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08 - 28/06/2015

photo Maciej Zakrzewski
Galleryphoto Maciej Zakrzewski

Social media, all this democracy of information is in the possession of corporations that can reorganize the contents of the account, which you think belongs to you - with Tim Etchells, British director, the curator of this year in Poznan Malta, talking Roman Pawlowski.

Roman Pawlowski: In "Tomorrow's Parties" that you will show at Malta, the two actors tells the audience, as according to them the future look like that will be used to politics, democracy, food, sex and religion. They do not say only one, what will be the theater of the future.

Tim Etchells: come to mind two modes of action. On the one hand, small but very intense performances, for a small audience and non-theatrical places, the other - broadcast live on the Internet and in social media theater. This first model gives you close contact with the actors, the other responds to new developments in culture and economics. Capitalism loses interest in objects, focuses on events. The product is no longer material thing, but an event that can be played back as a spectacle. Life becomes more and more theatrical way in which people use things became more important than the things themselves. This will affect the theater.

Is Theatre able to resist the ideology of the market, where everything is just a product?

- It has the potential for resistance, not least because it is difficult to copy it and sell it. Still based on the presence of the actor, live.

But capital quickly learns the avant-garde. Corporations already sell things that really do not exist. They operate only for a short time, when the user runs them.

As movies in streaming?

- Or, membership in a club. Theatre is still a space of resistance, but it is not safe. His territory will be taken over by commercial phenomenon.

Your performances are also products purchased by festivals and curators. How do you feel as a part of the market?

- In economic terms, what we do, it does not make sense. Maintaining the 30 years team consisting of five actors, the director and some of the administration's absurd. We have to negotiate with politicians, and in order to survive, you have to be part of a program of cultural policy. If you do not do, you're out. We give advice.

Kate Valk from the Wooster Group wrote that your performances can not be bought for money, but for the time. Their length is legendary, some last for 24 hours as "Who Can Sing a Song is Unfrighten Me?" based on the children's games. In the "Quizoola" actors for six hours are asking each other questions. Who watches the hour performances?

- The presentation refers to the ritual and performative practices of the pre-capitalist era, when there was no need to take into account such things as time and organization of the working day. They require a completely different kind of perception and a different organization of time. We play them at festivals. At the beginning it was hard, the audience was not prepared. Today is easier, because such things do many artists.

I saw years ago in Munich "And on the thousandth Night" - a performance involving improvised fairy story all night. It was an experience, people went out and came back, slept in the audience, woke up, ate, and you never stop playing.

- When you are on the scene 24 hours, you lose control over what you do, but for this you achieve extraordinary freedom of association. When we started doing these long presentation, we were less interested in controlling what happens on stage, and more and more space event and error - that which it arose, it was fascinating.

The actor can u tell us a personal story or present a true opinion about something, it can also invent everything. The point is that both versions will be equally likely. To know someone is not satisfied with what the person says about himself, his experiences and thoughts. Mostly it's boring. The man also consists of fantasy and imaginary things. Much can be learned from someone his lies.

"Nigdy nie zasypiaj! Czyli co na festiwalu Malta po "Golgota Picnic""
Roman Pawłowski
Gazeta Wyborcza online