KOLLEKTIV WEITER

KOLLEKTIV WEITER (2020)

Das Kollektiv Weiter entwickelt “Hörstücke”. Eine frische Mischung aus Konzert, Hörspiel und Jamsession. Inhaltlicher Schwerpunkt ist der Flaneur, der durch die Stadt Wien flaniert- Der Flaneur ist erlebte und beschriebene Philosophie. Er ist das Sprachrohr der Stadt.

Unser Künstlerkollektiv besteht aus Autorin Alexandra Pâzgu, Musiker und Komponist Florian Kmet und Schauspieler Roman Blumenschein und entwickelt seit einem guten halben Jahr „Hörstücke“, die man sich als eine Mischung aus Konzert, Theaterstück, Hörspiel und Jamsession vorstellen kann.

Wir bewegen uns im experimentellen Raum wo wir die Stadt durch kĂĽnstlerische Methoden recherchieren und versuchen neue Wege zu finden die Stadt darzustellen.

Alexandra Pâzgu füttert das Kollektiv ständig mit neuen Texten, die eng mit dem Zeitgeschehen verwoben sind, die von Schauspieler Roman Blumenschein und Musiker Florian Kmet interpretiert und in ein Live- Erlebnis umgesetzt werden. Inhaltlicher Schwerpunkt ist der Flaneur, der durch die Stadt Wien flaniert und wahrnimmt.

Alexandra Pâzgu zum Flaneur:

Die Figur wird von dem was sie sieht und erlebt beeinflusst. Sie wird die Stimme des Erlebten und durch sie wird die Stadt zum Klang. Flanerie ist beschriebene Philosophie, performative Poesie. 

Der Flaneur flaniert seit dem 19ten Jh. durch die Straßen von Europa und erzählt aus einer subjekiven Perspektive von der Welt in der er lebt. Anhand einer großen Krise hat sich aber 2020 die Weltordnung verändert. Die Figur des Flaneurs, dieser kulturelle Vampir, hat seit Jahrzehnten überlebt und wird auch dieses Mal neue Formen finden müssen, sich anzupassen und zu überleben.

We are a group of artists, who create sound performances as a mixture between concert, theatre, radio and jam session.

Our collective work consists of texts developed and written by Alexandra, spoken by Roman and jammed by Florian. Currently, listening to us feels like strolling through the streets of the city we live in. 

We are moving through an experimental stage, trying to develop new ways of representing the city. Also, we hope to expand our research and write, compose, speak and perform also in further cities.

Alexandra Pâzgu about the notion of the flaneur:

The flaneur is a form of applied thought and performative poetry.

The flaneur has been strolling through the streets of Europe since the 19th century describing the world from a subjective perspective and haunting our imaginations with the representation of the city. Due to a major crisis, the global order changed in 2020. The figure of the flaneur, this cultural vampire, has survived for decades and will find new ways, once more, to survive and adapt.

Alexandra Pazgu
Roman Blumenschein

Ausschnitt aus „Diese Müdigkeit braucht keine Medikamente“ von
„Niemals schlafen, niemals arbeiten, nur die Straßen dieser Stadt durchwandern,
die groĂźen imperialistischen StraĂźen, wo Zivilisationen miteinander leben;
die alten und neuen Bezirke, mit farbigen Blocks die in der 70ern gebaut wurden, wo Studenten leben, jeder Stock hat eine andere Farbe, jedes Fenster ein anderes Licht,
ich wandere durch die alten StraĂźen von Wien, hier lebt eine alte Frau, die grad’ ihre Pflanzen begieĂźt, sie hat ein ganzes Leben gearbeitet um jetzt ihre Pflanzen auf dem Balkon zu begieĂźen, sie lädt mich ein bei ihr Pudding zu essen, ich sage, Dankeschön, das ist sehr nett, meine Oma konnte auch sehr gut backen, aber sie ist jetzt tot, also ich kann nicht bleiben, am Abend kann man es besser verstehen, wie ein sanft beleuchtetes Fenster alles ĂĽber unsere Ă„ngste erzählt(…)“. 

Die RĂĽckkehr der Yamaboushi

DIE RĂśCKKEHR DER YAMABOUSHI ODER SHIFTING BASELINES (2019)

 I am happy to cooperate with Ann Cotten and Ă–1 + the KHM Vienna in this new radio play. I made music to the incredible picture of Joachim von Sandrart (1606 Frankfurt am Main – 1688 NĂĽrnberg) and did not know the content of Anns writing beforehand. Philip Scheiner put the two together. I am happy with the outcome, and you can listen to it in full length on the KHM website following this link here

 

©KHM-Museumsverband

DIE ANDERE HĂ„LFTE DES HIMMELS

DIE ANDERE HĂ„LFTE DES HIMMELS (2017)

I loved to work again with Ed. Hauswirth and for the first time with Barbara Gassner. We discovered and explored many hidden sides of family and home.

The story: The actress Barbara Gassner, raised in a small village in the province of Salzburg, was at home in several places for professional reasons. In a very personal approach to her homeland, she lets the story of her grandfather come alive in that evening. Siegfried Schwabl, son of a Russian prisoner of war, wrote down his growing up in Pinzgau in the 1930s. In cipher. His daughter has translated the recovered font. His granddaughter Barbara Gassner relates his growing up in the 1930s to growing up in the same village 60 years later. It tells of the advent of tourism, its impact on living together, and other memories that it associates with home today.

The ORF did a nice documentary about the story: ORF Thema

There was some very nice media feedback to our shows in Saalfeld, Lofer and Maria Alm.
Salzburger Nachrichten
Pinzgauer Nachrichten

German Version: Die Schauspielerin Barbara Gassner, aufgewachsen in einem kleinen Dorf im Bundesland Salzburg, war aus beruflichen Gründen inzwischen an mehreren Orten zuhause. In einer sehr persönlichen Annäherung an ihre Heimat, lässt sie an diesem Abend die Geschichte Ihres Großvaters lebendig werden. Siegfried Schwabl, Sohn eines russischen Kriegsgefangenen, hat sein Aufwachsen in den 30erJahren im Pinzgau aufgeschrieben. In Geheimschrift. Seine Tochter hat die wiedergefundene Schrift übersetzt. Seine Enkelin Barbara Gassner setzt an diesem Abend sein Aufwachsen in den 30erJahren mit ihrem Aufwachsen im selben Dorf 60 Jahre später in Beziehung zueinander. Sie erzählt vom Aufkommen des Tourismus, seinen Auswirkungen auf das Zusammenleben, und anderen Erinnerungen, die sie heute mit Heimat assoziiert.

the team:
Ed.Hauswirth: director
Barbara Gassner: story and acting
Claudia Heu: structural advice

click on the image to see the ORF broadcast

INVIDIA der böse Blick

 

INVIDIA Der böse Blick (2017)

„Invidia der böse Blick“ was a long planned dance theater by Grischka Voss. It was my first collaboration with her and Kristina Bangert as Co-directors. Grischka Voss researched about different aspects of envy for over four years. This was all packed into an evening that worked like a silent movie –  without any spoken words !

Many short scenes and dances divided by five songs. The beginning of the rehearsal time was uncommonly open.  As a composer I had all possibilities and directions to explore. And for me it had been a long thought of wish to step more into a „singers only“ position in a song. Turns out, that for the first time I was able to „play“,  taking on the role of mean and arrogant Dr. Envy Jack. I was directed in a very respectful and adventurous way by Christina Bangert and Grischka Voss, to really take my role in.

 

The whole Team was throwing themselves in completely, and so step by step the layers of the onion where peeled of.

conzept: Grischka Voss

director: Grischka Voss, Kristina Bangert

music: > KMET

dance and choreography: Peter Beil

play: Rosa Braber, Grischka Voss

stage: Nora Scheidl

costume und Objekte: Stéphanie Troehler, Grischka Voss

assistence, technic: Jennifer Skriwan

There was a nice media echo to this production: ORF ZIB

reviews:

derStandard

der Falter

european culture news

tanz.at

And Laurent Ziegler made wonderful photos, take a look at a few:

FESTIVAL WORTSTATTNĂ„CHTE

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FESTIVAL WORTSTATTNĂ„CHTE (2016)

This was my first encounter with the „Wiener Wortstätten”. It is a very ambitious melting pot of different upcoming theater authors. It has a focus on writers from eastern Europe who live in Vienna. Their festival „Wortstattnächte“ consisted of 5 different events. I took part and created live music to „Autor/Innen/Dramen“, „Die Wortstattnacht“ and „Scratch Night“.

Autor/Innen/Dramen
10 monologues on about creating dramatic texts and the possible effects on the psyche of the author

Die Wortstattnacht
Three scenic readings, very different in form and content.The texts were created in the season 2015/16. Three different directors worked with the actors and myself, and created stage setting ranging from classic “scenic reading” the actor sitting at one big table to staged theater settings.

 

Scratch night
5 readings each 20 minutes long with 5 authors of the Wiener Wortstätten writers room. They introduced themselves for the first time to the viennese audience. This was a very special personal night, with interaction between authors and visitors. Sometimes the listeners joined in with reading different parts of the texts.

It was a splendid and very interesting experience. Hearing so many different texts, and meeting writers with very colorful backgrounds was very inspiring.

You can read up on the whole Programm and their ideas when following this link (german) Wortstätten programm

stage by Renato Uz
directing by Ingried Lang, Hans Escher, Bernhard Studlar and Frederic Lion

Fotos by Joachim Kern

KMET + Max Mayer

14522703_10154475432821031_2761071450650100894_n kmetblumenschein wortstattnachte_by

OPERA OF ENTROPY

OPERA OF ENTROPY (2016)

My friend Jorge Sanches-Chiong invited me to join the team to develop  the “Opera of Entropy” in february 2016. It was developed through different phases of laboratory work over the last two years. The musical part for the opera began to form in March 2016. One of my agendas was exploring the wide field of tunings.

This was a cooperation of 15 people coming from the field of the fine arts, research, performance, physics, video art and mathematics.

The Musiktheatertage write:
A postdramatic opera-performance on the present world-wide crisis scenario of disintegration, based on narrations of actual people.

Every day we make history. Each of us creates reality. Every minute. Every second entropy is increasing. Disorder, discontinuity, disinformation, decomposition and decay create concrete entropic phenomenons. The destabilisation of Europe and its social structure, corruption, climate change, suicide attacks and war produce depressions, ADHD affecting young people, disorientation and burnout and an inability to make decisions. Increasing numbers of people actively engage, but just as many escape into repression or a fun society. An inter-active installation that generates a fractal of our present by creating a resonating communicative and musical space with the audience. A present-time opera.

Find more informations as well under: www.nomad-theatre.eu 

Team
Marian Kaiser (Text, discourse-dramaturgy, performance)
MELA Marie Spaemann (Sampling music performance, cello, vocals)
Pit Noack (Sound-art, programming)
Christina Hartl-Prager (Photographic body installation)
Max Hoffmann (Performer, actor, mathematics)
Gerald Nestler (Conceptual installation, economics)
Lucie Strecker (Cryptography, feminist discourse)
Florian Kmet  (Soundscape, guitar)
Thomas Wagensommerer (Physical installation, game programming)
Louise Linsenbolz (Video, performance)
David Christopher Panzl (Multi-Percussionist, soundscape creator)

Guest experts
Hanada Al Refai (Mathematician, political activist, from Syria, in Vienna as refugee)
Margarete Jahrmann (Media artist, professor at ZĂĽrich Arts University)
Stefan Glasauer (Neuroscientist, professor at Ludwig-Maximilian University Munich, Germany)
Armin Medosch (Artist, media expert, journalist, and professor at Belgrade University of Media and Arts)

Artistic direction, installation, and system architecture: Thomas J. Jelinek
Sound architecture and composition: Jorge Sanchez-Chiong
Technical conception, video: Peter Koger
Sound engineering: Florian Bogner
Dramaturgy and production: Georg Steker

A coproduction of NOMAD.theatre and MUSIKTHEATERTAGE WIEN in cooperation with mediaOpera, Tanzquartier Wien and ZWNTRALWERK Dresden

photos b. Sascha Osaka(2,4) and Nick Mangafas

Opera of Entropy

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Opera of EntropyOpera of EntropyOpera of Entropy

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Opera of EntropyOpera of Entropy

OUT THERE IS A FIELD

Out there is a field

OUT THERE IS A FIELD(2016)

It was a very speacial pleasure to work again with the outstanding Artist Barbara Kraus. Every rehearsal and meeting was done with 100% dedication, as if it could be the last thing we would do. Until the very day of the premiere, the outcome was open and ever changing. Every performance was very different. The interaction with the audience was directng us into different spaces every night.

Here is what was published by Tanzquartier.

“Ghosts and goblins gather in places that we fear; that’s where the dancing starts.” (Barbara Kraus)

Barbara Kraus sets out to meet Nietzsche. Together they traverse wide fields, high mountains and as far as the sea. They encounter one another in nightly dreams and sleepless nights. Become friends. Lose their way in dark woods. Overcome obstacles. Always moving. Never arriving. Constantly becoming. Close the eyes and dance. Time here becomes space.

In dialogue with the philosopher Elisabeth Schäfer, Barbara Kraus explores the gaps and vanishing points of her performance practice. Together they set out on a nomadising, artistic thought journey in which i.a. Rosi Braidotti, Hélène Cixous, Gilles Deleuze and Friedrich Nietzsche meet with them. Out of these encounters and her five-month experience of walking over the Alps, Barbara Kraus creates an associative body of text that continues itself improvisationally through three performances. In interplay with the live music by Kmet, the long breath of Franz Hautzinger opens up a hospitable location for tumbling bodies and thoughts.

PERFORMANCE: Barbara Kraus in dialogue with the philosopher Elisabeth Schäfer
LIVE MUSIC: KMET in co-operation with Franz Hautzinger
VOICE OF NIETZSCHE + LIGHT: fishy
SZENOGRAPHY: Paul Horn + Roland Schmidt
ARTISTIC ADVISOR: Jack Hauser, Roland Schmidt, Tanja Lalics
SUPPORTED BY: Wien Kultur

Press reviews

derStandard

KZ:IMAGINAIRE

(c) barbara pálffy

(c) barbara pálffy

KZ:IMAGINAIRE (2015)

I got a call from Ernst Kurt Weigel who was looking for someone to write music for their next theaterplay. It should be an opera. KZ.IMAGNAIRE was the title. We exchanged webadresses, and set up a first meeting. Here we discussed our views on opera, music and theatre in general. Talked about his history with his grandfather, which would be part of the storie. „ Molieres „la malade imaginaire“ and life in genreal. I got a first draft of the piece, which also contained lyrics for one song, and gave away my solo cd´s in exchange.  We had one more meeting, and decided to jump into this new adventure. Weeks later, I got to meet the great ensemble for the first time, and we tried out some of my rough first ideas and sang together.

I really liked the way they work, the ensemble members, the room, the setting. What came out of it is maybe a very modern approach to opera or a very musical piece of theater.

A wild mix with lots of emotions and colours. The music is drawing from all corners and colours and structures. For the first time I also worked with a mixture of my KMET solo live-loop setup combined with lots of preparations like cello bow, needles and percussion brushes to „beat“ or „stroke“ the guitar. For the first time I used my snare drum live and combined this with arranged original playback music.  This worked well, after quite a journey of trying out different ways and machines to get this running.

I didn´t want to be onstage with a computer, so I ended up trying out different playbackmachines, until I settled for an easy sampler that the bernhard ensemble had used before. So this was a fun learning process, and the outcome was open to me.

kz.imaginaire_postkarte_v4_print_pf (1)

Press Reviews

Andrea Schurian, 2. 11. 2015

Schwarzer Humor im Off-Theater: Das Bernhard-Ensemble zeigt im Rahmen des Netzzeit-Festivals “Out of Control” die UrauffĂĽhrung eines StĂĽcks von Ernst.K. Weigel. Das eisern beibehaltene Regiekonzept im Off-Theater in der Kirchengasse: Zwischen Commedia dell’Arte und Wiener Aktionismus ist alles möglich und absolut nichts tabu…..Eine wirklich tolle Teambereicherung ist Florian Kmet als Einmann-Band, der das groteske, ĂĽberdrehte, traurige, lustige, gnadenlose Spiel live begleitet. Fast möchte man sagen: es mit seinem groovigen Gitarrensound, dem Kratzen und Scheuern und Zupfen, mit seinen Schlagwerkzeugen, Loops und Mixes sensibel lenkt. Auf den Paukenschlag genau die Slapstickereien. Schlicht wunderschön die Melodien fĂĽr die (ĂĽbrigens echt guten) Songs.

Reviews:
derStandard: Der eingebildete Seelenkranke

European Cultural News: Die Last der Geschichte auf unseren Schultern

 

KMET

(c) barbara pálffy

(c) barbara pálffy

Riot Dancer

TitelbildBF15-1 Kopie

Riot Dancer (2015)

When meeting up with director Martin Gruber of the Aktionstheaterensemble it was clear this would have to be done with a special drummer. Maybe even a larger ensemble. In the end I could invite Bernhard Breuer on drums and Jakob Schneidewind on bass. Together they have been playing in their fabulous band „electro guzzi“ for years. So I was sure that bass and drums would  have total synergy, which was what I was looking for. This came together in a wonderful way with countertenor Hubert Wild, who was part of the actors ensemble. He can sing like a birds, and also play the violin.

So working was total fun. With lots of input from the players it was a great experience to form and steer the ensemble in different directions. pushing their and my boundaries.

Riot dancer shows a overstrained society, where everything has been said. Trapped in a  competition about truth, freedom and justice. So there is only one wish: change;  And so the players of the aktiostheaterensemble prance torwards the apocalypse. Laughters and the hope.
The premiere was at Bregenzer Festpielhaus on may 8th 2015. The vienna premiere is on January 13th 2016 at Werk X Vienna.

Director, Book: Martin Gruber
Text: Aktionstheater Ensemble, Wolfgang Mörth, Claudia Tondl
Dramaturgy: Martin Ojster
Composition: KMET
Live-Musik: KMET, Bernhard Breuer, Jakob Schneidewind, Hubert Wild
Directors Assistance: Annina Weiss
Actors: Susanne Brandt, Michaela Bilgeri, Isabella Jeschke, Andreas Jähnert, Alexander Meile, Christian Rajchl, Kirstin Schwab, Hubert Wild u.a.

Press Reviews

Die Neue (pdf)
Vorarlberger Nachrichten (pdf)
European cultural news
Kurier

Pressefotos RIOT DANCER (c) Gerhard Breitwieser (19)

Riot Dancer4© Dietlinger

Pressefotos RIOT DANCER (c) Gerhard Breitwieser (36)

Guter Weltuntergang

Weltuntergang

GUTER WELTUNTERGANG (2014)

I was invited to do a solo performance/concert at the opening of the Tanzquartier Season 2014/15. The whole evening evolved around the book “The hare with the amber eyes” by Edmund de Waal and was produced as a city parcour with five performances in different places.

When I started my research in June and July 2014, I read mostly stuff that was published exactly 100 years ago, just before and while world war one started. I was confronted with writers who where pro war and also some writers and activists who where against it. The first idea was to confront pro and anti war writers with each other, looping and swapping them. Thomas Mann versus Karl Kraus.

In the middle of doing and reading and developing the composition, I received emails from friends who lived in a country that was at war at the time. After reading them it became clear that taking these messages of my friends, after making them anonymous, would be much more direct, current and referential than taking small excerpts from those famous writers from 1914.

My performance took place at the Theseustempel Vienna. Tanzquartier writes about the “Stadt Parcour” and 86/60 did the wonderful photo.
Thanks to Gerald Zahn ! He placed two cameras, and filmed live with a third one. Together we decided to leave the filmfootage untouched – so you see the original live files here.

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All Images by 86/60