THE ACTIVE SPECTATOR

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Under the generic title of “The Active Spectator”, the third edition of mov-s aims to delve into the reality of today’s audience. The relationship between actor and spectator can be enriched through the transformation from a passive spectator to an active spectator, who is the protagonist in their relationship with the artist. Considering the spectator as being intimately involved with the artist’s work is a path relatively little explored by the arts, in particular the dance and movement arts, and is a way for a large number of people to be involved in artistic creation.

The characteristics that turn people into active spectators, capable of recognising, and, at the same time, valuing contemporary performing arts creations, are knowledge of, and interaction with, the artists. Moreover, on numerous occasions, it is the creative activity of the spectator or his/her community, who are in fact the real authors of the artistic work. On the other hand one must bear in mind that nowadays participation doesn’t necessarily depend upon geographical distances or adhere to set times, due to networks and communities becoming more flexible, unusual in form, size and scope.

It is as important for heads of artistic centres, programmers or institutions, as it is for artists, to consider the presence and growth of the number of spectators as a priority. Unfortunately this is a task often condemned to failure when methods of developing audience numbers have been centred exclusively on classical marketing methods. Opting for a different type of relationship with the spectator, which can also be maintained in other disciplines within the performing arts, opens more new paths for investigation.

In order to gain further knowledge into the different areas regarding the “Active Spectator” national and international experts will be invited. Professionals will also be invited who, from their experience, stand out for their in-depth knowledge of the spectator and for having developed activities that bring the spectator closer to the artist. The guests will talk about their proposals in plenary sessions so that afterwards the “spectators” participating in mov-s will have their say in smaller groups.

Friday 11th June

Plenary session 1.-The spectator as an active individual

In the performing arts we often perceive the role of the spectator as a person sat in their seat, in the dark, attentively concentrating on the action that is taking place in front of them. This hasn’t always been the case, nor does it need to be. This session will be about another style of spectator, one that has the capacity to participate in the creative process and thoroughly evaluate the artist’s work. A spectator who becomes involved is part of the artistic event and uses his body and his mind in order to enrich it.

¨      Speaker: Suely Rolnik

Nacida en Brasil, psicoanalista y ensayista es profesora de psicología clínica en la Universidad católica de Sao Paolo en la que coordina el Nucleo de Estudios de la Subjetividad.

¨      Artist testimony

  • Interviewer: Bojana Kunst

Bojana Kunst, nació en Maribor (13. 03. 1969) y reside en Ljubljana (Slovenia).  Profesora visitante de la Universidad de Hamburgo y profesora asistente de estudios de posgrado en la Universidad de Primorska.  Doctorada en 2002 por la Univerisdad de Ljubljana con una investigación titulada “Filosofía, Estética y Arte entre lo orgánico y lo tecnológico. Estética del cuerpo y el arte del posmodernismo”. Ha sido profesora invitada en las universidades de Giessen, Amsterdam y Hamburgo y ha participado también en el MACAPD (L’animal a l’esquena – Universidad de Girona). Es miembro del consejo editorial de las revistas Maska, Performance Research y Amfiteater. Su investigación se centra en danza contemporánea y estudios escénicos, filosofía y teoría del cuerpo, y nuevos medios artísticos, con una aproximación interdisciplinar. En los últimos años se ha interesado especialmente en reflexionar sobre procesos estéticos y sociales  en coreografía, artes escénicas y dramaturgia.

  • Artist: Olga de Soto

Coreógrafa y bailarina española (Valencia, 1970). Establecida en Bruselas en 1995 fundó su propia compañía Abaroa y ha sido coreógrafa residente de la Raffinerie de Charleroi/Danses de Bruxelles.

The plenary session “The active spectator” will be divided into three work groups who will tackle the following themes:

Working Group 1.1

¨      Collaboration practices

  • Initiator: Roger Bernat

Autor y director teatral (Barcelona, 1968), estudió Dirección y Dramaturgia en el Institut de Teatre de Barcelona. En 1997 fundó la compañía General Eléctrica. Es editor, junto con Ignasi Duarte, del libro Querido público en el que diversos estudiosos analizan y reflexionan sobre la participación del público como parte integrante de la obra artística.

There is an inherent creative capacity within all human beings. Some more developed than others and some more talented than others, but most are perfectly capable of collaborating with other people (artists and non artists) in a creative process. The spectator, the artist and the project can be enriched through this exchange.

Working Group 1.2

¨      Processes of empowerment

  • Initiator: Suely Rolnik

Creating a “knowlegeable” spectator, who perceives the show with a critical eye, capable of understanding, recognising and evaluating other models or systems, will be the objective of this debate. Approaching the artistic work from a position of knowledge allows the spectator not only to admire the work but also to advance with the artist along the path of innovation which the piece of art requires.

Working Group 1.3

¨      Mass choreographies

  • Initiator: Gabriel Smets

Director artístico de SNDO (School for new dance development) de Amsterdam. Como dramaturgo ha trabajado con artistas tan variados como  la compañía de teatro holandesa Parayse d’amour, el coreógrafo español Pere Faura y la artista-performance Marina Abramovic. En 2008 fue director artístico del festival Springdance de Utrecht

Maybe it has been advertising (or fashion) that has focused attention on choreographies of large groups of people. These days dancing in a group is simply a normal leisure or celebrational activity. The spectator has a body as well as knowledge and therefore can also dance. Already there is very little distance in between here and being connected to an artistic creation.

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