Studio 609 at 1.30
Presentation of the Concept-Development Course with Felix Ritter for SNDO 2
Cook and Eat/ A lecture performance about the role of the audience
with (SNDO2)
Fernando Belfiore
William Collins
Florentina Holzinger
Marzena Krzeminska
Magdalena Ptaszenik
Michele Rizzo
Simon Tanguy
Dramaturg:
Felix Ritter
Making a performance is a lot like creating a meal. The idea of a good meal is:
It is an interesting collective experience, which continues after we cleared the table from the dishes. If we just want something to feed physical hunger or have something tasty we can get it at any corner. The ingredients of a meal are the materials we want to use. We find them at the Noordermarkt in Abert Hein in a private garden or in the garbage can. We use them, because it is the season, because they are cheap, because we are addicted to them, because we or nobody used them before. We start to relate them with each other to understand what the general topic could be. With that topic in mind we start to collect again until we are complete. The collection allows us to start composing and to develop a recipe. We can start cooking. If we wait to long, the material is not fresh any more. We need good tools and the knowledge how to use them. One Chinese word for cooking means: The art of cutting. It is all about how we treat our material, if we want to transform it into the new reality.
Tip: If we cook to spicy we can’t taste the material anymore. The dish looses its identity.
While cooking a complex dish we need a good concept to lead us on the one hand but also openness for the process of creation. The history of invention is always also a history of failing and the use unexpected side effects. The result from the cooking is a meal consisting of a row of dishes. How do we serve it? Should it be beautiful? Is beauty important?
We can serve the dish in a way, that the food gives some visual information before the taste will tell its own story to the nose and the tong. A meal is a long duration ritual. The dramaturgy of the dishes tries to play with expectation, to please and to provoke the senses, to satisfy unknown desires. To build that dramaturgy we need to know a lot about the eaters. Where do they come from? Are they hungry or tired? Will they show up in time? What did they do before? What are their plans for the night?
We can isolate the eaters to create a concentration on the individual perception. We can place them around a table so that conversation can inspire the experience. We can separate them from their friends to change their context. We can serve different dishes so that they start to be envious or share with each other. We can also separate the cooked materials like in a post modern performance on a buffet, so that the eaters can compose the meal themselves on their plates. Our signature as a maker is than in danger to fade.It is an interesting collective experience, which continues after we cleared the table from the dishes. If we just want something to feed physical hunger or have something tasty we can get it at any corner. The ingredients of a meal are the materials we want to use. We find them at the Noordermarkt in Abert Hein in a private garden or in the garbage can. We use them, because it is the season, because they are cheap, because we are addicted to them, because we or nobody used them before. We start to relate them with each other to understand what the general topic could be. With that topic in mind we start to collect again until we are complete. The collection allows us to start composing and to develop a recipe. We can start cooking. If we wait to long, the material is not fresh any more. We need good tools and the knowledge how to use them. One Chinese word for cooking means: The art of cutting. It is all about how we treat our material, if we want to transform it into the new reality.
Tip: If we cook to spicy we can’t taste the material anymore. The dish looses its identity.
While cooking a complex dish we need a good concept to lead us on the one hand but also openness for the process of creation. The history of invention is always also a history of failing and the use unexpected side effects. The result from the cooking is a meal consisting of a row of dishes. How do we serve it? Should it be beautiful? Is beauty important?
We can serve the dish in a way, that the food gives some visual information before the taste will tell its own story to the nose and the tong. A meal is a long duration ritual. The dramaturgy of the dishes tries to play with expectation, to please and to provoke the senses, to satisfy unknown desires. To build that dramaturgy we need to know a lot about the eaters. Where do they come from? Are they hungry or tired? Will they show up in time? What did they do before? What are their plans for the night?
Some eaters need to identify a cook for the perception of a meal as a subject to identify with the statements of the meal.
(Felix Ritter)
In Studio 602 at 14.00
Vera Priklonskaya (Guest student)
Presentation of the work in progress of a solo. Performer: by Asgerdur Gunnarsdottir.
Simon Tanguy (SNDO2)
"What is dance for me". How the movement can be understand as a rhythm in space?
Solo, 10 min.
William Collins (SNDO2)
'2 Queens Flying'
10 minutes of sharing a thought
Please feel free to bring who ever might be also curious about this presentation. It is an open event.
Cheers,
SF
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