Abgesagt wegen COVID-19 / HETSR / "ILLIS: CE QUI EST A EUX" Bruno Meyssat
2 CreditsMTH-MTH-WPM-02.20F.016
Abgesagt wegen COVID-19 / HETSR / "La lumière en soi" Philippe Gladieux
2 CreditsMTH-MTH-WPM-02.20F.017
Abgesagt wegen COVID-19 / HKB / "«Vom Elfenbeinturm zum Marktplatz» – Research Festival Bern: Die Plattform für angewandte Kunstforschung" Vertreter der vorgestellten Projekte
2 CreditsMTH-MTH-WPM-02.20F.011
Abgesagt wegen COVID-19 / HKB / "Künstlerische Ansätze und Produktionsweisen bei Produktionen für Junges Publikum" Maike Lex, Caroline Ringeisen, Alessandra von Aesch, Brigitte Kasslatter und den Produzierenden der Theaterproduktionen «Aouuuh», «Wo ist Walter – Die Stadt und ich», «Inuk»
1 CreditMTH-MTH-WPM-01.20F.002
ATD / "Grundlagen des Projektmanagement im Kunstbereich" Barbara Stocker, Geschäftsleitung Theater Tuchlaube Aarau
2 CreditsMTH-MTH-WPM-02.20F.002
Digital wegen COVID-19 / HKB / "Crashkurs Project Management" Wolfram Heberle (Studiengangsleiter BA und MA HKB), Christian Lüdi (Input Social Media)
2 CreditsMTH-MTH-WPM-02.20F.019
Digital wegen COVID-19 / HKB / "Show your class. Klasse und soziale Herkunft im freien Theater" Verschiedene
2 CreditsMTH-MTH-WPM-02.20F.009
HETSR / "The gesture through repetition and physical exhaustion" Alessandro Sciarroni
2 CreditsMTH-MTH-WPM-02.20F.015
HKB / "Autorschaft—Autorität?" Laura Moeckli (Musik HKB)
Weitere Dozierende: Tom Arthurs (Jazz), Immanuel Brockhaus (Pop), Xavier Dayer (Komponist und SUISA-Präsi-dent), Mira Kandathil (Theater), Christoph Roeber (Literatur)
2 CreditsMTH-MTH-WPM-02.20F.014
HKB / "Backstage: Meet the artists" M.A. Maren Rieger (Dramaturgin, Dozentin HKB)
2 CreditsMTH-MTH-WPM-02.20F.008
HKB / "Barrierefreiheit im Kulturbetrieb" Barbara Balba Weber (Musikvermittlerin und Forscherin HKB), Nadine Schneider (Heilpädagogin und Leiterin Enjalumja), Denis Huna (Geiger und Leiter Tabula Musica
2 CreditsMTH-MTH-WPM-02.20F.013
HKB / "Forschungs-Mittwoch" Leitung: Sebastian Dobrusskin, Priska Gisler, Arne Scheuermann, Martin Skamletz
1 CreditMTH-MTH-WPM-01.20F.003
HKB / "In every sense. With every sense." Alexander Giesche, Regula Schröter
4 CreditsMTH-MTH-WPM-04.20F.004
HKB / "Kolloquium Institut Praktiken und Theorien der Künste (ehemals FSP Intermedialität)" Leitung: Fabiana Senkpiel (wiss. Mitarbeiterin Institut Praktiken und Theorien der Ku¨nste)
1 CreditMTH-MTH-WPM-01.20F.004
HKB / "Kunst und Klimawandel" Verantwortung: Yvonne Schmidt (wissenschaftliche Mitarbeiterin Forschung) und Gäste
2 CreditsMTH-MTH-WPM-02.20F.012
HKB / "Lab" Leitung: Florian Reichert, Sibylle Heim und Mentorierende (nach Absprache)
5 CreditsMTH-MTH-WPM-05.20F.001
HKB / "THE MAKING OF PROCESSES: TECHNIQUE – PRACTICE – FORMAT" Lucie Tuma
2 CreditsMTH-MTH-WPM-02.20F.004
Verschoben wegen COVID-19 / HKB / "I’m here but you can’t see me" Rabih Mroué
2 CreditsMTH-MTH-WPM-02.20F.005
Verschoben wegen COVID-19 / HKB / "New Technologies for Stage Production" Andrew Sempere
2 CreditsMTH-MTH-WPM-02.20F.006
HKB / "THE MAKING OF PROCESSES: TECHNIQUE – PRACTICE – FORMAT" 
Campus Wahlmodul / Master Class / Kursangebot der Partnerschule (HKB)
Wird auch angeboten für
| Nummer und Typ | MTH-MTH-WPM-02.20F.004 / Moduldurchführung |
|---|---|
| Modul | Master-Campus-Theater-CH 02 ECTS |
| Veranstalter | Departement Darstellende Künste und Film |
| Leitung | Lucie Tuma |
| Zeit | |
| Ort | HKB Bern, Zikadenweg 35 |
| Anzahl Teilnehmende | 5 - 12 |
| ECTS | 2 Credits |
| Zielgruppen | Alle |
| Inhalte | This seminar/workshop starts from a conversation around the parameters and givens of making artistic work within the frame of the Performing Arts. The three keywords technique, practice and format serve as a triangle in this debate around craft & tools – authorship & autonomy – sociality & spectatorship. We will take a closer look at institutional and personal biases within the making of processes. There are many aspects that seem to be taken for granted, such as these: Rehearsals start with discussions and ideas. Before that, a paper was pitched around some title using references grounded in socio-politically relevant topics. Everybody is giving 250% of their capacity and passion. One week before premiere the mood swings into accelerated mania, there is a ridiculously high level of productivity, all is backed up by slight (or intense) states of anxiety. A little bit before that, members of the production experience either conflicts or an existential crisis where strong feelings of doubt arise. Surely, the description of working processes depicted above contains many clichés. But there are indeed countless assumptions as to “how theatre work is done”. They are deeply inscribed in personal histories, institutions, timetables, architectures and educational curricula. Many of these preconceived notions go by unnoticed, and many more are unconsciously being reproduced. Why is each project linked to the invention of newness? What if we started with an existential crisis? How about making a masterpiece within a rehearsal period of 10 days? What does criticality mean, where can one see its impact – or is there any, at all? And if it’s all about inclusivity – when will there finally be a work aimed at an audience of snails? The aim of this conversation is to reflect on the status quo of these so-called ‘givens’. From there, the students will be supported to develop their own working processes through hands- & head-on experience: How do the first steps and prior decisions influence the start of a piece, the generating of materials and the ongoing processes up to the presentation? We will take a closer look into tools that help to sharpen our own position. How – and when – do we speak to one another? What kind of discussions does a particular process need? Are there forms of dialogue that manage to modulate and change existing group relations? In what way is a process and its materials best supported, how do we spend time together in collaborations, what kind of sociality, identity and vibe is being generated during rehearsals – and how will all these factors influence the form of final presentation of a work? |
| Termine | 03. - 06.03.2020 |
| Dauer | 10.15h - 16.15h |
| Bewertungsform | bestanden / nicht bestanden |
| Sprache | Englisch |
| Bemerkung | A short text (ca. 15 pages) will be distributed beforehand. The participants are expected to read the text before the course and to come prepared with their questions and comments. Lucie Tuma – Performerin, Choreographin, Theoriedozentin – Lucie Tuma works as an artist related to performance and choreography. She studied Dance and Theatre in Prague, Montpellier and Giessen. Her productions encompass dance performances, concert situations, books, geomanthic walks, music albums and time-based sculptures. Altogether, her work is about generating ecologies of attention at times when time is lacking. Since 2012, she has been active as a researcher inside and outside of institutions, teaching theory and practice in the field of Performing Arts and Philosophy (i.a. at the ZHdK Zurich University of Arts, HKB Bern University of the Arts, HZT Inter-University Center of Dance Berlin, HFK Hochschule der Künste Bremen, ASFA Athens School of Fine Arts, DAI Dutch Art Institute Arnhem). In 2014, she was awarded the annual choreography and performance prize of the City of Zurich. From 2015-2017, she was a Young Associated Artist at Tanzhaus Zürich, a programme supported by Pro Helvetia. Her works have been presented at festivals and at live art venues such as Gessnerallee Zurich, Tanzhaus Zurich, Gâre du Nord Basel, ADC Geneva (Swiss Dance Days 2017), Usine Geneva, Südpol Lucerne, Brut Vienna, Sophiensaele Berlin, MDT Stockholm, Kampnagel Hamburg, Pact Zollverein Essen, Mousonturm Frankfurt, BoraBora Århus, Dansehallerne Copenhagen, ACC Gwanju (KOR), Zarya Center for Contemporary Art Vladivostok (RUS), BONE Performance Festival Bern 2019, and the Art Safiental Biennale 2020 (CH). |
