they are working on but feel the need to try out and have instant insight. Playgrounders need grounds to play, they are in need of sites and of motivation alike. Where and what are these grounds? In the course of the week, we will look at different places where we supposedly find these grounds, both in terms of space and concept. Thus, Peter, Silke and Sybrig prepare multiple approaches that revolve around the notions of (methodological) simplicity and (artistic) imagination in order to create an environment for joint creation, site-specific try outs and shared feedback.
With Peter Stamer, Sybrig Dokter, and Silke Bake; September 14 – 18, 2010 at Nagib Festival Maribor
With DasArts to the Kibbutz Neot Semadar in 2009. After having ‘looked at art’ and a way of ‘perceiving it’, the DasArts student dived into an experience of the real. With Peter Stamer, the master students moved into a contemporary kibbutz, Neot Semadar in the Negev Desert in Southern Israel. The village which was founded in 1989 is a community of people who try to acknowledge their relationships with each other and with their work. Our trip focused on physical work in order to create an altered concept of individuality, a different way of living, of seeing oneself in one’s surroundings which may alter the presence, concept, and composition of the artist’s body, both mind and muscle. At the end of our working residence at the kibbutz, the group spent some days in Tel Aviv in order to get in touch with the local arts scene, using the new experience to share it with other artists, interveners, performers in that environment.
Dramaturgy deals with three main questions:
1. How does the artist transform his/her concept into practice?
2. What aesthetic strategies does the artist make use of in the art work?
3. How does the art work communicate to the audience?
Dance takes place “in time”. “In time” you may imagine so that every movement is surrounded by a time cover carrying it invisibly through space. Choreography and dramaturgy create a special relation of bodies in time and space for the movement composition in performance.