A Shared Stage of Contingent Production

Trauerspiel 1, Ian White ©Nina Hoffmann
Protektorama Weltheilungswald, Johannes Paul Raether

Project Description

"A Shared Stage of Contingent Production" brings together a number of different artists each of whom proposes to take a different research route through the Arsenal collection and to use this as the means to produce separate live performances for the theatre. The resulting works will be presented together over one evening at the Hebbel-Theater in 2012.

The research will draw upon the artists' own interests and practices, acknowledging as part of this process the possibilities and limitations of using a work – or works – of film as a kind of text to generate a live performance. Areas of special interest include narrative, character, politics, translation and space in relation to the overlapping yet distinct capacities of the cinematic and the theatrical auditorium – the economies, cultures or architectures of which are also considered as possible material.

The project is instigated by Ian White. It follows and is loosely guided by the ideas contained in a series of seminars given by him at no.w.here and LUX in London exploring the relationship between theatre, "liveness" and artists' film and video, and his previous curatorial projects for Kino Arsenal, It’s Not The Homosexual Who Is Perverse, But The Situation In Which He Lives (2009) and Kopietheater (2010 Berlinale). It has been developed and further conceived equally by the contributing artists.

Ian White is an artist, curator and writer specialising in performance and artists’ moving image who works between Berlin and London.
Johannes Paul Raether is an artist and lives and works in Berlin.

Biography of Ian White

"A Shared Stage of Contingent Production" at HAU

Live performance and moving image
The event took place on March 13, 2012 at HAU 1 /Hebbel am Ufer.

Two works by Ian White and Johannes Paul Raether explored the relationship between live performance and the moving image. Drawed from the collection of artists' films at Arsenal the two performances dissected the theatre space along its proscenium arch, between the auditorium and the stage, performance and production.

Trauerspiel 1
by Ian White

In the auditorium – structured around Walter Benjamin's ideas about the origin of German tragic drama – films by Karola Schlegelmilch, Klaus Telscher, Hellmuth Costard, Peter Weiss and Robyn Brentano & Andrew Horn alternate with a series of actions. An allegory of Love and Time, they generate each other. It is a sketch: of architecture, the body, light and shadow – a production of images that are not there but here.

BAUCHLANDUNG, Karola Schlegelmilch, Germany 1991, 16mm, 3 min
HER MONA, Klaus Telscher, Germany 1992, 16mm, 7 min
BESONDERS WERTVOLL, Hellmuth Costard, Germany 1968, 16mm, 11 min
STUDIE IV (Frigörelse), Peter Weiss, Sweden 1954, 16mm, 9 min
CLOUD DANCE, Robyn Brentano & Andrew Horn, USA 1980, 16mm, 13 min

You can download more information about the performance of Ian White as a PDF file.

(1) – (11) Trauerspiel 1, Ian White ©Nina Hoffmann

Protektorama Weltheilungswald
(Setting #2, The Black Maria Voodoo Studio)
by Johannes Paul Raether

The stage is used by the witch Protektorama as a kind of mobile-phone-TV studio to produce a video of her world healing ritual. Karl Marx, Riki Kalbe, Maya Deren, the Devine Horsemen of Voodoo and Kinder Surprise Eggs prove our obsession with the abstract principles of capitalism. (program text)

(1) – (11) Protektorama Weltheilungswald, Johannes Paul Raether