Anna Reti was selected by the Workshops Foundation, Budapest (HU) for a Wild Card residency of two weeks at the Ultima Vez Studio in Brussels (BE), from October 24 till November 8, 2010. Next to free use of
professional rehearsal space, organised travel, housing, daily expenses and productional needs were provided by the organizer of the residency Ultima Vez, Brussels (BE). Ultima Vez’ Jardin d’Europe partner Workspace Brussels (BE) offered the dramaturgical support.

Ultima Vez provided to Anna Reti an adequate working space for the creation of her solo, “Vis-à-vis”. As a result, she presented “Vis-à-vis” as work in progress for a very limited audience at the end of her residency. A discussion with the audience after the showing resulted in very positive reactions and useful feedback.


feedback report by Anna Reti

Part I.

In two different periods of the creation process of my new work Vis-a-vis, I had the wonderful possibility to work in a residency situation in Brussels, organized by Workshop Foundation and Ultima Vez, within Jardin 'd Europe Wild Cards program.

At the first time I was in the beginning of the creation, still in the research period. I worked one week alone, and one week with Zsuzsanna Simányi who followed and helped the work as a dramaturge, outside eye, also later in the process.

I choose a quite broad theme: Presence in everyday life and in performance situation.

I imagined that the structure of the piece would built up from shorted individual parts. And I wanted them to be very different.

As a preparation, still in Hungary, I made fourteen interviews, in where I asked different people's opinion and experience on the theme. Later on I planed to use their recorded voices in the soundtrack.

The 'old' Ultima Vez studio has a very special atmosphere with it's spooky sounds (wind, sound of the heater system, mouse, cats, leafs moving on the roof...), what became one of the scenes inspiration point.

An other starting point was babies and animals presence, and their attention towards their actions.

I was also interested in using my voice in singing and spoken ways, so I experimented with a Beckett monolog : The Rockaby.

So I had very different directions to explore.

As it was going to be a solo piece about 'being', it was a good experience to start the residency alone in the studio, and in a foreign city. But after the first week I needed conversation and outside reactions of Zsuzsanna.

Beside her help I invited few people to watch the rehearsal. At  the first time Charlotte Vandevyver (artistic coordinator of  Workspace Brussels) came. We talked about the idea, and than I showed her some of the scene ideas. It was a very exciting experience to see how I react when someone else is watching, as I already got used to Zsuzsanna's presence. This was an interesting question for me: how the performer reacts on the public, and how the public reacts on the performer? If it is possible to be natural when being watched? With Charlotte I became quite nervous, what is also a way of being present.

For the second time Karine Ponties, Kristien De Coster, Inaky Azpillaga and their son came to watch. This time we made different 'stages' for every scene, and they had to walked with me and find their places every time. The guiders position made it easier for me to relax, and just to be natural even when I didn't have something exact to do, in between the scenes.

After the little showing we talked it through, where I got important comments and new directions to follow. They mentioned that it would be good to see which direction the piece will develop to.

Besides the work in the studio we were experiencing our presence in the city, our reactions to this multicultural surrounding.

We also watched some performances. That is how I met Karine Ponties, whom I invited later to the rehearsal.

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