Daniel Gulko vierailee toukokuussa Helsingissä ja pitää 17.5. työpajan ja puheenvuoron sirkuksen dramaturgisesta ajattelusta. Vierailu on osa Sirkuksen tiedotuskeskuksen NuoraMentors & NuoraNORD -hankkeita sekä Cirko – Uuden sirkuksen keskuksen Taiteellisen Ajattelun Akatemia -hanketta.
Daniel Gulko: Serious Fun
Aika: Torstaina 17.5. klo 10–14
Paikka: Cirko, Solmu-sali (Kaasutehtaankatu 1, Helsinki)
Creation and Wonder*: There are moments to play and moments to question the play
There are tools for composing and tools for thinking about what we have made. There are arguments about what is Circus: Dramaturgy? Choreography? Because circus is not Theatre and not Danse but also is. There is pride and rage to defend our choices on the spectrum of perception and expectation.
This will be an ”Active Talk” to make your brain be a muscle, looking at concept and action, questioning established codes, defining our personal and collective vocabulary.
Learning when to question and when to shut up and just do the work. I need, we need a conversation about the ”how to work”. Where do we put our energy?
So this will also be an “Active conversation” to make your muscles talk to your gut instincts.
*Creation and wonder – Henri Matisse:
“You study, you learn, but you preserve your original naivety. It must inhabit you, like a drunkard’s desire to drink or like love in the lover.”
Dramaturgy – what is the difference between dramaturgy and choreography?
The relations between people, between people and objects, and between images and associations that create meaning – this is dramaturgy to me and my main interest. The relation to time and space and states of the body is choreography.
I treat circus as ritual, as fetishism, or obsession; I don’t wrap it up in disguises like the trapezist is a bird or the juggler is a tennis player. I am interested in the trials and tribulations that serve as a metaphor for our brief voyage glued to this speck of cosmic dust. There is a shamanistic death-defying act and transgression that fascinates and feeds me. I do think that circus has a very intimate relationship between the actor and the object – even if the object is the floor.
Theatre is sense and circus is sensation – these are almost antagonistic – so inviting them to sit at the same table is in itself a political engagement. The troupe constantly bickers over the dosing of meaning and spectacle. That struggle is for liveliness and life.
My vision :
I consider myself a poly-disciplinary artist – it has the meaning of abundant, full and spreading. I work in the interstice between circus, dance, theatre and ritual. I am ok wading in the mire of abundant possibilities. I work in strata (layers) – each of which has its independent lines of development. The game is in how to traverse the different strata.
There is no work – I don’t see work as separate from a creator to be isolated in time. Creation is a rite of invocation, a living process that evolves within the organism of the group & society. My own process evolves with me, as I move elsewhere in existence, and change, I must live with my contemporary understanding of this existence. I am looking for a meeting, so I need to meet myself, first, then reach out to other beings and forces around me, that manifest at that moment – who is here today? From that crystallising collision, there can be a meeting with the public. Is my working a work? Is it necessary? I have tried to defend pamphleteer art – vital, critical, popular – an art anchored in actuality, a living form connected to its time.
Lisätietoa Daniel Gulkosta Cahin–Cahán sivuilla.