The authors of the concert, feelformance and philosophy fragment black light from the void for the observers of white expanses and tweet soundscapes. Your ears will be stuffed with the trans-rhythms of drums. It’s not hard to say no. It’s hard to say it right. At the right time. For the right reasons. Harder still
The authors of the concert, feelformance and philosophy fragment black light from the void for the observers of white expanses and tweet soundscapes. Your ears will be stuffed with the trans-rhythms of drums.
It’s not hard to say no. It’s hard to say it right. At the right time. For the right reasons. Harder still to keep saying it, especially when we live in a world of yes. A tyranny of yes. Yes to family. Yes to friends. Yes to terms. Yes to conditions. Yes to work. Yes to play. Yes to a life of yes, yes and yes, please. But there is another life. An uncertain life. It sings a song to no. Of no. For no. Not just any no, however. A no of not now. Not yet. And not only. The no of Nein. Nein is not no. Nein is not yes. Nein is nein.
We all walk our thoughts in front of us like a monkey on a leash. When you’re reading, you always have two such monkeys: your own and someone else’s. Or, and this is worse, a monkey and a hyena. And then just watch out what you feed each of them. Hyenas don’t eat the same things as monkeys. Nein is also not reliable, it is legendary as much as possible, representing something similar to lunch during sleep and remaining entangled in the delusions of all sorts of images. We will receive only excerpts, just as sand in your eyes is all that remains of dreams. But these shortcomings are not to be regarded as a significant loss: the viewer who could read the hidden meaning of the performance from the succession of scenes has long since gone from the world, as today’s viewers think imagination is merely the domain of the author and does not concern them at all. That’s why the viewers can calmly skip these instructions and observe as if eating: when watching, they can use their right eye instead of a fork, their left instead of a knife, and throw the bones over their shoulder. And that is enough.
The good news:
Technology has brought us closer together.
The bad news:
Please see above.
*Warning: The performance of the project includes flashing lights and may potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.
script and direction: Vlado Repnik Gotvan
lighting feelformance: David Cvelbar
music feelformance: Jaka Berger Brgs, David Cvelbar, Borut Kržišnik
tweets and philosophy: Eric Jarosinski, Marcus Steinweg
supervision: Simon Kardum
feelmformance: Vlado R. Gotvan, Matej Marinček
in the film: Ida Hiršenfelder, Aleš Hieng ‒ Zergon, Dora Trček and others
co-composition: Martina Ruhsam
stage design: babaLAN
exit artefact: magus Jaka Mihelič
intimate mobile communicator: Igor Štromajer
sound design: Jure Vlahovič
video technician: Matej Marinček
stage technician: Matevž Ftičar
filming of the premiere: Tereza Kozinc, Špela Škulj
photography: Urška Boljkovac
special thanks to Mitja Grom
duration: 82 minutes
production: Kino Šiška and GVRbabaLAN