Download Call for international collaborators

CALL FOR
INTERNATIONAL
COLLABORATORS
PARTNERS
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CONTENTS
CONTENTS
CONTENTS
Invitation to collaborate from Director 4
Project description 5
Synopsis 7
The Director’s Concept 8
Project Timeline 9
Dada Cabaret – A Collaborative project 10
About Maladype Theatre 11
About the Director 12
Writer, Musical Director
13
Maladype Theatre invites you to take part in
commemorating the 100th anniversary of Dadaism. By collaborating on the Dada Cabaret, you
will participate in an innovative and progressive international project which aims to create
the Dada Manifesto of our times, reflecting on
today’s world and seeking liberating ways to
form new relations between life and art.
Small-scale project and larger institutions, private and public associations, theatres, art centers, universities and festivals alike are encouraged to join efforts
and contribute to the re-evaluation and re-formation of the Dada legacy. Together we
redraw our world map into a Dada Map of partners from historical Dada cities, as well as new locations.
In this Dada Network the philosophy of the movement gets expanded by and through the participating
artists and audiences, while cultures and ideas of past traditions and present endeavors are exchanged
and developed.
Get involved and share your geographically and indivi­
dually unique vision of Dadaism in order for us to together
seek artistic means to react through this joint project. Let us
create a theatrical collaboration in which the theater
stands – as it has always done so – as a site of meeting
and sharing, where the creator’s task is to unveil the
mistakes, duplicity, and insincerity of the world.
Join us in making something special.
Zoltán Balázs
Artistic Director
Maladype Theatre
For further information, please contact:
Arabella Wynne-Hughes - Project Manager, International Relations
[email protected]
PROJ
ECT
D ES C R IP TI O N
‘Freedom: Dada Dada Dada, a roaring
of tense colours, and interlacing of
opposites and of all contradictions,
grotesques, inconsistencies:
LIFE.’
Tristan Tzara
To commemorate the 100th anniversary of Dadaism (1916 – 2016), Maladype
Theatre is creating a unique project, Dada Cabaret, and is looking for international collaborators and partners to together realize the world premiere of an
unexampled performance endeavor.
Dada Cabaret is a cross-cultural artistic project which embodies the ideo­
logy and philosophy behind Dadaism and embraces its relevance in today’s
challenging times. Developed through the creative collaboration of interna­
tional artists, the project aims to question, revitalize, and ultimately, empow­
er through the now ever-relevant power of the Dadaist philosophy of free­
dom and human dignity.
The project is based on a play by the same title, written by internationally acclaimed, award-winning playwright Matei Vișniec and produced by Maladype
Theatre. Directed by Zoltán Balázs (Artistic Director of Maladype Theatre) and
music arranged by Gábriel Gábor Farkas (founder of the Budapest Jazz Orchestra – all star Big Band), the play, following a research and rehearsal phase in
Budapest, will be further developed and finally staged at various international
locations with the involvement of a local cast and crew. The various shows produced reflect on the diffused nature of the Dada itself, the gesture of creation and
creative solutions to artistic expression. The performances are accompanied by,
according to an agreement between the partners, a masterclass, a workshop, a
conference, or other professional events, expanding and furthering the scope of
this reinvigorated Dada legacy.
- teCHnical development
and destinations -
The core of the play is rehearsed and developed in Budapest. For each international
performance, our partners in the given cities are expected to delegate actors who would
become part of the collaborative project at the individual venues within the Dada Network.
The peformers are selected by the director (through local or online casting) and are required
to learn their roles on their own. The main cast and the local actors convene to rehearse
together for about a week before the performance at venue provided by the local partner.
The rehearsal period is strongly characterized by the dialog-based, interactive process,
directly responding to the both Maladype Theatre’s specific theatrical language, as well as
the Dadaist principle of free expression. The play is then planned to be performed at least
twice at each location, entailing the drafting of its own, specific Dada Manifesto as well.
The project culminates in a final event in Zurich or Budapest at the beginning of 2017,
where all participants are invited in order to analyze and evaluate Dada Cabaret as a
whole.
The project intends to bring the performance with its joint
events to all the major historical locations and destina­
tions of Dada, echoing the legacy along with the topical
issues and themes that may arise from performing it at
the newer Dada locations. (see Dada Map)
The tentative schedule of the performance is as follows: the premier is set for Avignon
(Budapest or Bucharest) and the performance then travels on through Bucharest -- which,
according to the playwright, as a Dadaista occurence, is, interestingly so, often confused
with Budapest -- and other locations as outlined in the project timeline, and eventually it
ends in a grand closing event in Zurich.
Dada Cabaret
by Matei
Vișniec
the Play
S y nop s is of
es illogical, irrational and law­
Do you think the world is sometim
ewhere in between? How can
less? Is it sublime, grotesque or som
rors of war? How can glam­
we still breathe when seeing the hor
death, how can bodies and lust
our and glitter sit side by side with
ction? Dada.
hold hands with corpses and destru
ent,
rything. Yes, Dada is an art movem
Dada is the spark that changes eve
rerals, crushes language, buries and
yes, Dada crumples rules and mo
, Dada
panacea, the ultimate solution, yes
vives ideologies, yes, Dada is the
knows all and cares about you.
e above.
Dada is all and none of th
rything to do with the reality
Dada Cabaret has nothing and eve
our, biting irony, sorrowful
hum
rk
da
of
il
kta
coc
a
is
It
in.
live
we
perspectives and... hope.
The story of Dada Cabaret originates in Cabaret Voltaire, Zurich, during World War I.
Meet one of the creators: Tristan Tzara who is being questioned about the hidden agenda of the Dada movement and its obscure political messages. He seems to have planned
nothing of the sort. We also get acquainted with Lenin, before his ascension. He writes
touching letters to his mother and plays chess with Tristan Tzara. Nothing harmful. Yet.
Mr. Dada himself is questioning Lenin, accused of applying the concepts of Dada, the
concepts of a revolution creating, thus, the premises for an evil world. He just happened
to live on the same street with Cabaret Voltaire, the headquarters of a gang of artists who
created a different kind of history: Tristan Tzara, Hugo Ball, Emmy Hennings, Richard
Huelsenbeck, Jean Arp, Marcel Janco, Sophie Taeuber. They all come back to life in a
Wax figure museum and talk about historical and human truths.
A secret conference of the Old People reveals a terrible secret: youth should die, therefore a war is to happen. Terrifying images are on display throughout the play. A division of
soldiers learn how to polish the crosses on their own graves. A huge battlefield replaces
the exuberant Cabaret Dada, while artistic parades are traded for military defeats. On
the background death seeps in. An itinerary brothel brings a human touch, as prostitutes
work for the soldiers, so that tenderness substitutes violence.
THE DIRECTOR’S CONCEPT
The Origins of Dada
Dada was born in the Great War - the first modern war in the history of mankind. Dadaists decided that war was madness, so they created their own war - the war of the madness in the arts.
Dadaism was the only dogma without a dogma - the unlimited freedom as Dadaists did not accept
rules. The Dada revolution eliminated the most serious battlefields between art and life. The Dada
absurdity as well as its purity shifted, merged, and integrated into the constitution of human civilization like a chameleon, invisibly.
Philosophy
Never more has the world been filled with so many wars, invasions, and environmental disasters, which, in effect, has led to the global issue of forced migration. In many parts of the world
dictatorial regimes are emerging, generating extreme nationalist ideologies. The world seems to
be in a moral crisis; traditional values have deteriorated whilst people’s lives have been reduced
to fighting for mere survival. We are witnessing the transformation of Western civilization. Only the
rebels, standing strong in the name of freedom and human dignity, can confront this unacceptable
and absurd world.
NEW MANIFESTO
The general intention of the Dadaist movement was to return to an end where anything is possib­
le. The new age Dadaist movement is based on the same principle. The revolutionary, liberating
force of Dadaism is a possibility to rethink the now and reunite the people of the present. The new
Manifesto reflects the world today. Its aim is to build bridges between people, life and art and to
strengthen common values, creativity, communities and self-expression. Art in our community
should work to strengthen beliefs and to refuse the unacceptable, to expose the errors of our
world, and to criticize.
CONCEPT OF MUSICAL ARRANGEMENT
Music accompanies the scenes of the play as a soundtrack. Besides incorporating original songs
of the Weimar era and the Voltaire Cabaret, new pieces are composed to the lyrics of the play.
Computer-generated sounds, authentic instrumentation, as well as organic voices are infused
as the authentic sounds of the Weimar Cabaret meet with the experimental fatalism of Cabaret
Voltaire.
While technologies, such as the vocoder, the looper or the keyboards, are applied to call upon
rhythms and sounds from the Cabaret Voltaire, the play also focuses on the exploration and experimentation with repetitive words and syllables, as well as nonsensical throat sounds developing
a unique, sonic style.
This is an exiting opportunity to add Gábriel Gábor Farkas Orchestra’s music and musical theatre
innovations to this creative work.
T
JEC e
lin
PRO E
TI M
Call for international performers
september 2015
Shortlist performers and collaborators and finalise project details
mid-october 2015
Casting and workshops with selected international participants
from each historical locations and new destinations of Dada (on proposed tour)
November 2015
Rehearsals start with Hungarian cast in Budapest
November / December 2015
Play and Musical Score finalised and distributed
December 2015
Finalise international touring schedule for 2016
January 2016
Second phase of rehearsals with Hungarian cast
incorporating two French actors in Budapest and Avignon
(to be confirmed)
May / June 2016
Press Night and run of the show in either Festival d’Avignon,
Budapest, Bucharest
July 2016
International tour begins in collaboration with partners
end of July 2016 until
mid-December 2016
Final performance in either Zurich, Bucharest, Budapest
end of December 2016
Evaluation of Project in Budapest
or Zurich with all participants
January 2017
T
E
R
A
B
A
C
DADA
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V
ATI
R
O
B
A C O LLA
Dada Cabaret is a collaborative theatrical
project of a network of artists, resulting in a
series of performances all around the world unified in and
through a concept of Dada The realization of the projects requires various contributions from
PROJECT
both the developer, Maladype Theatre, and the collaborating partners. The suggestions below are subject to discussion but, nevertheless, provide the outline of circumstances and requirements,
should budgets allow the most ideal realization of the project.
MALADYPE THEATRE
provides
Touring Company
Breakdown
Project management
Concept development and scriptwriting
Directorial Concept – development and realization
Music – concept and arrangement
Choreography – stage movement, concept and
direction
Management of casting procedure
Rehearsal space in Budapest
Fundraising activities
Professional team – the touring company
Maintaining the Dada Network
Joint events
Creatives (6)
Director
Designer
Musical Director / Composer
Movement Director / Choreographer
Dramaturg and Playwright (optional)
Project manager
PARTNERS provide
Delegating actors
A rehearsal space
Staging of at least two performances
Venue for the performances
Technical support for the performances
Captioning system for the performances
Accommodation and food/per diem for touring
company members
Support with transport
Local promotion and marketing with support from
Maladype Theatre
Local fundraising (experts of Dadaism as theater
professionals, aestheticians, art historians, sociologists, psychologists, etc.)
Performers (12 + 2)
8 x Actors
(2 x Local Actors from collaborating theatre company)
6 x Musicians / Performers
Technical / Production Team (5)
2 x Lighting / Stage Technicians
1 x Sound Technician
1 x Stage Manager
1 x Wardrobe Technician
driver *2
SPONSORS, PARTNERS
Maladype Theatre reaches out to a variety of organizations to seek funding for the Dada Cabaret
project. Public grants, such as funding from the
Hungarian state (National Cultural Fund of Hungary, Ministry of Human Capacities) or international
schemes (EU’s Creative Europe programme, the
International Visegrad Fund), and private/nongovernmental partnerships are sought for sponsorship. Institutions and networks from both the broader scope of the arts at the specific performance
locations, as well as those related to Dadaism
internationally are essential.
About
Maladype
Maladype Theatre - founded in 2001 - is an independent theatre company based in Budapest, Hungary. Maladype is financially independent, allowing the company an artistic freedom that resonates throughout their work.
Maladype relentlessly seeks extraordinary situations, generating new perceptions and embracing natural elements as an organic component of theatre making. Playfulness, acting
and reacting is the essential part of Maladype’s work. Its theatrical method is structured
around two main principles. The first principle is the continuous development and conditioning (both physically and mentally) of its actors. The second principle focuses on an intensive
and continuous relationship between the artist and audience.
Maladype’s philosophy revolves around Risk and Reward. A certain set of ‘rules’ or preconceived ideas (like the structure of a theatre company or how to live your life) can become more
interesting and exciting when unexpected events and uncertainty occurs. However, risking
your organised world requires courage, since convention implies safety, and you might lose
your sense of security. But why should you give way to random events and unpredictability?
Because there in lies an opportunity to elevate your sense of joy and achievement as a result
of taking a chance!
Enthusiastic risk taking and creative experimentation offers a limitless world of new possibilities of both identity and destiny. Our imagination is guided by the unexpected opportunities
of chance. We choose to take the risk and play the game. Maladype has received numerous
awards, has toured both nationally and internationally (including countries like India, Iran and
the US), and is founded and led by Artistic Director and Director Zoltán Balázs.
BALÁZS
ZOLTAN
Artistic Director and Director of
Maladype Theatre
Zoltán Balázs graduated as an actor and director from the University of Theatre and Film in
Budapest. He participated in several international workshops such as Anatoly Vasiliev and
Josef Nadj’s workshop in Avignon. He studied from Robert Wilson in Paris and graduated
from the European Theatre Union’s directors course in Stuttgart. In 2001 he founded Maladype Theatre, and since he has been its artistic director in Budapest. Through his work he
aims to give create theatrical experiences that are complex and appeals to emotions and
senses.
His main works includes: School for Buffons by Michel de Ghelderode, The Blacks by Jean
Genet, Empedocles by Friedrich Hölderlin, Pelléas and Mélisande by Maurice Maeterlinck,
Leonce and Lena by Georg Büchner, The Vampire by Heinrich Marschner, Faust I-II by J. W.
Goethe, King Ubu by Alfred Jarry, Platonov by A. P. Chekov, The Kitchen by Arnold Wesker,
Inferno by Dante, Swan Lake by P. I. Tchaikovsky, Don Carlos by F.Schiller, Master and Margarita by M. A. Bulgakov and Macbeth by W. Shakespeare.
The aim of Zoltán Balázs’s method - uniquely developed for training actors - is to develop
the techniques for moving, dialogue and enhance the sense of body through self-examination. He focuses on the actors’ intensive common work and continuous communication with
the audience. Therefore the importance to improve the actors’ analytical and synthesizing
skills; the everyday tone of their speech; and the constant condition of the improvisation
based play that gives immediate and spirited reaction to the audience is inevitable.
Please see more info about Zoltán Balázs here: http://maladype.hu/hu/person/19
Matei
playwright
Vișniec
Matei Vișniec the Romanian writer living in Paris is amongst the most famous contemporary Romaninan authors, often compared to Beckett, Kafka, Pirandello and
Fellini, or even referred to as the new Ionescu – still he is not so well-known in Hungary. Matei Vișniec was born in 1956 in Radauti, southern Bukovina, Romania. He
is a significant representive of the 1980’s generation of Romanian literature. He is
an acclaimed poet, playwright, and he also achieved great success with his novels
in the past decade. He lives in Paris since 1987, and works for Radio France Internationale. His plays were staged in more than 30 contries so far.
Matei Vișniec has especially written this new piece to celebrate the 100th anniversary of Dadaism. His contemporary plays have been published, translated and staged
worldwide.
His most significant works include:
The Body of a Woman as a Battlefield in the Bosnian War - The Young Vic Theatre,
London, 2000.
The Story of the Panda Bears told by a Saxophonist who has a Girlfriend in
Frankfurt - Edinburgh Festival, 2005.
How to explain the History of Communism to Mental Patients - First produced in
March 2000 by The Open Fist Theatre Company in Hollywood. It then transferred to
the Playing French Festival in Chicago.
Paparazzi or Chronicle of an aborted Sunrise had a public reading at the Actor’s
Studio in New York, 2005.
Matei’s awards include:
2009 - EUROPEAN AWARD of The French Society of Dramatic Authors and
Composers SACD
2007, 2002 and 1999 - DRAMA AWARD of the Romanian Union of Writers
1998 - DRAMA AWARD of the Academy of Romania
2009, 2008, 1996 and 1995 - PRESS AVIGNON-OFF AWARD
1991 - AWARD of the Romanian Theatrical Society for “Clown wanted”, the best
play of the year.
For more information about Matei Vișniec please visit: www.visniec.com/
GÁBOR FARKAS
GÁBRIEL
Musical Director
Farkas is a composer, dancer, painter, musician and singer and founder of
the Budapest Jazz Orchestra - all star Big Band.
At the age of 24 Gábriel began his career with the opening show Revue
DeJaVue at the Budapest Moulin Rouge. In the past 15 years his shows
have sold out leading nightclubs and concert halls. He has performed in
Hungarian versions of Broadway musicals such as Cabaret and Dance Of
The Vampire directed by Roman Polanski.
© Maladype Theatre