Marcus Doverud, Joe Kelleher,
Bojana Kunst, Danae Theodoridou

Why I Write
- a seminar in Ulvik on writing, dramaturgy and work


15. - 18. september 2016
Olav H. Hauge-senteret
Ulvik, Hardanger

Seminar på Olav H. Hauge-senteret i Ulvik med et program med forelesninger, samtaler, lesegrupper, fjelltur og fellesmåltider.

Påmelding: marie[at]v-o-l-t.no
Begrensede plasser.

Eg les og les, eg lever i bøkene og av bøkene; utan bøker kom eg til å ganga nord og ned.
Olav H. Hauge Dagbok Band I, 1927

Tittelen på seminaret er hentet fra tittelen på en tale av Joan Didion. Hun hadde stjålet den fra tittelen på en tekst av George Orwell. Hun skriver: "I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear."

Dikteren Olav H. Hauge (1908-1994) ble født i Ulvik i Hardanger, på gården Hakestad der han ble boende hele livet. Han arbeidet som bonde og gartner på sin egen frukthage. Han lærte selv flere språk, var internasjonalt orientert og gjendiktet blant andre Stéphane Mallarmé, Arthur Rimbaud, Friedrich Hölderlin, Paul Celan og Bertolt Brecht til norsk. Han skrev dikt, aforismer og brev i tillegg til en omfattende nesten fire tusen siders dagbok, Dagbok 1924-1994, som ble funnet og utgitt posthumt. Den inneholder refleksjoner om arbeid og liv: om litteraturen han leste, om det ofte tunge arbeidet på gården, kampen med det skapende arbeidet og det å finne tid til det.

Bojana Kunst skriver i sin seneste bok Artist at Work - Proximity of Art and Capitalism (Zero Books, 2015) om de økonomiske og sosiale vilkårene for kunstnerens arbeid. Hun skriver om hvordan kunstneren ofte gjør mer og mer for mindre og mindre og risikerer gjennom det å tære vekk både egen praksis og egen kropp. Hun skriver om betydningen av at kunstneren velger å gjøre mindre, nettopp når en blir konfrontert med kravet om å stadig gjøre mer.

I det ligger en potensiell forsvarstrategi for kunsten: ”Doing less could also be understood as a new radical gesture that opens up speculation about the value of artistic life and rather than working towards perfection of work, starts working autunomously for life itself. It is therefore an important aesthetic and ethical attitude for the artist as worker.”

Om de som er med:


Marcus Doverud
arbeider som danser og koreograf. Han er utdannet fra Teaterhögskolan i Stockholms mimeprogram og har studert estetikk og filosofi på Södertörns högskola. Det kroppslige, romlige og bruk av lyd undersøkes i Doveruds arbeid. Forestilllingen renaissance prenaissance (2015) kretset rundt sampling og koreografisk iscenesettelse av musikk. Han har laget flere soloforestillinger i Sverige og har et langvarig samarbeid blant annet med billedkunstneren Liv Strand som har resultert i en rekke performance- og bokprosjekter.

Joe Kelleher er professor i teater og performance ved University of Roehampton,
London. Hans bøker er The Illuminated Theatre: Studies on the Suffering of Images (Routledge 2015) og Theatre & Politics (Palgrave Macmillan 2009). Han er medforfatter med Claudia og Romeo Castellucci, Chiara Giudi og Nicholas Ridout av The Theatre of Societas Raffaello Sanzio (Routledge 2007). Nylige essays er publisert i Stedelijk Studies (2016), og Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage, red. Carl Lavery og Clare Finburgh (2015). Han har laget forestillinger med Eirini Kartsaki, senest How to Be a Fig (2014).

Bojana Kunst er filosof og dramaturg. Hun er professor ved the Institute for Applied Theater Studies ved Justus Liebig University Giessen, hvor hun leder det internasjonale masterprogrammet Choreography and Performance. Hun er medlem av redaksjonsrådene i Maska Magazine, Amfiteater og Performance Research. Hun har publisert artikler i en lang rekke tidskrifter og bokutgivelser og har undervist og forelest ved flere universitet i Europa. Hun har gitt ut flere publikasjoner, blant annet Impossible Body (Ljubljana, 1999) og Dangerous Connections: Body, Philosophy and Relation to the Artificial (Ljubljana, 2004), Processes of Work and Collaboration in Contemporary Performance (Ur)., Amfiteater, Maska, Ljubljana, 2006, Performance and Labour, Performance Research 18.1. (medredaktør Gabriele Klein), Artist at Work, Zero Books, London, 2015.
kunstbody.wordpress.com

Danae Theodoridou er en gresk performance-skaper og forsker basert i Brussel. Hennes seneste kunstprosjekter handler om forestillingen om sosiale fantasier, blant annet One Small Step for a Man: Hello, Goodbye (2015), Earth in 100 Years (2016) og Something Dreamy (2016). Hun er medskaper av det treårige forskningsprosjektet Dramaturgy at Work og medforfatter av den kommende publikasjonen The Practice of Dramaturgy - Working on Actions in Performance (Valiz, 2016). Hun har en praksis-basert PhD i dramaturgi fra Roehampton University i London og underviser ved ulike universitet og teater- og danseakademier. Hennes tekster er publisert i en rekke tidskrift og magasiner internasjonalt.
www.danaetheodoridou.com

Kilde:
"Why I write" av Joan Didion. New York Times Book Review, 5 December 1976.

Samarbeidspartner for seminaret er Olav H. Hauge-senteret.
Seminaret er støttet av Norsk kulturråd.
Volt er støttet av Bergen kommune – Seksjon for kunst og kultur og Norsk kulturråd -Rom for kunst.


Why I Write - a seminar in Ulvik on writing, dramaturgy and work

With Marcus Doverud, Joe Kelleher, Bojana Kunst, Danae Theodoridou

15. - 18. September 2016
Olav H. Hauge Centre
Ulvik, Hardanger

Seminar at the Olav H. Hauge Centre in Ulvik with a program of conversations, lectures, working sessions, readings, discussions, shared meals and a walk in the mountains.

Sign up: marie[at]v-o-l-t.no
Limited space available.

I read and read and live in books and live off them, without them I’d go to pieces.
Olav H. Hauge Dagbok Band I, 1927

The title of the seminar is taken from the title of a talk by Joan Didion. She had stolen it from the title of a text by George Orwell. She writes: "I write entirely to find out what I’m thinking, what I’m looking at, what I see and what it means. What I want and what I fear."

The poet Olav H. Hauge (1908-1994) was born in Ulvik in Hardanger, on the farm Hakestad where he lived all his life. He worked as a farmer and gardener on his own orchard. He taught himself several languages, was internationally oriented and translated among others Stéphane Mallarmé, Arthur Rimbaud, Friedrich Hölderlin, Paul Celan and Bertolt Brecht to Norwegian. He wrote poems, aphorisms and letters as well as an extensive nearly four thousand-page diary, Dagbok 1924-1994, which was found and published posthumously. It contains reflections on work and life: the literature he read, on the often hard labour at the farm, the struggle with writing and finding time for it.

Bojana Kunst writes in her latest book Artist at Work - Proximity of Art and Capitalism (Zero Books, 2015) about the economic and social conditions of the artist's work. She writes about how the artists often do more and more for less and less and risk through it to corrode both their own practices and bodies. She writes about the significance of the artist to do less, when confronted with the demand to do more.

As a disobedient line of argument in the defence of art: ”Doing less could also be understood as a new radical gesture that opens up speculation about the value of artistic life and rather than working towards perfection of work, starts working autunomously for life itself. It is therefore an important aesthetic and ethical attitude for the artist as worker.”

BIOs:

Marcus Doverud is working as a dancer, choreographer and teacher. He graduated from the Stockholm Academy of Dramatic Arts and studied aesthetics and philosophy at Södertörn University College. His work move between different stages dealing with bodily, spatial and sonic utterances and their interrelations. The performance renaissance prenaissance (2015) revolved around sampling and choreographic staging of music. He has made several solo performances in Sweden and has a longterm collaboration with among others artist Liv Strand which has resulted in a number of performances and book projects.

Joe Kelleher is Professor of Theatre and Performance at University of Roehampton,
London. His books include The Illuminated Theatre: Studies on the Suffering of Images (Routledge 2015) and Theatre & Politics (Palgrave Macmillan 2009). He is co-author with Claudia and Romeo Castellucci, Chiara Giudi and Nicholas Ridout of The Theatre of Societas Raffaello Sanzio (Routledge 2007). Recent essays appear in Stedelijk Studies (2016), and Rethinking the Theatre of the Absurd: Ecology, the Environment and the Greening of the Modern Stage, ed. Carl Lavery and Clare Finburgh (2015). He has been making performances with Eirini Kartsaki, including most recently How to Be a Fig (2014).

Bojana Kunst is a philosopher, dramaturg and performance theoretician. She is a professor at the Institute for Applied Theater Studies in Justus Liebig University Giessen, where she is leading an international master program Choreography and Performance. She is a member of the editorial board of Maska Magazine, Amfiteater and Performance Research. Her essays have appeared in numerous journals and publications and she has thought and lectured extensively at the various universities in Europe. She published several publications, among them Impossible Body (Ljubljana, 1999) and Dangerous Connections: Body, Philosophy and Relation to the Artificial (Ljubljana, 2004), Processes of Work and Collaboration in Contemporary Performance (Ur)., Amfiteater, Maska, Ljubljana, 2006, Performance and Labour, Performance Research 18.1. (ed. with Gabriele Klein), Artist at Work, Zero Books, London, 2015.
kunstbody.wordpress.com

Danae Theodoridou is a Greek born performance maker and researcher based in Brussels. Her latest artistic work focuses on the notion of social imaginaries. In this frame she created One Small Step for a Man: Hello, Goodbye (2015), Earth in 100 Years (2016) and Something Dreamy (2016) which are currently presented in different European cities. She is a co-creator of the three-year-long research project Dramaturgy at Work and a co-author of the subsequent publication The Practice of Dramaturgy - Working on Actions in Performance (Valiz, 2016). She completed a practice-led PhD on dramaturgy at Roehampton University (London), teaches in various university departments and art conservatoires of theatre and dance, and publishes her texts internationally.
www.danaetheodoridou.com

The seminar is funded by Arts Council Norway and is in collaboration with the Olav H. Hauge Center.

Sources:
"Why I write" by Joan Didion. New York Times Book Review, 5 December 1976.

Photo:
Olav H. Hauge in Ulvik, credit Olav H. Hauge Center