TITANIC
Aikuiset naiset ja Petri teki vastateoksen Titanic esitykseen Svenska Teaternissa. Se oli mielenkiintoinen tapaus.
HARMONY & RAGE
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THE REAL STORY
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TITANIC
Aikuiset naiset ja Petri teki vastateoksen Titanic esitykseen Svenska Teaternissa. Se oli mielenkiintoinen tapaus.
HARMONY & RAGE
I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me to add your own content and make changes to the font. Feel free to drag and drop me anywhere you like on your page. I’m a great place for you to tell a story and let your users know a little more about you. This is a great space to write long text about your company and your services. You can use this space to go into a little more detail about your company.
THE REAL STORY
I'm a paragraph. Click here to add your own text and edit me. It’s easy. Just click “Edit Text” or double click me to add your own content and make changes to the font. Feel free to drag and drop me anywhere you like on your page. I’m a great place for you to tell a story and let your users know a little more about you. This is a great space to write long text about your company and your services. You can use this space to go into a little more detail about your company.
SVENSKA TEATERN
(Swedish theatre of Finland)
Partner: Svenska Teatern
Audience developer: Jenni Sainio
Original theatre play: Titanic, directed by Akse Petterson
The total duration of the project: 17th March - 16th April 2016
Director of the audience group: Maria Hyökyvaara
Commentary performance: Aikuiset naiset ja Petri goes Svenskan
Warm up rehearsal: 2h
Rehearsal hours with the group including watching of the original play: 30h
Performances: Pre-show in Malminkartano library on the 8th April 2016, general screening on the big stage of Svenska Teatern on the 12th April 2016 and premiere in the big stage on the 15th April 2016 12 h
Scenery tour in Svenska Teatern: 2h
Production: Communication, marketing, costumes, photography, video recordings 86h
DANCE HOUSE HELSINKI
Partner: Dance House Helsinki Kiss my Dance event
Audience developer: Jenni Sainio
Original performance: Assembly, choreography and direction Nicola Conibere
The total duration of the project: 8th of October - 20th of October 2016
Director of the audience group: Maria Hyökyvaara
Commentary performance: If I Melt For Dance
Warm-up rehearsals before the performance experience 11h
Rehearsal hours with the group including watching of the original performance: 17h
The performances: General screening in Merikaapelihalli on the 15th October 2016, audience pre-show 16th of October 2016 in Malminkartano clubroom and premiere on the 16th October 2016 in Merikaapelihalli 9h
Production: Communication, marketing, photography, video recordings 62h
VAPAAkollektiivi
Partner: VAPAAkollektiivi
Contact person: Outi Yli-Viikari
Original performance: Parts of Life - How does it feel like to be a human being, choreography and direction Disa Krosness
The total duration of the project: 7th of January - 10th of February 2017
Director of the audience group: Maria Hyökyvaara
Commentary performance: Teos jota ei ole (A performance that does not exist)
Warm-up rehearsals and common rehearsals with VAPAAkollektiivi before the performance experience: 16h
Rehearsal hours with the group including watching the original performance: 24h
Performances: Premiere 27h of January 2017 in Kanneltalo concert hall and 28th of January 2017: 7h
Production: Communication, marketing, photography, video recordings 40h
Special observations: The collaboration with Svenska Teatern taught that the technical requirements have to be presented a bit over the actual needs in a very early stage to the partner. This was the only collaboration where I had no direct contact with the director of the artwork at any point. Not even in the audience discussion. After the performance I sent a letter to the director and whole ensemble in which I intuitively opened up my own peformance experience right after sleeping a night over. In this collaboration a long-term warm-up was not possible for the lack of time. This was also the richest of all the commentary performances we made, mostly because the original play was for all of its parts extremely rich. This was the only commentary performance where we had costumes and props. This remained also the only commentary performance that we made in the basis of a manuscript.
“Your commentary performance is absolutely the deepest performance analysis that has been made about the Titanic play.”
-An actor of the Titanic theatre play in the audience discussion-
“It was amazing to see both my own viewer observations and completely fresh view points to Titanic play through your commentary performance. An extremely rewarding experience for a viewer.”
-A spectator after the performance combination-
“Totally amazing to be able to perform on the stage of Svenskan!”
Taru-Piritta Kallio, Community Theatre group Aikuiset naiset ja Petri-
“A unique experience to be able to become part of a “real theatre”. The solemnness of the theatre house, the smell and magic of the stage, the spaces of the actors and the sophisticated audience. Courageous and crazy letting go that can be experienced only once in a lifetime. A performance that allowed to go beyond the boundaries of convenience and at the same time even enjoy it.”
-Soile Härkönen, Community theatre group Aikuiset naiset ja Petri-
Special observations: We wanted to experiment how the dialogical audience development model works as a part of a festival performance. We wanted to see if an audience commentary performance is possible to implement only in a few days time. And it was. The performance by Nicola Conibere was an abstract physical community artwork thats mathematic and repetitive form enabled a great opportunity to explore especially the audience experience of the performance. How did we act ourselves in the audience? What kind of reactions an inner confusion causes in a viewer? One is provoked, another decides to solve the formula of the performance, third gets inspired and the performance experience of the fourth one remains only half when the whole concentration is absorbed to the fact that she does not understand anything of the performance. The audience in Assembly was separated from the performance area only with a tape line attached to the concrete floor. People were allowed to move freely in the audience area. There were a few chairs and it was allowed to exit and come back at any time. Always when one spectator was let in, a new dancer came on the performance area at the same time. The performers were in direct, simple and open contact with the audience during the whole performance. We prepared our own commentary performance in to the audience area and the audience followed our performance in the performance area.
"Assembly was a confusing performance and as a viewer I was part of the performance without my consent. In its simplicity a very powerful experience where I had to struggle with my own thoughts, prejudices and feelings. How do I have to behave here? What happens next? Why do they do as they do?"
-Soile Härkönen, Community theatre group Aikuiset naiset ja Petri-
”This process increased and deepened my experience and viewership. I understand now better than before that each one is their own experiencer and as right in their own viewership. At the same time I do not undermine my own experiences. The age is not an obstacle to an open-minded viewership but instead one self.”
-Satu Korhonen, Community theatre group Aikuiset naiset ja Petri-
Special observations: In conjunction with the Parts of Life performance we made our commentary performance in the basis of the first complete rehearsal performance. We came to this decision together with VAPAAkollektiivi because otherwise we would have had too little time to make the audience´s commentary performance. We learned a lot from this. And one should not do like this in the future. In other words we saw the performance in process too early, the performance was not mature yet, or ready. And this naturally resonated with the audience experience, especially in the director´s audience experience and this had a strong effect on the making process of the commentary performance. I was not lighted up as a director. But this enabled a lot as well. During this process we concentrated even more hands-on to the authenticity. What is it to be honest and authentic to own inner world and thoughts? Also how to express these thoughts and emotions right as they are at this moment to the outer world? This was a collaboration in which the dialogue between the groups was the strongest. We visited each others rehearsals. We had two common performance ensembles and two audience discussions. In the audience discussions came up that our first commentary performance of the audience had plenty of influence on the VAPAAkollektiivi´s own expression in the following performances. In this collaboration I learned the most both professionally and personally.
“We were surprised of how intensively you practice.”
-Outi Yli-Viikari, dancer in VAPAAkollektiivi-
“What is real in this moment. Moving in the stage was empowering. This responsive artwork and being on the stage was like meditation.”
-Jaana Hummasti, Community theatre group Aikuiset naiset ja Petri-
“This ensemble of the two performances was a unique experience and gave a lot to me as a viewer. The performances complemented each other. We will discuss about our experience with my friend even as we get home.”
-Audience experience-
A letter to the director Akse Petterson and the work group of Titanic play
Aikuiset naiset ja Petri goes Svenskan program
If I melt for dance program