direction / concept: Hiroko Tanahashi, Max Schumacher
Media art: Hiroko Tanahashi, Yoann Trellu
Sound art: Sibin Vassilev
Programming: Yoann Trellu
Project assistant: Esther Schelander
Production management: Mario Stumpfe (artkrise)
Premiere of the mass-performance: g120 yearsh Festival,
November 10th, 2007
Choreographer: Daniel Kok.
Premiere of the German mass-performance: Magazin der
Berlin (State Opera Berlin)
October 30th, 2008
Co- choreographers: Gudrun Herrbold, Bettina Holzhausen, Matthieu
Burner, Martin Clausen, Christoph Winkler, Siegmar Zacharias
Premiere of the express version: gTanznacht
Berlinh, Uferhallen Berlin
4. Dezember 2008
by: National Museum Singapore, Hauptstadtkultufonds
Berlin, State Opera Berlin, Tanznacht Berlin
post theater has created
manual to conduct a performance titled gFight Club: A Chorush.
post theater commissions local artists around the world to implement
this manual and create the performance that is described / prescribed
in this manual. The concept of the gmass-performanceh prescribes
48 performers on stage out of which 42 are professionals of non-artistic
professions (ideally gcubicle workersh) and 6 are professionals
in the performing arts (directors / choreographers).
The goal of the performance is to connect artists with non-artists
and create a process that destabilizes mutual stereotypes as well
as the perception of the own workplace. There is no fighting involved.
The novel / movie gFight Clubh (by Chuck Palahniuk / David Fincher)
is not important for the project - the sourcefs idea of forming
a subversive group is.
The performance premiered in Singapore under the
artistic direction of Daniel Kok at the National Museum of Singapore
The Berlin version in October 2008 (funded the
Hauptstadtkulturfonds and co-produced by the State Opera Berlin)
involved he non-artistic staff of the State Opera Berlin. In this
case, post theater followed its own instructions.
In December 2008 post theater premiered an gexpress-versionh of
the piece in which groups of 15 audience members transformed into
performers. They performed in front of themselves as their own audience.
This version had been commissioned by the Tanznacht Berlin Festival
and succeeded with 40 sold out performances at the festival. More
than 500 visitors found themselves as unexpected gvoluntaryh performers
in this project.
The technical principle behind both, the gmass-performanceh
and the gexpress performanceh is the same. A
programmed (with the software MAX MSP) vertical video projection
(floor projection) guides the participants (rehearsed, when gmass-performanceh,
instantly in the gexpress-versionh) in a pre-programmed choreography.
Additional texts and sounds are prompted via speakers. All is filmed
from a vertical camera and projected live to a screen. Media art
provides orientation, serves as the only lighting source and creates
a virtual space.
gFight Club: A Chorush challenges the question of identity on
two levels. First, as provided by the participantsf professional
lives, second, as created by the theatrical situation. The gmass-performanceh
transforms people who are usually not on stage to performers for
an audience | the gexpress-performanceh does transforms the audience
directly into performers. This switch of roles and the urge to find
alternatives to the every-day life in the consumer society are the
core of the source of inspiration gFight Club".
Press response in Singapore: gcchoreographer daniel k had succeeded in creating a show
that was teeming with angst. The movement and theatre piece was
an experiment in the rules and limits of theatre.h
(June Cheong in The Straits Times, November 13th, 2007)
Press response in Berlin: gcfresh short appearances!h
(Daniel Wixforth in Der Tagesspiegel, November 1st, 2008)
gThe evening convinces with its formal strictness that has
been prescribed by a manual in the rehearsal process. And the performancefs
dialectic of liberation and re-introduced standardization is much
more intelligent than the one-dimensional ideology of emancipation
that the old generation of famous theater directors still tries
to sell us as the newest hype.h
(Jan Brachmann in Berliner Zeitung, November 1st, 2008)