Juan Miranda - Pathos
The family is our closest enveloping membrane. Its interiors and domestic architecture become a mirror for those who live in it. A speculative setting that accompanies and defines us even when far away from it.
Pathos is a six-hour performative installation in which the spectator is invited to circulate in and between two rooms that are simultaneously being operated. The conversation between these rooms, sustained by audiovisual as well as performative codes, produces a two fold experience that can impossibly be embraced in its totality, and therefore prompts questions around presence, absence, image flesh, bonds and family.
Pathos is an ephemeral celebration of traces under natural morning light and the course of time — an extremely carnal way of relating with emotions and the ghosts of beloved ones.
“My research is triggered by the pathos that lies behind images and how this can be embraced from the scene. What makes an image present? Through my work I look for an excessive and passionate performativity, one that leads the gesture to exhaustion.”
Juan Miranda’s work sits at the intersection between theatre, visual arts, and performance. He investigates the ephemeral body of emotions, images, and flesh, and the tension created between action, presence, and space.
After accomplishing his theatre studies in Buenos Aires, he obtained a (BA) in Stage Directing and Dramaturgy at the Institut del Teatre de Barcelona. He is currently undergoing his MA at DAS Theatre with the support of “La Caixa” Foundation Fellowship.
Miranda combines his artistic practice within educational frameworks exploring other forms of transmission and knowledge in the field of Performing Arts. Since 2009 he co-directs the company Chroma Teatre in Barcelona. Until 2018, he taught at Chroma Teatre Estudi, and he is Associate Professor of the ERAM Performing Arts Degree at the University of Gerona.
Collaborators: Paula Montecinos – María García Vera - Bruno Zaffora
Tutor: Marjorie Boston
External advisor: Laura Fobbio - Takeshi Ikeda
Mazlum Nergiz - DRIFT
DRIFT is a sensorial scenography of listening and writing. In a wave-like environment, a cosmos of cruising stories is being unfolded through words and live music.
A nameless narrator takes us on a lucid journey of wandering after smashing the architecture of control he constructed his life on. We follow him into ruins, abandoned buildings, night clubs — all spaces in which people meet to fuck, to look, to touch, to be with one another. Slowly but steadily, we are drawn into his inner depths and anonymous encounters revealing loneliness, self-hatred, and emotional homelessness.
How much risk can a life, a body, bear? To which extent are queer relationships damaged by forces of shame, erasion, repression, and invisibility? Why does intimacy so quickly turn into violence? Which bodies are rendered invisible? Do words move us and how do they do it? Can a space become a text? Can a story be told through a space? DRIFT is a vulnerable terrain that performs disappearance as an experience — a sonic body of stories on belonging and non-belonging, isolation and community, pain and lust, gardens and wastelands. An invitation to float.
Mazlum Nergiz is a writer, theatre maker and curator. His work sits at the intersection of performance, radio and theatre. He has a genuine interest in experiments that try to unlock new visual languages of transdisciplinary collaboration. In 2021, he won the Hans-Gratzer-Fellowship by Schauspielhaus Wien (Vienna, Austria) for his piece COMA. In May 2021, the walk-in video installation Ein faszinierender Plan will be opening this year’s Ruhrfestspiele Recklinghausen (Germany) which has been developed in collaboration with Marius Goldhorn, Enis Maci, Tanita Olbrich and Pascal Richmann. In June 2021, his piece 1000 Eyes will premiere under the direction of Juan Miranda at Théâtre 13 (Paris, France).
Scenography: Larissa Kramarek
Performance: Maria Kozłowska, Pía Laborde-Noguez
Music: Maria Kozłowska, Jan Tomza-Osiecki
Book, Illustrations: Leonie Ott, Christophe Armand
Light design: Grischa Runge
Objects: Oscar Olivo
Tutor: Lara Staal
External advisor: Zarah Bracht, Jasper Delbecke, Maaike Gouwenberg
Andrej Nosov - A Short History of Burgers and Other Things
A Short History of Burgers and Other Things is a play composed of stories about growing up in the period of the breakup of former Yugoslavia, at a time when my father was not there, my mother was lonely, and my loves were all hidden under the duvet. This is the story of a boy who just wanted to breathe, a story of grief that was a forbidden commodity, of violence and theatre. These are memories arranged from one perspective, as a guide for possible collective re-examinations of the past.
“I walked the streets, tried to eat, couldn’t eat, I was nauseous, I wanted to go home, just go home, go home as soon as I could. Nobody can see me, nobody can know I was there, nobody can ever find out about this. I can’t, what would I tell the man under the duvet, what would I tell anyone else, what will happen, what will happen.”
“I admit I live with guilt. I'm guilty. I am guilty of all the sins of my parents, of all their attempts to survive, of all their silences and accusations, of all my neighbours, friends, peers, those who were before and who are today. I'm guilty because they didn't know how, they knew, they couldn’t.”
Andrej Nosov is a theatre director and activist. In the last years he has directed plays, co-created performances, and curated programmes in collaboration with major Western Balkan theatres and art institutions. He runs Heartefact based in Belgrade, and is the Obama Leader Europe of the Obama Foundation. In his work he is dedicated to questions of transitional justice, social change and sadness. At this moment, he is curating the Belgrade Euro Pride Theater Festival as well as the NEW drama platform.
Collaborators: Simon Versnel (actor), Una Jankov (set and video design), Djordje Kosić (dramaturgy), Irena Popović (music), Selena Orb (costume)
Tutor: Edit Kaldor
External advisor: Geraldjan Rijnders