How Fascinating

2 Oct

“-I think we have reached a good mixture”
Is that a good moment? Yes, absolutely if preferable conditions rhyme with comfortable, appropriate and recommendable. So what do I propose? Am I so naïve, so naïve that I haven’t comprehended that such assault is open doors and as effective as a communist party in 2010. Totally self-protective and counter productive in respect of any change or differentiation. Isn’t it a bit too easy to accuse every single individual on the planet, not even involved in dance, for being absolutely worthless, void of any guts, having bad hairdos and being ass lickers. Not exactly pro-active or sensitive to reality, and evidently just a matter of being mediocre and jealous. Indeed I think it all fits fairly well with my signature, but then am I going soft in October? Fuck no, I’m so not. I’m gonna go on kickin’ in open doors, being obstinate beyond embarrassment and burnin my boats in all directions. I have no smaller ambitions than to be absolutely abolished.

“-I think we have reached a good mixture”
I like it, the population of good mixture people will obviously support the categorical position cuz it affirms their accuracy, and whatever half crazy artists have of course no impact. So we have really reached a good mixture, and I’m an excellent little topping on the good mixture tart. But fuck, how can it pass without at least a small outcry that somebody proposes a dance performance called “Anarchiv” and that it is presented for a paying audience. Where else would such a title pass? Oh, I know, in that department of black metal music that has renounced Satan. Another embarrassing title: “Are We Here Yet”, Pö-leeze – is that all we can announce after twenty years of activity. Full of tacky images of dramatic moments, enigmatic spaces, bodies and on top of that a collage of minor texts and interviews giving witness to the activities of an amazing individual. I hope Martin Scorsese will make a documentary about you. One thing is for certain you will spend the rest of your life surrounded by people that suck you like vampires and will abandon you the moment you are not reproducing job opportunities, security and a spicy touch.

William Forsythe is not a god, stop being so fuckin fascinated. He just makes dance performances, and they are not necessarily good. Haven’t you fuckin devotees understood that you are doing the guy a bad favor? If you at least told him that this or that was plain bullshit, he’d have to consider – but now, come on, give the dude a hand, stop confirming. Stop being so fuckin fascinated. What is it, really what is it? Tell me, tell me right now what’s so special, what’s so specific? You have no idea, you just like to be amazed, like to be around creative minds.

Somebody tells me, about the last work of I can’t remember the name, “-It was really well done” – Yeah, first of all that’s an insult to the artist. What do you mean, well done – that’s like – announcing that you voted for the liberals because the candidates’ wives were really well dressed. Well done, means superbly packaged indifference. And you know what the person said, before the well done sentence, that he wasn’t sure about the content. I guess you also take an interest in good wine. You fuckin hobby sommelier.

Somebody announcing himself as a gourmet, get the fuck out. Those people are value conservative liberals with a bad breath. They preach good mixture, and address their wives with a well-balanced chauvinism. They are bad in bed and are happy when others experiment but prefer mod culture.
Well done, my ass. You have designer chairs in your too small kitchen.

“-I think we have reached a good mixture” – no no, hold it some more ranting about fascination.
In the studio, the dancer being grateful for being allowed to work with the elevated choreographer – – you know, of course those dancers or whatever position that they take obviously appreciate the work for totally the wrong reasons, usually because it’s classical references and for the joy of dance – – fascinated. Curious about everything the choreographer says, amazed about every detail. Oh, that’s disgusting: “-He has such an eye for detail” or “-It is really in the details that his genius can be felt.” Or – Gööööööö – this one “-Yes, but you know if you haven’t worked with him in the studio…” Don’t be so fuckin fascinated.

One more thing, everything that touches on chaos theory, abandon ship! Chaos theory is for fascinated people, it’s like the chemistry box for eight-year-olds, or like for people that think it’s exciting to visit the attic and all those mystical things. Chaos theory is for people that prefer no solution and business as usual.

“-I think we have reached a good mixture” – that’s what the dramaturge working with the fascinating choreographer proposes. Get rid of your dramaturges, they work for the dark side. And if they ever propose a text by Foucault regret that you ever hired the person. Rid yourself of the dramaturges, they just want a job. Look, the manager is at least honest about it: if you don’t make money the manager, your producer will simply leave, immigrate to another continent. But the dramaturge he is a fuckin snake. Do you think he works with you because of your work. No way, he or she works for you because you provide fame and a place in the sun. The dramaturge is a dramaturge because he or she has nowhere else to go.

It is time for dance to emancipate itself from the stuck up minds of dramaturges and let the body lead the way. Dramaturgy is a fundamentally discursive practice that disregards the body and its movements. It is time that we release the body from it’s hostage situation. We have to free the body from the kidnap drama before it starts to develop some Stockholm syndrome, starting to defend the dramaturge. Only if we let go of our dependence to the dramaturge, only if we realize that they are snakes that feed on our practices, only when we acknowledge that the dramaturge is a double agent hired by the local venue or the art council can we bring dance into the future. The dramaturge is somebody who once read Patrick Suskind and denies it today, somebody who promotes coherence.

“I think we have reached a good mixture”
I’m happy, and I am announcing myself as the spokes-person for good mixture. But dancers, choreographers, laborers in dance and choreography, promise me one thing: make your own good mixture. Stop being fascinated, relying on the dramaturge or chaos theory. Stop making dance theatre, stop talking on stage, stop using theatre tricks, stop expressing happiness, don’t trust the effects proposed by deconstruction. You are the ones that make it happen, so make your own good mixture and fuck em all.

6 Responses to “How Fascinating”

  1. rasmus October 2, 2010 at 14:48 #

    “You have designer chairs in your too small kitchen.”–waaaaaaaaaaahhhhhooooooaaaaaaaiiiiiiii, den knäckte.
    I´m readin this on daily basis and enjoy it alot. One thing: A lot of your posts could potentially start a lotta commotion, I see some comments dropping in, and you´re really swift in answering them but yet it doesn´t turn into the forum it feels like it could be, and that I´m guessing you´d like it to be too. IS that the blog format? I´ve myself several times hesitated on the trigger finger. But anyway. Appreciating. Objecting. Disagreeing. Laughing my head off. Getting real sick of it. Can I kick it?

    • Marten Spangberg October 2, 2010 at 21:58 #

      Read it and rave. Kick it and don’t.It’s the format, it’s the author, it’s the aggression and i’m so not giving in. I refuse to negotiate, this is breakfast club. Detention yeah, as if I care.
      Set the place on fire, I’m not okay with business as usual, and if its me that has to go, I’m quite happy. At least I wont waste my time anymore, but so far – I love this shit to much so somebody have to force me an that’s gonna be a great funny fight.
      58 posts to go.

  2. Billy-Bob Thornton October 2, 2010 at 15:59 #

    Given your take on dramaturgy there must be something seriously wrong with WHO are hired to do the job and HOW they do it.

    It’s perhaps the same problem as with scenography. I haven’t seen any good scenography in a long, long time. It’s always shit. Trying to look good, rather than being something.

    By the way. What’s your issue with categories about? Really? Why not fuck everyone?

    Admit it. You need me.

    • Marten Spangberg October 2, 2010 at 21:52 #

      I need you, I need you, my life depends on you. You are the only persistance. And you have no idea how valuable your comments are. It’s not at all about becoming obsolete but to refuse negotiation.

      The problem with the dramaturgy is not who or how it’s just the category that is out the window. Everybody has a dramaturgy, one self, a boyfriend or mother, who ever it is, is great as long as it doesn’t become a profession. If it does it becomes about sustaining a position not making difference.

      Set-designers the same thing. They just want to make sure they are needed, and are compulsively arguing “-How much can I do?” instead of how little. The set-designer just want to produce monuments of themselves. And normally they actually would like to be installation artist. OMG – And the thing is that musicians that make shit for dance and theatre is the same bullshit.
      Light designers as well.
      Get rid of them!

      • Billy-Bob Thornton October 3, 2010 at 21:00 #

        Is’nt the problem mainly due to excessive amounts of money that needs to be spent on the production somehow? Somehow this excessive became stencil for how to produce something, something dance. Somehow the choreographer tries to maintain control of all elements that are not movement and the dramaturg, sound-designer, set-designer try to make the piece theirs.

        Nothing should be done unless it’s absolutely necessary, and these big productions really need a supreme and merciless ruler.

        Another thing that bothers me, are the titles “set-designer”, “sound-designer”.. They are all implying that they somehow add value by adding. Same goes for the dramaturg, if by that we understand the role as someone who adds dramaturgy. The word “designer” though.. Shit. Design the final, yet elegant solution, will you?

        One thing though. I’m not aiming for the obsolete, nor questioning your non-negotiable stance (I do hope you negotiate with yourself though!), but why the dreams of heroism? Why the dreams of doing good?

  3. rasmus October 3, 2010 at 22:08 #

    I argued my way through a course at our shared university last x-mas: dramaturgy as a choreographic tool. My claim was pretty close to yours. I mean, the course could have been choreography as a dramaturgic tool. What was interesting was that only one dramatug showed up to lecture (Marianne van Kerkhoven). Magnus Florin came as well, chief dramaturg at The National Dramatic Theatre, but he stepped in for someone else and choose not to speak of dramaturgy in the typical sens but spoke of sound. Åke……ahhh-whats his name, and Öyvind Fahlström. Then lectures were by light designer, theatre director (or actually set designer who started directing theatre) and composer. So, in the end very little dramaturgy. And Marianne, who should be the real representative, made the claim that dramturgs doesn´t exist. A bit like you say, anyone is a dramturg. What I really didn´t like was the idea of the choreographer/director in this roll. Many times the choreographer/director would become someone who needed help with his/her own production. They risk getting too involved in there ideas, too confused, and would then need someone who could, more rationally, turn the product into what the author wanted it to be but was not able to produce on his/her own. Patronizing and old school view on the artist as some kinda wimsy genious creating on intuition.
    There´s not just the risk of involving someone else´s “good taste” but also the one of having your idea dissolved into something comprehensible. Makes me think of what you said once that no scandal will happen on a work in progress. No scandal will be done with a dramaturg next to you. Or like Arne Anka said: thinking before you talk is like wiping your ass before you shit. What I was intrigued by with Mariannes position was that she is the dramaturg of a guest scene (Kaai). She´s involved in writing their program and then steps into their coproductions (not all) as a dramaturg. Isn´t this a great way of assuring the quality (a specific such) to what is presented at Kaai? It might sound as if I´d disagree to their method, but I´m very positive. The take a responsability in the production. And artists I know who has worked with her loved it. But of course that´s from the perspective of Kaai.

    I never manage to get cathegorical. I sometimes try. But I mean if anyone is a potential dramaturg and we all use some kind of dramturg, one can as well use an actual dramaturg. My problem is what it does to the different roles played out in a production team. Carmelo Fernandez is a dancer/choreographer and he´s done some lights in stuff I did and he was fantastic to have around. With a friend like that, who needs a light designer or dramturg? His own term was “escort lady” though.

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