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Posts tagged ‘E.I.O’

Bir Saate Sıkıştırılmış Hayat Dersleri

Rumeysa Kiger

Biletsiz kalabalık mekanın kapısında merakla neler olacağını beklerken, masanın üzerine koyulan biri düğme dolu, diğeri boş iki kavanoz eşliğinde ilk açıklamalar geliyor:

–       Boş kavanoza istediğiniz miktarda para koyarak kendinize bir kokart alabilir ve

–       Düğme kavanozundan istediğiniz sayıda düğme seçebilirsiniz.

“Bu düğmeler ne işe yarayacak? Sahneye çıkıp işin bir parçası haline gelmek istemiyorum, böyle bir ihtimal var mı?” sorusuna anında küstah bir cevap geliyor performansçıların birinden:

–       İşin bir parçası haline gelmeden yaşaman mümkün değil. Read more

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EIONOMETRY

Özge Derman

Bu yıl 5.si düzenlenen İdans Uluslar arası Çağdaş Dans Festivali’nin 17 Ekim Pazartesi günkü konuğu geçen senenin Prix Jardin d’Europe ödülünün sahibi olan E.I.O Topluluğu idi. MSGSÜ Bomonti Kampüsü Şebnem Selışık Aksan Sahnesi’nde “sergilenen” projelerinde topluluk alternatif bir değer sistemi yaratma çabası içinde yeni bir bilinç oluşumunu amaçlamışlar. Read more

Eionometry: Muğlâk Bir Deneyim

Ekin Tokel

Önceki sene iDANS kapsamında Prix Jardin d’Europe ödülünü alan E.İ.O. topluluğu, 5. idans’a 17 Ekim’de Eionometry’yle dahil oldu da ne oldu? Malum akşamdan ne seyredildiğine değil de ne yaşandığına dair çoğu soru işaretleriyle biten cümleler kaldı geriye, ha, bir de çoğunun cümleleri eksiltili ünlem işaretleri. Peki, daha işin adıyla başlayan bu muğlâklar denizinde, tutunacak birkaç soru işareti bulup, bir “nokta”ya varmak mümkün müydü? Read more

European Dance Prize for Young Choreographers awarded within iDANS Festival

The “Prix Jardin d’Europe” goes in 2010 to a performance that questions the contemporary value of art

On October 31st, iDANS Festival hosted on its closing evening the awarding of the European Dance Prize for Young Choreographers. The “Prix Jardin d’Europe” is the main project of the “Jardin d’Europe”, a network supported by the Culture Programme of the European Commission, developed by its 10 European partners.

In 2010, the jury consisted of the emerging dance critics and journalists, participants to the 3rd edition of Critical Endeavour, which is an educational writing workshop programme within Jardin d’Europe: Eylül Akıncı (TR), Bükki Nóra Ildikó (HU), Iulia Popovici (RO), Julie Rodeyns (BE), Lisa Caroline Smith (UK), Theresa Steininger (AT), Josefine Wikström (SE), Maxime Fleuriot (FR), Martina Rösler (AT) ,and Dean Damjanovski (MK).

After the deliberations of the ten members of the jury, the “Prix Jardin d’Europe” is awarded to the performance E.I.O. by Maria Baroncea, Eduard Gabia & Dragana Bulut. The value of the award is 10.000 euro in concepts of production funding for a new creation.

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It’s off to work we go

Lise Smith

Bearing in mind perhaps William Morris’s notion that “nothing useless can be truly beautiful”, with E.I.O Maria Baroncea, Eduard Gabia and Dragana Bulut have set out to create something practical and with purpose. Half of the audience become participants in the piece by “working” for an hour using objects on the stage; the workers here control not only the means but the mode of production.

On the stage are rolls of fabric, plastic, string and wire, planks of wood, ladders, tables covered with tools and materials. The workers shuffle in, looking a bit bewildered, and each picks up an object to start “work” with. Participants chalk circles on the floor, build structures out of planks and chairs, wind and unwind string, measure out the surfaces. The watching audience have been asked to choose “the best worker” to pay after the event, so the process of labour demands our attention.

Sometimes the actions of one worker defeat the efforts of another. A tall bespectacled gentleman carefully erases from the floor the chalk circles carefully placed there by a woman ten minutes earlier. One worker builds a rather attractive model animal out of bendy rollers; another deconstructs the model and places the rollers rather more prosaically in her hair. Several workers hang out a string of inflated balloons on a line of string; later somebody else pops them one by one.

As the piece progresses, sculptures form all over the space – a pyramid of planks downstage left, a tent upstage and a towering monument built of chairs and ladders at the back. Every available surface is wrapped in string and plastic. The working environment is transformed by some silently agreed process of collectivebricolage.

Towards the end, it’s apparent that many workers have run out of ideas and some look obviously bored. The pace of work slows and those still active tend to add aimlessly to what already exists –another flower or feather atop structures that were built earlier. The workers lack purpose and the work lacks a defined use – and I think maybe Morris was right about uselessness.