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Dramaturgy’s “what and how”, its relations to choreography and how they are to be invented anew with each creative process, was the starting point of the workshop. Informed by their longstanding collaboration,
choreographer Martin Nachbar and dramaturge Jeroen Peeters led the workshop around “physical dramaturgy”. As Romanian performer and choreographer, Tímea Kovács was selected by 4Culture Association, Bucharest (RO) out of several applications to participate in this workshop, organised by WorkSpace
Brussels (BE). 

The workshop took place during the Working Title Platform#2, a festival organised by WorkSpace
Brussels (BE).

The participants learned to explore and exhaust the realm of meaning triggered by moving bodies, as well by as the various materials and ideas that populate a creation process. In order to facilitate this artistic research within a creative process, participants were stimulated to analyse their own practice and
develop an awareness of the underpinnings and contexts of their work. They discovered physical dramaturgy as a process that embraces an ethics of collaboration and regards practice and theory, research and making, movement and reflection as intertwined activities: as an oscillating in-between space that
may become a discursive site, a place that enables a critical understanding of time, space, perception, and the production of meaning.

*****
feedback report Timea Kovacs

My residence in Brussels enriched me with intensive experiences, both on professional (as a choreographer) and personal side. The Workshop on Physical Dramaturgy, the Working Title Platform #2, and special encounters raised in me some important thoughts and questions.

At the workshop I met a group of various people, dramaturges, a physical actor, a visual artist, dancers, choreographers, filmmakers, and people with different ages, knowledge and interests, from different cultures. The multiple discussions we had on studies and interviews related to the problematic of dramaturgy in dance, pointed out for me, that probably the most essential factor that makes the choreographer’s and dramaturge’s collaboration efficient, is empathy. There might be lots of variations concerning their roles or authority, but at the basis stays somehow the ability to accept and respect each other as humans.

The practical part of the workshop was more interesting for me. Working in couples, trying both the choreographer’s and the dramaturge’s role, I could see the process of creation in a larger perspective. Creating a map of post-its with the up-coming ideas, conclusions and continuously modifying this map, was an expressive way to illustrate the process of creation, and finding deeper connection between ideas as the process proceeds (in the case of the map, the idea-sharing). I liked this map a lot, because it helped me to understand better the ‘system of creating connections’.

The thing I lacked was that we, the participants didn’t come with some specific material, projects or ideas prepared, so sometimes our discussions became philosophical and hypothetical. I would have liked if we could have had more practical work, exercises in group.

I felt lucky, that I could participate at the Working Title Platform #2. I always enjoy seeing a work in progress, a piece with a visible structure or weaknesses, what may refer to the further development of it, and the creators’ personality. I enjoyed a lot An Verstraete’s Angry Girl, and Pieter Van Den Bosch’s Luminescent Paint. I felt, that these creations want to ‘give something’ for the audience. There are so many pieces that remain at the level of a research, that are too cerebral, not giving space for emotions. In Working Title Platform #2 I felt these two sides were present in a balanced way. I feel satisfied.

But the most precious happening of the weak, was that I found some beautiful people from the workshop. I still maintain the relationship with them. We became friend. Thank you Sarma, Workspace Brussels, Jardin d’Europe and 4 Culture Association for your trust, and for the opportunity!

 

Bio
Tímea Kovács studied Choreography Studies at the University of Theatre and Cinema-tography I.L. Caragiale (UNATC), Bucharest (RO). Since 2010, she performed in several dance and film projects in Romania and started to make her own works.

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