The title is inspired by a term of the Greek tragedy and refers to an unexpected power that intervenes and saves a seemingly hopeless situation. Belfiore uses this notion to explore a poetic that can induce an experience of unimaginable changes. D3US/x\M4CHIN4 brings the notions of vulnerability, energy and motion to live through Gods and machines. The limits of theatricality stretch, plastic faces melt, different sources of sounds form a chorus and a supernatural battle becomes a starting point for a choreography that balances between the epic, science fiction and a ritual. As the machinery is set in motion, the stage becomes a place for the unknown and the reconfiguration of our imagination.
the problem is not how to reduce mind to neuronal “material” processes (to replace the language of mind by the language of brain processes, to translate the first one into the second one), but, rather, to grasp how mind can emerge only through being embedded in the network of social relations and material supplements. In other words, the true problem is not “How, if at all, could machines IMITATE the human mind?,” but, “How does the very identity of human mind rely on external mechanical supplements? How does it incorporate machines? Organs Without Bodies – Slavoj Zizeck – Go to Trailer>>>>>
The performance will premiere on 30th September 2016. During Moving Futures Festival 2015, it will be shown a short version from November 2015 till February 2016. It is produced by Dansmakers Amsterdam with co-production of Work Space Brussels and supported by ICK Amsterdam, Young ArtFund Amsterdam, Dansgroep Amsterdam and Amsterdams Fonds voor de Kunst. D3US/X\M4CHIN4 performed at 2018 Ballet OFF Festival – Nowohuckie Centrum Kultury – Krakow (PO) 2017 Frascati – Amsterdam (NL) 2017 Frascati – Amsterdam (NL) 2017 Flam Frascati – Amsterdam (NL) 2017 Flora Theater Festival – Olomouc (CZ) 2017 Flora Theater Festival – Olomouc (CZ) 2016 DansmakersPodium (NL) 2016 Forum of Live Arts VI, Arti Gallery, Amsterdam (NL) 2016 Working Title Platform#4 – WSB (BE) 2015 Moving Futures Festival Amsterdam (NL) 2015 Theater aan de Rijn, Moving Futures Festival, Arnhem (NL) 2015 Theater Kikker, Utrecht (NL) 2015 Schouwburg de Lawei, Drachten (NL) 2015 LUX Theater, Nijmegen (NL) 2015 WorkSpaceBrussels – Showing Studio ROSAS (BE)
Choreography and Direction Fernando Belfiore _ Creation and Performance Luna Eggers Matz, Rozemarijn de Neve, Maria Metsalu and Jija Sohn _ Research, Creation and performance _ Goran Kusic _Dramaturgy Mirijana Smolic _ Light Wijnand Van der Horst _ Set Nikola Knežević _Sound Sne Martin Snider _Costume Luna Eggers Matz and Jeroen Zellenrath Research Process Eva Susova, Tomislav Feller, Jordan Iffenildo _ Outside Eye Riccardo Guratti, Renee Copraij and Vincent Riebeek _ Artistic Coach Suzy Blok _ Production Sanne Wichman| Dansmakers Amsterdam _ PR Lisette Brouwer, Lisa Reinheimer | Dansmakers Amsterdam with co-production of WorkSpaceBrussels and supported by ICK Amsterdam, Young ArtFund Amsterdam, Dansgroep Amsterdam and Amsterdams Fonds voor de Kunst.
Photo Bellow PaulMcGee
Dansmakers Podium – November – Alwin Poiana
Dionysus, also named the Black Sun, is the balance point of the Sun. It represents the unconscious part, the black hole, the area not yet awakened to Knowledge. It is seldom used and often contested… probably quite rightly. Its yearly motion is only of 1 degree and 52 minutes. Therefore, it is collective by nature. At the end of 2003, it was located at 13° Cancer. The place where it is posited in the natal chart indicates the field in which the individual significantly meets with communities.
Dansmakers Podium – Photo by Alwin Poiana
Alain Badiou: ‘People cling onto identities… it is a world opposed to the encounter’
I dream of a world where encounters are less coded by the social, professional, cultural and linguistic universes.
(…) the encounter is widening, because of our means of transport and communication. On the other hand, as always, this enlargement comes at the cost of a ‘loss of intensity’. Encounters are so easy and numerous that the intensity of the change that we could accept as a result is no longer the same as it once was. We introduce a set of precautions: I will take someone sufficiently similar to me that I can hope to go along with this person while myself remaining exactly the same. This is a tendency of the contemporary world, to introduce a false variety within a vast sameness. Improbability distinguishes it from an ordinary experience. When the encounter happens to you, when you have the very strong feeling that it is happening to you, there is a phenomenon of attraction or repulsion – sometimes the two are mixed – toward what has disturbed the rhythm of your existence. Experience, for its part, can perfectly well fit within your work or family activities, whereas the encounter is a beginning. But the beginning of what? It is at the point of acceptance: accepting or refusing what is happening to you. To take the example of an amorous encounter, the whole problem lies in knowing whether to declare it or not. People speak of a declaration of love. The encounter has to be declared, that is, accepted.
Working Title Situation#4 WSB, 2016 Brussels – Paul McGee Photography
“when they don’t know what to say
and have completely given up on the play
just like a finger they lift the machine
and the spectators are satisfied.” Antiphanes
Forum of Live Arts Amsterdam VI – Photo by Tomas Lenden Photography
Jeff Koons, New Hoover Celebrity IV, New Hoover Convertible, New Shelton 5 Gallon Wet/Dry, New Shelton 10 Gallon Wet/Dry Doubledecker (1981-86)
four vacuum cleaners, acrylic, fluorescent lights
99 x 53 1/2 x 28 inches
251.5 x 135.9 x 71.1 cm
© Jeff Koons
1981-1986
In The Threepenny Opera (1931), Bertolt Brecht uses a machina to emphasize the discomforting artificiality of fictive resolution. The idea—that a deus ex machina can be subversive, undercutting generic conventions and challenging cultural assumptions—is also applicable to a great deal of Chartist and working-class fiction. From Chartist stories in the 1840s to Robert Tressell’s The Ragged Trousered Philanthropists (1914), melodramatic aspects of plotting often include deus ex machina devices. Ian Haywood has argued that melodrama is implicitly democratic, and that in “the light of this… understanding, it would be wrong to judge melodrama as an early form of debased mass culture providing mythical resolutions to historical conflicts” (“Editor’s Introduction,” Woman’s xx). In much melodrama and working-class fiction, the deus ex machina constitutes a highly interesting “ideologeme,” to use Fredric Jameson’s term for “the smallest intelligible unit of the essentially antagonistic collective discourses of social classes” Rob Breton
Photos bellow by Robert Siwek
Photos Bellow By Andrzej janikowski
Photos Bellow by K Machniewicz
