SLAG – Når hjernen bløder
Etudes is the eleventh reconstruction of works from the Danish Culture Canon for the Performing Arts by Zarathustra’s Uncle.
Etudes is created by Harald Lander in 1948 with music by Knudaage Riisager based on Carl Czerny’s Etudes.
Etudes was performed May 22, 2010 at Zene+, Viften in Rødovre, Denmark
and January 28, 2012 at Showcase Beat Le Mot: Residenz Evil in Marstall, München
Dancer: Henrik Vestergaard Friis.
Video: Helle Lyshøj.
Choreography: Hilary Briggs, Henriette Thorslund and Harald Lander.
Music: Carl Czerny, Karlheinz Stockhausen, Knudaage Riisager and DJ radio.
Read more at zonkel.com
The wish has always existed – the hope for a new human being. We have always been captivated by the dream of removing all of the mediocrity, idiocy, meaninglessness, the foibles and flaws from the otherwise pristine spiral of DNA. From Plato to transhumanism. But how will the new human being look? Will it be taller, stronger, and more beautiful than us? Will it be free from all our hopes and dreams of self realization, our self-satisfaction and hate?
… in dialogue with the four walls, where the appearance of screens and canvases draw the axes of the cross in the space. One axis is drawn by two smaller screens on which Marx and Socrates appear … on the other axis, we find two large screens … where the hooded young man appears and interrupt the dialogue of the philosophers in a perfect timing …with which depicting references to both Zarathustra, Messiah and the Finnish school mass murderer are pressing in a loud beautiful music video …
A small video camera is used for transmissions in close-up view of the acting body: a blood sample needle, piercing into the white skin of the arm: a transmission from the singing uvula or a close-up view of his eye … a face in protoplasmic transformation (a transformation, realized virtually in a video projection in which the nameless face dissolves into a large number of others: Andy Warhol’s, Willem Dafoe’s, Karen Blixen’s, Mahatma Ghandi’s, bin Laden’s, Thomas Skade-Rasmussen Strøbech’s …)
Lilian Munk Rösing, Information (a Danish Newspaper) January 2009
The Post-Human premiered January 21, 2009 at Teater Camp X Aveny in Copenhagen.
cast:The nameless from Das Beckwerk
text and direction: Das Beckwerk
music: Bjørn Svin, Henrik Sundh and Das Beckwerk
video: Helle Lyshøj
MasterCopy will be the ultimate unoriginal performance.
Everything in the show will be stolen, copied, sampled, quoted, recollected, reused, you name it, but it will be like a sparkling fresh new copy.
Erik Pold and his team are certainly a bunch of real, genuine originals.
Daniel Norback is glorious in the double role as Ingrid Bergman and Humphrey Bogart in “Casablanca” and Merete Byrial is wonderful as both bespectacled Woody Allen and young blond Mariel Hemingway in “Manhattan”.
A performance that is both intelligent and humorous focuses on the concepts of original and unoriginal.
* * * * Vibeke Wern, Berlingske Tidende (Danish newspaper)
MasterCopy investigates what happens when you start copying on all levels of a theatre production. Three performers, an architect, a writer, a video artist, a composer and a designer explore different ways of copying, re-enacting, sampling and re-staging.
The idea is to avoid originality and authenticity: everything has been done or said before.
It is a mixed media-performance, and the use of video, live electronic sound and music is a vital part of the performance.
MasterCopy rejects the idea that art is only art when you can call it original – it debates the perception of the artist as being original and unique, and rather sees the artist as someone who sample culture, reconstruct, deconstructs, and in that way builds upon culture and the streams of information that runs through contemporary society.
It investigates some of the more recent devices within both visual art and performance: Re-enactment and Post Production.
But not without irony: the project is in some respect impossible: live performance is by nature never able to be a complete copy of something else, but we work hard to make it happen.
I can´t think of anything to say, so just give me the words, and I will repeat them.
MasterCopy premiered August 26, 2008 at Plex Musikteater, Copenhagen
The artists involved in MasterCopy are
Director and choreographer: Erik Pold
Performers: Merete Byrial, Daniel Norback, Jeremy Wade.
Video artist: Helle Lyshøj
Composer: Pelle Skovmand
Set designer: Rebecca Arthy
Writer: Majse Aymo-Boot
Designer: Rasmus Nordqvist
MasterCopy was supported financially by Kunstrådets Scenekunstudvalg (The Danish Artscouncil), Statens Kunstfond, Københavns Scenekunstudvalg, Wilhelm Hansen Fonden, Nordea Danmark-fonden, BG Fonden og Statens Værksteder for Kunst og Håndværk.
Doubt is the modern man’s most faithful companion. But now everyone can get rid of even the most existential doubt in life – NV ® (New Value) is the answer to all your prayers.
Too long the art has felt as its primary function is to ask questions, problematize and provoke. But now, five artists say no! They will give answers instead. They believe that modern man needs clear guidelines and an ethical reference point in their lives. Someone needs to stand up and say: “We have the answers.” With ‘New Value ®’ they have created a set of values that everyone can enjoy. Consistency force for us as people and nation.
The art of seduction
New Value is clever, funny and much-needed satire … The video artist Helle Lyshøj is the woman in NV in charge of presentation technique and she shows the idealistic, staged lifestyle of the NV-people in video clips already at the entrance, and later she shows us the worldwide network of New Value.
Vibeke Wern, Berlingske Tidende (a Danish newspaper) 2006
It’s stand-up dance with catchy tunes and live video. It is mysterious ritual moods. The workshops, which expands the audience’s spiritual experience. Yes, there is even a wheel of fortune with unique NV-prizes that really gives the audience something to take home with them. In a satire on the values and power to posess them.
The performance is staged as an opening event for the first NV-shop in Denmark. Anyone with an open purse and mind can buy accessories here for their new, more valuable life.
Det starter i foyeren mens publikum bliver iscenesat i en katastrofe situation: teatret er sprængt i luften, og svensk tv er på vej op af trapperne.
En forestillingen der aldrig begynder men hele tiden slutter. THE END er en forestilling som på humoristisk vis og i højt tempo sætter fokus på det uundgåelige, uforståelige og dybt frustrerende element i vores eksistens: at alting har en slutning.
THE END bruger forskellige medier, omfatter slutscenen af Hamlet, og henter sin inspiration fra katastrofefilm.
Skøn katastrofehjælp til dansk teater
Teatret er dødt. Den Anden Opera er sprængt i luften. Svensk TV trænger ind i de røgfyldte lokaler for at sende de chokerende billeder direkte ud til seerne … Forvirret? Så vent bare til “behind the scenes” optagelserne af prøverne til Hamlet. Gensynet med Requiem … Katastrofe på katastrofe udspiller sig for os. På scenen. På storskærmen. I foyeren. I tankerne.
Marianne Skovlund Christensen, Teatermagasinet 2006
premiere: May 18, 2006 at Den Anden Opera in Copenhagen
instruktør: Erik Pold
video: Helle Lyshøj
musik: Pelle Skovmand
scenografi: Rebecca Arthy
performere: Maria Rich, Daniel Norback, Pernille Koch og Vidar Hansen
produceret af: LiminalDK
Balladen om Kasper Rosenröd / The Ballad of Kasper Red as a Rose
– an opera by Ulf Bjorlin/Peter Weiss
For young adults and adults.
A horrible and bloody history about a family who one night gets an uninvited guest – the robber Kasper Red as a Rose. What happens in a family when the evil ascends in through the door? ‘The ballad about Kasper Red as a Rose’ offers through ferocity, lucidity and humour an intelligent narrative of the time of the knive. RITSCH, RATSCH!
The video used in the opera was a collage of pictures of violent short films and TV spots similar to an average Saturday TV program, a short sequence of a man in a car on his way abroad bringing the act on stage out into the surrounding world, and a longer sequence of dance and pantomime with a knife and knife threat as a theme. The young boy on stage had a live-feed video camera and the story was seem though his eyes and projected for the audience on a big screen on stage. The live-feed was mixed with the pre-recorded sequences.
director: Ina-Miriam Rosenbaum
conductor: Per-Otto Johansson
choreography: Ann Crosset
video design: Helle Lyshøj
orchestration: Jonas Forssell
ensemble: Thomas Chaanhing
Cedric Borglund Janson/Solstice Martin
The Malmö Opera Orchestra
Producered by: Operaverkstan