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workshop

Eric Thielemans REPERTOIRE

5-9 January 2015

(this workshop is part of the opening week and compulsory for everyone!!)

 

Hi all,

I’m Eric Thielemans, trained and drowned in a musical practice. I’m a drummer, composer and sound artist with a broad range of interests and experience with cross, multi en interdisciplinary artistic collaborations. For the last couple of years my artistic practice became more research based and reflective, and my work was touched by that evolution. I’m proposing a workshop in apass at the beginning of the january block. The workshop deals with the notion(s) of repertoire. Of what stuff are they made? How did they come about? I did this work once before with my musical ensemble EARR. It will be a first time for me to adapt the questions and reflections to a wider and multidisciplinary field of expertise and practices. In order to use our time well during this week, I propose an introduction text and some questions that are meant to open up the reflective juices. I would kindly like to ask you to prepare the sessions based on the questions and preparative tasks you will find underneath. It will make the workshop and sharing surely richer and denser. So, here we go. Looking forward to meet you in january.

If you have questions regarding this document and how to deal with the questions, you can reach out to me by mail: ethiel23@hotmail.com.

 

repertoire – the entire range of skills or aptitudes or devices used in a particular field or occupation; “the repertory of the supposed feats of mesmerism”; “has a large repertory of dialects and characters” – The range or number of skills, aptitudes, or special accomplishments of a particular person or group.

For this workshop I’m looking for the entire range of skills, patterns, aptitudes in which we come home to. I really like to connect “repertoire” with “home”. “Practice” with “life”. As in: “Something to come home to.”

 

Repertoire(s) is a research and reflective workshop in which I see us all, like a bunch of passionate amateur entomologues (insectologues…), observe,repertorise , taxonomise, and share the constitutive phenomenons of our life with our craft and the repertory of skills, tools, techniques, practices that we use to build that life. Furthermore we will investigate various strategies and ways to weave the sensibilities, disciplines and practices of each participant together into meaningful wholes or collective spaces and cosmologies.

First the focus will lie on each of us individually. For this I have formulated some questions and notions (see under) for you to get started and prepare the first 2 days of our week. After that we will dive into group related observations. How do we behave as a group? What’s the repertoire of the group? How do we deal with the multidisciplinary aspect of it all? Off coarse this separation individual-group is artificial and not always easy to keep but I think it will give us a strategy, plan, focus and ground during the work.

I also want us to look for appropriate ways to propose this work in a performative situation.

At the end of the workweek, on friday, we will propose a showing of the work in which there will be place for each individual to share and propose some of his/her findings and reflections in whatever way suitable as well as there will be group propositions.

www.ericthielemans.com

List of questions and notions to get you started:

  1. Memory-personal history-(personal) mythology childhood memories of practices and tendencies related to your practices and tools of today: a mental, virtual, imaginative, psycho-emotional landscape. First memories. teenage memories…
    Relation to the choice of practice? Why that practice? Why that mode of expression? One can see a technique, practice or tool as a prism that reflects the light in a specific way so it also constitutes your perception of things. A technique/practice/tool is a teacher. How do you relate to your chosen mode(s) of expression in those terms? Why did you choose it? Was that always easy?
    Is there a sort of archetypal persona that you like to use specifically or to play off when performing/working? How do you see yourself? Are you a troubadour, a researcher, a botanist, a scientist, philosopher,…
  2. postures-spatial relationship-environment-pulse-tempo-stasis-mobility-voyage immobile- dynamics.
    Which postures and dynamics do you relate to most. Is there a repertoire of postures and dynamics for you? Do you like to sit or stand in a certain way? Do you prefer to move? Along which lines related to the room do you move? Do you relate to directions (up, down, left, right), center stage or front, back stage…Posture-Mobility…Dynamics: are you loud and clear in your expression or do you prefer soft and moderate. When intimate, non-performing, which mode of expression do you use? Is there an internal clock, rhythm, frequency to which you tick or more than one? What inner tempo do you relate to when creativity flows? Is it one tempo or more than one at the same time? Mobility versus stasis: How do you relate to movement, mobility? How do you deal with stasis, a fixed position in a space or stage? Voyage Immobile….
  3. repetition Repertoire = Repetition: without repetition there is no notion of repertoire. Hence Patterns. A repertoire develops through time. We write it like a story using tools like mirroring and feedback from peers, society… Which patterns do we rely on, did we create for, through our craft? Maybe you have a repertoire of techniques that are either posture based or are related to an obscure imaginary place, nourished by life experiences? Patterns maybe in how you like to go from one part to another in your writing? How do you relate to continuity and discontinuity?
  4. Love list: Think of a list of specific techniques, things you really like doing or touching, having when dealing with your practice.
  5. “I could do this for hours”: What is it in your practice that you like so much that you litteraily can do it for hours?

Homework/Preparative tasks:

  1. As a start of the january block with the workshop; knowing that we will be part of a quite large and pretty heterogenous group of writers, researchers, artists with a practise etc… I would like you to introduce yourself and your practices, techniques and tools.
  2. Out of your answers or reactions to these questions and notions posted above, I want you to distill a number (minimum 3) of objects of your repertoire. Those objects you will also propose individually to the group as an alternative way of introducing ourselves to each other with what we do or are here to do.
  3. Make an organigram/cosmology/score of those objects on a paper. Express the relationship between those objects and how you are positioned or travel between them. Use if possible some notions like mobility, frequency, time, tempo, up, down, left, right, imagination,…
    Make this any way you feel like. A drawing, a collage, a catalogue, a text,… Use any format you wish.

http://www.ericthielemans.com/www.ericthielemans.com/home_news/home_news.html





project, workshop

Repertoire Workshop Documentation

Please make your repertoires available …

 

(draft.)


block information

Lilia Mestre BLOCK FOCUS 2015/I

5 January-30 April 2015

CONDITIONS FOR THE EMERGENCE OF POETICS

webpics_apass14
The proposal is to plunge into the conditions for the emergence of poetics. Poetics used here as acts that transform our ways of perceiving, situations that invite another understanding of ‘things’. If we think performance as the coming-forth of those acts, as a framed re-actualization of what is there (a part of the world) we can give focus to the relations
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project

Perform Back Score

14 January-31 March 2015

how to document performance?

PBScore
This score is a proposal to communicate through performance throughout the block. It focuses on performance as a tool for the transformation of thought, intuition, desire, referentiality, practice into a communication medium. How to introduce exposure, playfulness, risk, generosity, exchange, fuck fear, contamination and precision in our way of communicating? How does this communication produce desire? To whom, where and how is this desire directed? What is the intensity/quality of it? What is the political agency of it?
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workshop

Pierre Rubio, Elke Van Campenhout Performance / Performativity / Objects / Subjects

19-23 January 2015 / a.pass

USA. Florida. Cape Kennedy. Space center. 1967.
Pierre Rubio and Elke Van Campenhout give will give time to discuss the basic concepts addressed in the block: Performance and Performativity.
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workshop

Ana Hoffner Tools for artistic research – Beckett

2-6 February 2015

Beckett_Score
The workshop starts from the assumption that the work of Samuel Beckett can offer a variety of tools for contemporary forms of artistic research. In the workshop we will focus on absurdity, melancholy, exhaustion, sense/nonsense and emptiness as main signifiers of Beckett’s work for stage, TV and film. We will watch and analyse selected scripts, dialogues, spatial set-ups and performances in order to transform them into our own experiments, exercises and techniques using body, space, camera and text.
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workshop

Nikolaus Gansterer Choreographic figures, deviations from the line

23-27 February 2015

Bildschirmfoto 2014-11-25 um 15.08.43
Choreo-graphic Figures - Deviations from the Line is an interdisciplinary collaboration involving artist Nikolaus Gansterer, choreographer Mariella Greil and writer-artist Emma Cocker. The project unfolds through two interconnected aims: we are interested in the nature of ‘thinking-feeling-knowing’ operative within artistic practice, and seek to develop systems of notation for sharing and reflecting on this often hidden or undisclosed aspect of the creative process.
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workshop

Daniel Blanga-Gubbay Conditions for something to happen (latent performances)

2-6 March 2015

How is it possible to go beyond the idea of creating something to suddenly create a space ready for the emergence of something unspecific to happen? By merging theory and practice - working both through interventions in given and constructed space - Daniel Blanga-Gubay let the participates of this workshop investigate not only the question "what are the condition for the emergence of an action", but eventually "what does it mean to create (and abandon) a space filled with unforeseen possible actions?"
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workshop

Antonia Baehr “When this you see remember me.” *

9-13 March 2015

In this workshop, we will investigate how scores can function as a constitutive factor for kinship relations. We will write scores as gifts to each other, and I will share some of ‚ “make up productions‚” working methods with you. This workshop examines the boundaries between score/interpretation, rehearsal/performance, director/performer, and audience/presentation. This workshop’s focus is an investigation through praxis.
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