workbook PNEU 2018:
Press quotes and extracts from Documents Inserts Frames
workbook PNEU 2018:
Press quotes and extracts from Documents Inserts Frames

PNEU 2018:

Press quotes and extracts from the workbook Documents Inserts Frames



SuperamasVive l’Armée

“[…] A choreographic live-performance is mixed with theater scenes, extracts of Stanley Kubricks’ film Paths of Glory and videos, which show interviews and a anti-war project, in which French pupils were participated in. […] Vive l’Armée! agitates hystorical dynamics: connections between the First World War and the terrorism from today, between conversation, repression, culture and control. […] A provocative and brilliant work.“ (Der Standard)


Navaridas & DeutingerYour Majesties

“[…] The physical humour is both subtle and extreme, with Deutinger’s presidential stand-in segueing from low-key gestures to yoga postures, mock-balletic steps and fullblown martial arts moves. He does all this while steadily talking about war, peace and world events. It’s fascinating and fun kinetic political satire.“ (The London Times)


Christina Ciupke & Ayşe Orhon – At Close Distance

Nik: Can you describe the moment during the process when you recognise that either something has come up that you feel is worth staying with for some time, or that you feel you have come to a point where you let it go?

Christina Ciupke: There are different ways. One way would be simply that some things reappear. Mostly it happens in a certain context. For instance when I start to work on a new project and try to focus on a particular idea that I have in mind. While improvising, something else is constantly distracting my focus and suddenly I realize that there must be something other than what I am trying to pursue, that I am unconsciously engaged with: something I can’t get rid of, that wants my attention. […]

Ayşe Orhon: Sometimes, while watching the other person move, or while moving together, there is this moment, that you develop further in your imagination later. Sometimes one can have that link, that leap in the mind, and then call or invite your collaborator to this space. Sometimes you need to help to communicate that bridge, to build it, to reach that place where you can come together. (Extract from the workbook Documents Inserts Frames: Interview by Nik Haffner)


Julia Schwarzbachwith us

“The research has been fuelled by an attraction to plastic and plasticity, both as material and as a process of giving and taking on form, or perhaps as a synonym for or symbol of malleability and change. […] When thinking just about the material aspect, I realised I knew almost nothing about its history and development. What are some of these forms of presence and materiality that are with us? Or maybe only half there: on the way out, or the way back? How do we relate to them? Might they transform into something else? We don’t know yet.” (Statement by Julia Schwarzbach in the workbook Documents Inserts Frames)


Maria Jerez - Yabba

“I am more and more occupied with the idea of the spectator as a stranger. There are artistic works where the spectators are part of the choreography from their own role as spectators, from their own semiotic value, i.e. as a codified space. That spectator is someone, someone who knows, who knows the code, the forms, someone who recognizes the forms, who recognizes the use of objects, someone who shares the collective imagination with the person next to her/him. Let’s say an expert. Instead there are other works where the viewer is a stranger. A stranger who does not have anything in common with what he/she is seeing, nothing in common with the others who are also watching, a stranger to the thing that he/she is seeing, to others and to her/himself… “ (Exctract of the text by Maria Jerez in the workbook Documents Inserts Frames)


Michikazu Matsune - Goodbye

Dear ex

I am glad that you are out of my life and I hope we are never friends. Please never talk to me again because all you cause me is pain. I sjould never have answered your phone call on Friday night. Don’t ever try to call me again. If you do I wont answer anyway. You range me because you’re a selfish bitch and didn’t stop to think how you might hurt me. Fuck you. I don’t care what I saidor whatever happened afterwards because you manipulated me. Obviously you have a lot of ammunition against me and you used it. All the photos and memories you felt like sharing on social media. All because of some ideas you were in love with. And you said you loved me. Ha Just leave me alone. I don’t give a fuck on you anymore. You’re a headfuck, a spaz, a manipulator, a game player. And a selfish cunt. Cpi always have to have the last word. Your last message was a perfect example of this. I don’t think you even realize half of this shit. You probalbly never will. Because that’s how you are. I’m done with being nice to you. (Letter ex to an ex, published in the workbook Documents Inserts Frames)


Building Conversation

“[…] Theatre is a platform for conflict. As a theatre maker, but also as a person, I am used to digging into painful areas. I focus on exposing conflict, making it visible, so that I can observe conflict together with others. Settling disputes or solving problems is not my goal. The only goal is observation. Close observation. Conversation can also serve as a platform for conflict. A place where people can collectively examine, endure, experience the chafing, biting differences between themselves. […]” (Extract text by Lotte van den Berg in the workbook Documents Inserts Frames)


Ivana Müller Conversation Out of Place

Jacopo Lanteri: The piece has a very powerful relation with time. Both as a concept, as a dramaturgical tool, and also as scenic time. How did you arrive there?

Ivana Müller: For the piece to work we needed it to be an experience, something that doesn’t only happen mentally but also physically, viscerally. Something that can go beyond the representational frame and be shared on different levels with the spectator. Experiences often take time. That is why the place of theatre is still very interesting to me. There are basically two ideas of time that we were working on: “stage time” and “historical time”. They are both linear and circular simultaneously. They are supported by 2 different ideas of timing: the timing of the body and the timing of speech, one being very slow and the other being quite “normal”. So I guess that during the show a spectator can feel a temporality that is very specific but that shifts our notion of time throughout the piece: going from here to there, from now to future or past, from real time to fictional time, from physical time to imaginary time. (Extract from the workbook Documents Inserts Frames: Interview by Jacopo Lanteri)


Cecilia BengoleaSound of the Trap

Jacopo Lanteri: What was your initial idea for the creation of Sound of the Trap? And how has it developed, grown, changed during the rehearsal process?

Cecilia Bengolea: I wanted to make a little narration inspired by the exotic geography of Salzburg and its specific history. The film The Sound of Music, Thomas Bernhard texts, Mozart Symphonies, Tyrolian dances: these are our sources. […] I imagined making a free version of The Sound of Music, where the 7 children in the film are seven dancers who sing punk version of their songs, and showcase dances to trap music, Jamaican dancehall and Argentinian cumbia instead of Edelweiss. The animistic aspect of this show is due to the impossibility of having a set and real goats on stage, so the dancers have to become the goat, the mountain, the wind and the stones. (Extract from the workbook Documents Inserts Frames: Interview by Jacopo Lanteri)




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