EURODRAM general assembly in Prishtina
It is our great pleasure to announce that the next general assembly of Eurodram will be held in Prishtina, from 13th to 19th of May 2014, in frame of the 4th edition of the International Literature Festival polip – Prishtina.
Eurodram is an European network for drama in translation, founded and coordinated by the Maison d’Europe et d’Orient in Paris, a cooperative member of the International theatre institute, and gathering around 300 members all over Europe, Central Asia and Mediterranean countries. Its main objective is to circulate and promote theatre texts, in a multilateral way, to both professionals and a wider audience. This work is also of course a strong opportunity to develop cultural exchanges between our different partners. Representatives from Azerbaijan, Belarus, Bosnia, North-Caucasus, Denmark, England, France, Georgia, Israel, Italia, Kurdistan, Macedonia, Poland, Rumania, Serbia, Slovenia, Spain, Turkey and Ukraine are expected to come. More information about EURODRAM can be found at http://www.sildav.org/eurodram.
“Të zhvendosura përbrenda” – Top Channel Albania – News – Lajme
“Të zhvendosura përbrenda” titullohej interpretimi që u kushtohet grave viktima të dhunës gjatë luftës së fundit në Kosovë, e cila u realizua në kuadër të Festivalit Ndërkombëtar të Letërsisë, POLIP.
The culture trip: polip festival – one of the Top Ten Summer Events In Europe:
Concert of Ah Ahilej
The band Ah Ahilej from Belgrade will perform at the 3rd edition of polip. Here is a link to have a little preview of their performance in May: http://www.youtube.com/watch?v=YwsYkWUambY
Subpoetics: Inner Poetry in Performance
with Dr. Seth Baumrin
The presentation and performance will be on sunday, 12.05.2013 at 15.00 – 16.00
At this year polip festival, among many other things, we will organize a four days of intensive workshops culminating in public performance of newly devised work.
Participants will be actors, dancers, athletes, writers, painters, photographers, and musicians.
Each participant shall devise new performances in workshops that transform physical and vocal training regimens combining inner impulse with action, based on poetic texts in various languages. The workshop culminates in original work that shall be performed at the end of the Festival. This work can be performed in the future by the group.
There shall be no limit on the nationalities of group members, no limit on the languages used, and the group size should be restricted to ten performers and five observers. Each participant must come to every meeting.
The work methodology is based on but not limited to the teachings of Eugenio Barba’s Odin Teatret actors Roberta Carerri, Tage Larsen, Iben Rasmussen, Julia Varley, and Torgeir Wethal, as well as regimens derived from Grotowski’s actor Ryszard Cieślak. The Workshop shall be led by Dr. Seth Baumrin, who received his professional training at Odin Teatret in Denmark, and is now Chairman of the Communication and Theatre Arts Department at John Jay College of the City University of New York.
Each participant shall be equipped with two poems in any language, fully memorized on the first day of the workshop. These poems should be rooted in cultural histories and dear to the heart of the participant.
This work is structured such that in the final stages of development an inner narrative (secret from the audience) moves performance beyond entertaining in the direction of healing through the artist’s work on self and its impact on the spectators. Subpoetics can be understood as social action taken in the interest of those who do the work and those who witness it.
Subpoetics is a process of elaboration whereby actors create physical actions associated with particular texts. These physical actions are shorn away from that text and perfected with precision. They are then attached to a different text even though the actions and the new text are unrelated. The actions are then justified to function as appropriate physical actions for the new text. The process of justification and adaptation of actions to different texts requires reducing, magnifying, or changing the rhythm of the original physical actions. In order to reduce or magnify a physical action, its original impulse in the torso must be located and retained. The extremities of movement, the external movements of the limbs or head, can be augmented by percentages—they use less space, or more, or are executed at different tempos, but the initial impulses to action remain the same. Through elaboration and reduction, participants give entirely new meaning not only to the original score of physical actions, and also, by justifying the actions, new meaning is given to the second text (thus there are inner and outer poetics). Most important they give the text a personal meaning discovered through individual means. Through this process, the participants shall develop subscores that stand behind the actions and have sources in the participants’ impulses and imaginations. Subscore differs from a subtext. A subtext’s sources are buried in the text and its author’s imagination, usually beyond recovery whereas subscore is personal to the performer. Subscore is located within the performer’s body/mind in the linkage of internal image and impulse to external action.
Subpoetics functions in the tradition of Bertolt Brecht’s Lehrstücke (learning play). In Brecht’s usage a learning play is not necessarily limited to the instruction of the audience but of equal importance to the players themselves for whom participation in the work enables realization of ideas, perspectives, and facts previously unknown to them.
Subpoetics embodies a training/performance regimen enabling participants to learn how to learn; learn how to teach; auto-didactic methodologies for self-realization; group dynamics that engender cultural awareness. Weaning young people away from stereotypes promoted by electronic and popular media—virtual reality replaced by truth—by constructing their own identity. This kind of work is crucial during a period of potential cultural erasure as borders both real and artificial obscure the struggles of the individual.
PANEL DISCUSSION | Day 2 of polip 2012 | May 12, 2012
Remembrance and Literature
In this discussion round, we want to investigate the connection between writing and remembrance.
Even though memories are closely knitted to visual impressions, literature mostly uses purely linguistically-communicated imagery when approaching the past. What happens, though, if the linguistic imagery is presented next to pictures and photographs that claim that ‘this is how it was’ regarding events anchored in the collective remembrance? Do these by now ubiquitous pictures risk overlaying the historical events?
What happens if suddenly the pictures begin to tell their own story and the text slowly disappears in one’s perception? Where do we find the reality in this and where do we find fiction? And how is literature distinguished from history? What are its strong points?
We aim to analyze the combination of image and text with regard to their correlation and to discover the additional benefit that emerges from that.
Furthermore, we are interested in the questions of what it means when literature has the purpose of remembrance, how this artistic action changes the perception of the past in the collective memory, and what influence this appropriation of the past has on the authors.
Moderator: Roman Ehrlich (GER)