Saturday, 28 February 2015
Echoes – Petra Tejnorová: Making of Nevina by Zsuzsanna Komjáthy
The probabilities of distribution
There is a heuristic argument expounded by the physicist Werner Heisenberg, that there are theoretical limits, which make it impossible to know certain physical entities for sure. According to his proposition, namely the uncertainty principle (which is – just to note it – far too complicated to be perfectly understood by a dance critic) it may never be possible to observe any exact phenomenon in the empirical world, because of its immanent natural attributes. At the moment we want to embrace it, it is already transformed into something else, or to be more precise: due to a necessary excursion, we can only deal with the probabilities of its distribution.
The case is very similar when it comes to talk about Sgt. Tejnorová & the Commando’s current project, a unique adaption of the contemporary German playwright Dea Loher’s (whose plays are often inspired, among others, by Heisenberg’s argument) drama of the same title. Since when we talk about NEVINA/INNOCENCE, we talk about live cinema: about an amorphous, experimental art form that rejects definitive, concluded solutions and multiplies the formal possibilities of the ordination. But how could we talk about its substance then?
In my point of view, live cinema must behave similar to live painting (action painting) or live montage. It could be a real-time production, which is prepared directly in front of the spectators (or maybe altogether with the spectators). I assume that live cinema performances could tell us something about the medium itself – which can never be embraced –, and reveal the natural impulses that are pounding in the deep core of its ontology – which can never be defined.
Unfortunately, this time we got to see only a short work movie about the whole project, so we can only guess some questions, which could have arisen during the making of the documentary. Definitely one of the most exciting queries could be related to the issue of the hegemony of representation. Is it possible to break it with the tools of live cinema? What is the role of the performers’ presence in this challenge? What is the role of the gaze of the spectator and the role of the projected motion pictures in it? Does it make a sense to talk about absence in this context? If it does (and it sure does), how is it sewn into the narrative reality of the movie by the lenses of the three cameras and how is it written back to the virtual presence of the stage?
These questions are as exciting, as actual and as complex as the significance of the current moment, the meanings of the space of the live cinema performance and the materialization of the ’open work’ as a ’work in movement’ or ’work in mobility’. We could talk about them for hours, but they would still remain elusive and probable. We may never learn the exact answers.
Zsuzsanna Komjáthy – KÖM by L1 Association