2009/09 Rehersals for : The Last Theatre Show Ever… what a chaos!

Posted on 30/09/2009 por



“or how to dismantle theatre
by making an electro-digital instrument out of it.”

Munich, Germany.
On September 2009, I decide to join a call for a project working on this Theater experiment, transmiting audio from Medellín via skype. Where artist located in different places, dont knowing each other, where trying to built in 7 days a dispositif to display a video-sound-comunication-avatar-actors-performace all this called New Theater.
It was really chaotic because remote participants, like me, could hardly understand what was happening. We couldn’t have a real feed back from the scene, or someone on location directing the rehersals.
I was trying to have fun, finding senses and enjoing chaos in a way. But it was hard because there was not really a feedback. So it was really crazy. Anyway there where some moments of interesting sounds and delirius skype conversations.
I wish at least people keep in contact for further performances or tests. Maybe one day it will work better.
“The project is an experiment about trying to build a new future for an old discipline. Electronic and digital artists use their tools to change all the aspects and parameters of conventional theatre. It will be realized in two WORKSHOPS/ACTS. The first workshop/ACT will start up in Munich at i-camp on September 21, 2009 and continue over seven days leading to ‘THE LAST THEATRE SHOW EVER’ on September 27, 17:00″…. lathshnev
Here an EVALUATION made from a performer.
Launched by:
Natalia Borissova,
Gívan Belá, societyofalgorithm.org
Neues Theater München

here AUDIO recordings.


or ‘how to dismantle theatre by making an electro-digital instrument out of it’.

A controversial aesthetic-cultural experiment about trying to build a new future for an old discipline, in 7 days.
Launched by Natalia Borissova and Gívan Belá

with a group of electronic and digital artists and objects as motors for a necessary change.

The first workshop/ACT takes place in Munich i-camp/September 21 – 27, 2009
Project-week September 21 – 27, 2009
Public rehearsal/entertainment September 27, 2009, 5pm
i-camp Neues Theater München
In two (social) ACTS/September 21 – 27, 2009 and Spring 2010

Act 1, Scene 1:
Enter: Gívan Belá BE/CZ http://societyofalgorithm.org &
Natalia Borissova RU/D http://www.aa-vv.org, almost in time
Act 1, Scene 2:
PREPARATION, MAKING / September 21 – 26, 2009
Enter group of human actors:
Michal Kindernay CZ
Jr. Isjtar BE
Kruno Jost HR
Mara Karagianni GR/NL
Frauke Frech D
Heike Sigert D (p.s. Have been playing a robot.. Nobody supposed to be hired to maintain it though.. By itself it could just wave into the pointed on it video-camera.. The wrong role you have been choosing, Heike..)
Signe Lidén NO
Simon Kaphahn D
Fatima Njai D
Helen Varley Jamieson NZ
Dominik Tresowski PL/DE (p.s. Left his mask and disappeared as a productive form..)
Remote group:
Alejandra Nunez-Perez aka elpueblodechina CL
http://www.burundi.sk/monoskop/index.php/Alejandra_Perez_Nunez# a
Suzon Fuks AU
Nathalie Fougeras SE
Audrey Samson NL/BE
Act 1, Scene 3:
THE LAST THEATER SHOW EVER/September 27, 2009, 5 pm
Enter: all = Actors, Props, Light, Sound, Audience

Evaluation and extension of the group/over Winter 2009-10

Act 2, Scene 1:
Enter: extended group of collaborators
Act 2, Scene 2:
Enter: extended all

September 21. 2009/2 pm at i-camp
Overview of texts and materials
Presentation of personal creative tools and ideas to work with
Decide on what/how ‘to do’ next
Start/continue with a remote things
Food & cooking (around 7 pm at i-camp)
September 22. 2009/12 pm at i-camp
Small try out actions by everyone
Interpretations of all actions by everyone
Continue or start things elsewhere
Food & cooking (around 7 pm at i-camp)
September 23-24-25. 2009/Anytime (upon the particular run) at i-camp
Working out larger and more complex actions with image/sound/light/electronics/comp/…
Trying out, performing, relating, resisting (turned over/inside out)
Food & cooking (around 7 pm at i-camp)
September 26. 2009/Anytime (upon the particular run) at i-camp
(De)bugging, assembling, interpreting, breakdowns, mess up
Food & cooking (around 7 pm at i-camp
September 27. 2009/Anytime (upon the particular run). 5 pm public performance at i-camp
Breakfast (around 11 am at i-camp)
Complex (no) conclusion: THE LAST THEATER SHOW EVER = All ‘objects’ are having relationship with human and non-human each-other publicly.

The major objective of act 1 is to start up the process, of which the outcome is to redefine the context of drama and theatre. In the first meeting we will provide an introduction to the general idea, and start working with the different media and concepts. It functions not as a tutorial or learning moment but rather an exploration for the features of the chosen artifacts and tools. The goal of this first workshop can be described as trying to realize an unfinished work. Exactly like so many literary and musical works are about. Geoffrey Chaucer never completed The Canterbury Tales. Mark Twain’s The Mysterious Stranger was written in three different versions over a period of 20 years, none of which were complete. Honoré de Balzac, the French novelist, completed nearly 100 pieces for his novel sequence La Comédie humaine, but a planned 48 more were never finished. Other famous unfinished works include: the second part of Dead Souls by Gogol, Bouvard et Pécuchet by Flaubert, and not to forget the sublime Woyzeck, the stage play written by Georg Büchner. Here we can continue to sum up works from music, architecture, drawing, painting and sculpture, film but also from philosophy, computer science, … And that is how we want the first enactment of the workshop’s endeavor to look like: unfinished but influential for the continuation of the project. Further evaluation, expansion and elaboration on the missing points will be worked on during winter. It forms the blueprint for the second act in Spring 2010. We start forming gradually a group of interested and motivated people, to work along the lines of the text of ACT 1. The 7 features mentioned in the abstract/pamphlet, are indicative for the diverse backgrounds and sub-goals we are working with. For each feature a couple of people are asked to work along with us. These people are gradually involved in the conversation and collaboration. They will introduce and guard the feature they take care of to the participants (max 5). One per feature will be present in September 2009. The others will continue to work online and join in with the preparation and realization of the second workshop(ACT) 2010, leading to the ‘never final’ performance.

All media-related artists, from any discipline possible, working in a contemporary and experimental spirit are cordially invited to join forces in Munich with different media, concepts and ideas along those lines:
The unique requirement is to have a dedication towards realizing the project’s goal, to remain present in Munich for the week of September 21.-27. 2009, and to disseminate results afterward, critically mentioning the initiative.



a possible method

Thu, 07/23/2009 – 13:08 — xgz

(homage to oskar hansen’s open form)

 1. specifically hereperson one:
A makes an object [+ or – human]
B creates an action towards this object

person two:
C comments, describes this action (audio, visual, text, code)
D transforms this description with another action in another medium
[modulation, convolution but cross-media]

all participants go through this, par example: 10 people each make an object and an action, and all of them go as well through the 9 other objects/actions to create 100 results… and if there is time they can all go through it all again!

it is important that before you start this, you read the pamplet and action and think of one of the provided 7 modules you want to work for

0. a general framework for making an object

an obligatory loop where the artists make the environment in an environment, by recreating the context, or better a framework for behaviour

1  observation
2  perception
3  analysis

4  extract material/physical features
5  create a comparable model
6  relate to synthesis by generating a construction with audio, visual, text, code

7  send back to initial environment
8  observe the resulting changes from the activity and feedback
9  adjust the parameters till an in/out of equilibrium state is reached

the audience is part of the changing activity itself and at the same time the environment in which it occurs, and as such occupies the same space as the artists

an abstract and a pamphlet

Thu, 07/23/2009 – 11:31 — xgz

or how to dismantle theatre by making an electro-digital instrument out of it.
a collaboration between Gívan Belá and Natalia Borissova.


An experiment about trying to build a new future for an old discipline, in 7 days. Electronic and digital artists use their tools to change all the aspects and parameters of conventional theatre. A computer and electro-acoustic solution has to be invented, and put together.

The participants have to subscribe to at least 2 of the following modules:
1. text, concept, play = online collaborative writing with all possible media: ascii, photo, movie, sound…
2. actors = theremins, coils, autonomous and coded objects
3. props = the people that are accidentally communicating with the actors
4. light = using dmx control, controlled by actors and props
5. sound = the actors performing in a spatial distribution
6. the break = when the world stops for a while
7. audience = virtual and real in a mixed situation disturbing one another

Time = 7 days, monday till sunday and the last day is the last theatre show
Daily schedule: all participants are spending the morning working together, and in the afternoon they work alone or in small groups.
Coordinators: none
The preparations are done online over summer.
Advice: Avoid making things conventional.


From the early beginnnings of 20th century experimental art (futurism, dada), the conventional and pragmatic approaches from theatre were being countered by actions and pamphlets. From modernism on we see the gradual disintegration of all different aspects of theatre and drama, as built up since renaissance. This probably culminates into the works of Samuel Beckett for television, the crossing over of the medium, the final abandoning of the unity of time and space. Since then, after the abominable return of fake narrativity replacing the real media experiments, in norm, form, and content, we have been at a standstill, an aesthetical and creative paralysis. Within a week, we propose to investigate the medium theatre as it could be reinvented in the 21st century. With all the means we know, as electronic and digital media artists, we believe we can take the first steps to free theatre from itself. So we invite all interested artists of any discipline, but working in a contemporary and experimental spirit, to join forces in Muenchen. Our target is to work with at least 21 people, including the organizers, who become facilitators coordinating the process till some realistic outcome is realized at the end of the week. This outcome is per definition unpredictable. It is the nature, the essence, and the formal approach of this project. Structured ad hoc, day by day like the making of Cassablanca, but teleologically driven by the will to lay the basis of a change of the paradigms of theatre, within a week.

During 7 days we are working in various smaller and larger groups on 7 fundamental aspects that make theatre as it is today. We critically discuss each of those and do radical experiments, in order to reconceptualize, reformalize, recontextualize and resynthesize them. The set up is essentially collaborative, but leaves place for personal study, reflection and work, feeding that back into the group process.  Each of the participants will work at least at 2 different aspects. This reassures continuity and exchange. The participants work half a day together and half a day alone, thinking and studying, trying out things, that are later presented and extended by the others.

Some thoughts and observations, setting a certain background:

1. the nature of literature and drama has changed fundamentally by the media. Writing is no longer a purely verbal and linguistic issue. Artists are writing constantly files to disc and memory, that reflect a different nature. Images, movies, sound and all we learned from hypertext is finding its way into a different convergent medium. So the theatre play’s structure and score will be done in a different way than on paper only. And since most of the writing is done online now, we are moving to a collaborative environment on internet. On the Society of Algorithm site currently a content management system is being set up, where the participants will work on, combining all possible media.

2. in the spirit of actor network theory, actors can be human or non-human, they become objects all acting on the same level, in the same environment. That is why it is better to start with the props as actors, and make the actors props. Swapping is allowed, so whatever becomes more intelligent can take a leading role. There will be self-built theremins, coils, autonomous and coded objects, computers, video and sound equipment, light networks. These are the building stones for the emerging theatre plays.

3. over the last century, ecological thinking and environmental/situated approaches influenced science and industry. Now it is time to transform culture in a fundamentally new way. Whatever we were using in the past, at the core or central position, has to go or merge with the surroundings. Only when people and objects mix in a network, in fields of tensions guided by action, new forms and contents can emerge.

4. since space and time died yesterday, and that was already 100 years ago said by marinetti, all illusionary equipment has to be rewired, from the light controls (we can use dmx and reprogram light patterns on the fly, guided by any interaction) to the scenery (any sensors using open source arduinos to control motors) to even the theatre’s heating system or water running through the toilet. The good old boring theatre building can be rewired and be integrated within the content it provides. It becomes a gigantic creative spatially altered stage. The stage is a tiny location only, dominating the direction of sight by the audience. Let the theatre maker take over control of the whole building. Unless we move into daylight and power with windmills or solar cells.

5. same goes for sound, noise and music

6. an important feature of traditional drama is when things have to change physically. So, we investigate the nature of the break, or: when the world stops for a while.

7. finally, enough experiments with audience have shown that they can be an active component, creative and unpredictable. Only when they are allowed to do so. (Remember that one futurist going to any theatre and in the middle of a play or opera shooting a gun in the air. Also, think of Handtke’s Publikumbeschimpfung. Well there are many other things to do.) So, in our case, how can the virtual and real in a mixed situation disturbe one another. Only from chaos new forms can emerge. A line. Silence. Something complex too.

We believe that with starting to make real situations out of rethinking the role, the nature of the above mentioned 7 parameters, we can open up the discipline. And make a new start for the whole sector. This will be documented in its progress, like we already described, online. It will be maybe the resulting play in itself, but for sure it can function as a special document for the  future exploration in future workshops (2010-2022). In the true spirit of open source and creative commons, the invited artists will be accomodated and provided the means to work on this important issue. The results will be freely available for everyone online. That is why the workshop should be free in a radical sense. [For sponsoring reasons we added at first: “That is why we are asking for support. It will bring back Muenchen as again a motor of cultural change. Remember Hans Richter. His first exhibition was in Munich in 1916.”]