Alt er satt på vent, men vi holder på, vi simulerer, later som, prøver å fortsette. Vi tvinges til å revurdere historien, vårt referansepunkt. Vi forsøker å se for oss en fremtid der vi alle kan være sammen igjen. Vi samarbeider på avstand og iscenesetter rommene som de nå fraværende utøverne en dag skal kunne innta.
fieldwork sin nyeste produksjon, gone here (yet) to come omskaper teaterrommet til et lerret som viser oss ulike virkeligheter. Forestillingen former og skulpturerer rommet og luften som fyller det. Den endrer tiden og fremhever det som ligger utenfor dette rommet og det som strømmer inn gjennom sprekker og hull i grensene som definerer det.
gone here (yet) to come graver seg dypere og dypere inn i teaterrommet og foretar en utgravning av tapte minner. Bli med på gjen(ferden) som avdekker andre versjoner og dimensjoner av verden slik vi kjenner den.
Avdal og Shinozaki har arbeidet siden 2000 og dannet sitt eget kompani kalt fieldworks.
De lager prosjekter i både teatralske og ikke-teatralske miljøer og rom. Dette varierer fra kontorer, hoteller, supermarkeder og andre offentlige og halvveis offentlige rom. Ved å ta i bruk disse velkjente rommene på en ny måte utfordres vårt syn på dagliglivet.
Konsept og Ledelse: Heine Avdal, Yukiko Shinozaki
Skap og Utført av: Heine Avdal, Ingrid Haakstad, Krisjanis Sants, Yukiko Shinozaki, Oleg Soulimenko
Også Skapt Med: Also created with Tale Dolven, Anika Edström Kawaji, Gabel Eiben, Ieva Gaurilčikaitė Sants, Yumi Osanai
Dramaturg: Dramaturge: Sara Jansen
Lyd design: Roeland Luyten
Lys design: Ryoya Fudetani
Management : Bob Van Langendonck
Produsert av: Avdal Production, fieldworks
Co-produsert av: Black Box teater (Oslo), BIT Teatergarasjen (Bergen), RIMI/IMIR Scenekunst (Stavanger), PACT Zollverien (Essen)
Residens støtte: Kaaitheater (Brussels), BUDA (Kortrijk), STUK (Leuven), wpZimmer (Antwerp), Netwerk (Aalst), workspacebrussels (Brussels)
Finalsiell støtte: Norsk Kulturråd, Vlaamse Overheid, Vlaamse Gemeenschapscommissie
EN
While everything is on hold, we pretend, we simulate, we try to continue and make do. While we reconsider the history that is our point of reference, we imagine the future in which we will all be here together again. We collaborate across distances and stage the spaces in which presently absent performers may one day make an appearance.
In gone here (yet) to come, the theatre space becomes a canvas onto which different realities are projected. The performance molds and sculpts the space and the air that fills it. It transforms time. It highlights what lies outside of this space: its margins and edges, and what pours in through the cracks and holes in the boundaries that define it. Digging, deeper and deeper, into the space and the time of the theater, gone here (yet) to come excavates lost memories. (G)hosts guide the audience on a journey, revealing other versions or dimensions of the world as we know it.
Avdal and Shinozaki have been collaborating since 2000 and founded their own company fieldworks. They have created projects in both theatrical and non-theatrical environments and spaces such as offices, hotels, supermarkets, etc. Through interaction with those familiar spaces and by treating them slightly differently, they suggest to rethink the notion of the everyday itself.
Concept and direction: Heine Avdal, Yukiko Shinozaki
Created and performed by: Heine Avdal, Ingrid Haakstad, Krisjanis Sants, Yukiko Shinozaki, Oleg Soulimenko
Also created with Tale Dolven, Anika Edström Kawaji, Gabel Eiben, Ieva Gaurilčikaitė Sants, Yumi Osanai
Dramaturge: Sara Jansen
Sound design: Roeland Luyten
Lighting design: Ryoya Fudetani
Management: Bob Van Langendonck
Produced by: Avdal Production, fieldworks
Co-produced by: Black Box teater (Oslo), BIT Teatergarasjen (Bergen), RIMI/IMIR Scenekunst (Stavanger), PACT Zollverien (Essen)
Residency support: Kaaitheater (Brussels), BUDA (Kortrijk), STUK (Leuven), wpZimmer (Antwerp), Netwerk (Aalst), workspacebrussels (Brussels)
Financial support: Norsk Kulturråd, Vlaamse Overheid, Vlaamse Gemeenschapscommissie
EN
While everything is on hold, we pretend, we simulate, we try
to continue and make do. While we reconsider the history
that is our point of reference, we imagine the future in which
we will all be here together again. We collaborate across
distances and stage the spaces in which presently absent
performers may one day make an appearance.
In gone here (yet) to come, the theatre space becomes a canvas
onto which different realities are projected. The performance
molds and sculpts the space and the air that fills it. It transforms
time. It highlights what lies outside of this space: its margins
and edges, and what pours in through the cracks and holes
in the boundaries that define it. Digging, deeper and deeper,
into the space and the time of the theater, gone here (yet) to
come excavates lost memories. (G)hosts guide the audience
on a journey, revealing other versions or dimensions of the
world as we know it.
Avdal and Shinozaki have been collaborating since 2000 and
founded their own company fieldworks. They have created
projects in both theatrical and non-theatrical environments
and spaces such as offices, hotels, supermarkets, etc. Through
interaction with those familiar spaces and by treating them
slightly differently, they suggest to rethink the notion of
the everyday itself.
www.field-works.be