BEGIN:VCALENDAR VERSION:2.0 PRODID:-//jEvents 2.0 for Joomla//EN CALSCALE:GREGORIAN METHOD:PUBLISH BEGIN:VEVENT UID:bdf5f9f847e07b5da50e5b8a5c595af7 CATEGORIES:Seminars & Workshops CREATED:20230622T113708 SUMMARY:Field Imaginations@FLAME Curated by Anuja Ghosalkar and Kai Tuchmann DESCRIPTION:With: Rustom Bharucha, Stuti Bhavsar, Maya Dodd, Lakshmana KP, Sananda Mukh opadhyaya, Ashutosh Potdar, Sunil Shanbag, Brahma Prakash Singh, Suvani Sur i, Arushi Vats, Yang Siting, and Zhao Chuan\nFurther Artistic Contributions : Priyanka Chhabra, Soumyabrata Choudhury, Amitesh Grover, Han Lele, Lian Z ikun, Liu Chengzhen, and Sun Yaqi\nThe term field imaginary describes the w ays “in which a given discipline or scholarly field sets its own boundaries ” (Christopher Connery). Often these boundaries are the result of invisible ideological labor, that expresses itself in spatial and temporal division. Through our gathering we want to interrupt and push these geographical and historical boundaries that are attached to existing imaginations of docume ntary theatre. Together with peers from theatre practice and from scholarsh ip, we want to re-organize this prevailing knowledge by applying perspectiv es that are grounded in practice and research from India and China.\nThe de sign of Field Imaginations is an interweaving of performance works, convers ations with practitioners, an exchange of research strategies with scholars and agendas and methods of editors and publishers. These dialogues are als o aimed at building a Documentary Theatre curriculum, where a future underg raduate or graduate student of documentary theatre might be expected to kno w something about worker´s theatre in Shenzhen, the concept of experts of e veryday life, Ambedkarite Songs as a form of protest, the status of documen tary material in contemporary Asian dance, and about the effects that digit ization has on documentation, for instance. Since the imagination of a fiel d is also a pedagogical project its opportune that we are hosted on the cam pus of a well-respected Indian University, FLAME, where we hope this curric ulum is seeded and takes root.\nThis symposium is supported by Goethe-Insti tut/Max Mueller Bhavan, Mumbai and held in collaboration with the Departmen t of Theatre and Performance Studies, School of Design, Art & Performan ce, FLAME University, Pune.\n\nTHE SCHEDULE:\nJUNE 26th 2023 \n15.00Opening \nAn Introduction by Anuja Ghosalkar and Kai Tuchmann15.15-16.15Film and/as Performance: \nA Migrant Walk by Soumyabrata Choudhury and Priyanka Chhabr a-BREAK- 16:30 – 18:30On the Use and Abuse of History for Life-Updating doc umentary strategies – with Siting Yang (online), Suvani Suri, Sunil Shanbag 18:45- 19:45Lecture Performance: \nDaklakatha Devikavya by Lakshmana KP\nJU NE 27th 2023 \n9.00-13.00Workshop:\nHow to do thing with words when publish ing on performance? -  with Ashutosh Potdar, Zhao Chuan (online), Stuti Bha vsar, Arushi Vats\nAs participatory observers Rustom Bharucha, Maya Dodd13. 00- 14.15A Tree Walk:\n Sahyadri Overstory by Sananda Mukhopadhyaya----Lunc h Break-----  15.00-15.30Film and/as performance: \nFuck Brecht! by Liu Che ngzhen, Han Lele, Lian Zikun and Sun Yaqi15.30-17.30Panel: \nThe Drama with education: Pedagogies of the Documentary \nWith Rustom Bharucha, Brahma Pr akash Singh, Suvani Suri\nAs respondents: Sananda Mukhopadhyaya and Lakshma na KP17.30-17.45Closing Gesture \nby Anuja Ghosalkar and Kai Tuchmann \nPRO GRAM DETAILS\nFILM: A MIGRANT WORK by Soumyabrata Choudhury and Priyanka Ch habra:\n“A Migrant Walk” is both film and a performance, created as a docum entary caricature of Brecht’s radio play “The Lindbergh Flight”. Choudhury takes Brecht’s optimism about progress, the myth of the newly-mobile mankin d that dares to conquer the ocean non-stop alone, and juxtaposes it with th e reality of the forced mobility and defenselessness of Indian migrant work ers, millions of whom move from village to metropole in search of work.\n\n PANEL 1: ON THE USE AND ABUSE OF HISTORY FOR LIFE- UPDATING DOCUMENTARY STR ATEGIES:\nThe documentary form has become associated with acts of remembran ce - personal stories, archival gestures, and approaches that utilize bodie s as historical archives dominate the documentary stages. This aesthetics m imics the “N(YOU) media” (Wendy Chun), which puts the personal and “authent ic” identity of the user in the center of all reception. Thus turning ident ity into the only currency of public and political action. By evoking Nietz sche`s critical intervention into the fetishization of history and document s (that he published as part two of his “Untimely Mediations” in 1871), thi s panel wants to ask if there are any useful roles that forgetting and diff erence could play in documentary procedures.\n(The perspective of this pane l partly draws from Siting Yang`s lecture during Tuchmann and Ghosalkar`s o nline theatre course WOULD I LIE TO YOU?)\nLECTURE PERFORMANCE: DAKLAKATHA DEVIKAVYA by Lakshmana KP\nIn the lecture performance Lakshmana will talk a bout the process of making the play, the texts and documents used to constr uct the narrative. Through his illustrations of songs and music from the sh ow he will delineate the role of instruments and lyrics in the making of th e complex performance, Daklakatha Devikavya among other things.\nExcerpt fr om the playbook of Daklakatha Devikavya:\nDaklakatha  Devikavya is an exper imental play drawing on the epic poetry and stories from Kannada write and founder member of the Dalit Sangharsha Samiti, K.B. Siddaiah. This experime ntal piece begins with a re-reading of a cosmogonic myth—from a community t hat is oppressed even amongst the oppressed—narrating the origins of the wo rld and life on it. The play progresses through weaving and unraveling unto uchable rituals, beliefs, hunger and desires through song and storytelling. For untouchable communities nudi (speech, sound, voiceand word) is like br eath that cannot be separated from the body. The play uses instrumentssuch as the areye and tamte as vines of nudi that enmesh the narrative and sprou t new directions from within. Thereby opening up the untouchable world as a world of deep sonic imprints. In a context such as this, the play confront s what happens when the ‘written word’ that has so far been unreachable col lides with and becomes an organ of the untouchable body, giving rise to a n ew relationship of intimacy and struggle.\nWORKSHOP: HOW TO DO THINGS WITH WORDS WHEN PUBLISHING ON PERFORMANCE?\nBy investigating existing radical ex periments in the field of performance-publishing, this workshop sets out to deduce tactics that allow one to extend curatorial gestures into a book.\n The background for this is that Kai Tuchmann and Anuja Ghosalkar are curren tly creating the scaffolding of their newest book on histories and practice s of documentary theatre in India. They understand this publication as an e xpansion of their own curatorial work into the field of writing. While clas sical performance writing stays within the world of a single play, their cu ratorial approach is concerned with the orbit of interactions that theatre productions have with their outside. Consisting out of theatre makers and e ditors, this workshop tackles the question: What strategies allow one to ex tend a curatorial approach into a book?\nTREE WALK: SAHYADRI OVERSTORY by S ananda Mukhopadhyaya\nA walk around the FLAME campus, to meet local trees f rom the Sahyadri range and others who now call it home. The walk will intro duce participants to ways to looking at trees, to recognise and celebrate t hem while also listening to readings from literature about tree life. Havin g grown up with biologist parents Sananda Mukhopadhyaya developed a kinship with the natural world, especially trees. Through her tree walk titled ‘Mu mbai Overstory` which she facilitates in Mumbai, she aims to make people mo re aware of the trees they share the island with and hope this knowledge br ings a spark of joy and wonder to their daily Mumbai lives.\nFILM BASED ON RESEARCH: FUCK BRECHT! by Liu Chengzhen, Han Lele, Lian Zikun and Sun Yaqi \n\nIn this video work, four students reflect on their relationships with B recht— including all their emotion, anger, rationality, analysis, confusion , discovery. Under the banner of “misreading”, they juxtapose historical ma terials with recent productions, combine personal feelings with academic co ncepts. Who the fuck is Brecht anyway? He is a German who brings us debate and confusion. In the second half of the 20th century, when Brecht entered China, chaos began to ensue. Yes, we need him. His ideology is no problem a nd contributes to our Communist cause, but this strange western writer… Who is he? What is the alienation effect? How does it create the distance betw een the stage and the audience? How to deal with the fucking empathy? Is th ere a real, essential Brecht? We create another “Brecht” and use it to purs ue our own political goals. Fuck the real Brecht.            \nPANEL 2: THE DRAMA WITH EDUCATION - PEDAGOGIES OF THE DOCUMENTARY:\nThis panels gathers speakers from various contexts of theatre education. Together they will un pack the following questions: what aspects of craftsmanship and techniques are unique to the documentary form and which masteries of the dramatic idio m cannot or should not be undone?   What are the demands of this form when it comes to curriculum- and syllabus making? How can one institutionalize t he autonomy of creativity?\n X-ALT-DESC;FMTTYPE=text/html:

With: Rustom Bharucha, Stuti Bhavsar, Maya Dodd, Lakshmana KP, Sananda Mukhopadhyaya, Ashutosh Potdar, Sunil Shanbag, Brahma Prakash Singh , Suvani Suri, Arushi Vats, Yang Siting, and Zhao Chuan

Further A rtistic Contributions: Priyanka Chhabra, Soumyabrata Choudhury, Amites h Grover, Han Lele, Lian Zikun, Liu Chengzhen, and Sun Yaqi

The term  field imaginary describes the ways “in which a given discipline or scholarly field sets its own boundaries” (Christopher Connery). O ften these boundaries are the result of invisible ideological labor, that e xpresses itself in spatial and temporal division. Through our gathering we want to interrupt and push these geographical and historical boundaries tha t are attached to existing imaginations of documentary theatre. Together wi th peers from theatre practice and from scholarship, we want to re-organize this prevailing knowledge by applying perspectives that are grounded in pr actice and research from India and China.

The design of Field Imagina tions is an interweaving of performance works, conversations with practitio ners, an exchange of research strategies with scholars and agendas and meth ods of editors and publishers. These dialogues are also aimed at building a Documentary Theatre curriculum, where a future undergraduate or graduate s tudent of documentary theatre might be expected to know something about wor ker´s theatre in Shenzhen, the concept of experts of everyday life, Ambedka rite Songs as a form of protest, the status of documentary material in cont emporary Asian dance, and about the effects that digitization has on docume ntation, for instance. Since the imagination of a field is also a pedagogic al project its opportune that we are hosted on the campus of a well-respect ed Indian University, FLAME, where we hope this curriculum is seeded and ta kes root.

This symposium is supported by Goethe-Institut /Max Mueller Bhavan, Mumbai and held in collaboration with the Department o f Theatre and Performance Studies, School of Design, Art & Performance, FLAME University, Pune.

THE SCHEDULE :

JUNE 26th 2023

15.00Opening
An Introduction by Anuja Ghosalkar and Kai Tuchmann15.15-16.15 Film and/as Performance:
A Migrant Walk by Soumyabrata Choud hury and Priyanka Chhabra-BREAK- < td>16:30 – 18:30On the Use and Abuse of History for Life-Updat ing documentary strategies – with Siting Yang (online), Suvani Suri, S unil Shanbag18:45- 19:45Lecture Performance:
Daklakatha Devikavya by Lakshmana KP< p>

JUNE 27th 2023

9.00-13.00Workshop:
How to do thing with words when publishing on performance? -  with Ash utosh Potdar, Zhao Chuan (online), Stuti Bhavsar, Arushi Vats
As parti cipatory observers Rustom Bharucha, Maya Dodd
13.00- 14.15 A Tree Walk:
 Sahyadri Overstory by Sananda Mukhopad hyaya
----Lunch Break-----  
15. 00-15.30Film and/as performance:
Fuck Brecht! by Li u Chengzhen, Han Lele, Lian Zikun and Sun Yaqi
15.30-17.30 Panel:
The Drama with education: Pedagogies of the Docum entary
With Rustom Bharucha, Brahma Prakash Sin gh, Suvani Suri
As respondents: Sananda Mukhopadhyaya and Lakshmana KP
17.30-17.45Closing Gesture
by Anuja Ghosalkar and Kai Tuchmann

 

< strong>PROGRAM DETAILS

FILM: A MIGRA NT WORK by Soumyabrata Choudhury and Priyanka Chhabra:

“A Migrant Wal k” is both film and a performance, created as a documentary caricature of B recht’s radio play “The Lindbergh Flight”. Choudhury takes Brecht’s optimis m about progress, the myth of the newly-mobile mankind that dares to conque r the ocean non-stop alone, and juxtaposes it with the reality of the force d mobility and defenselessness of Indian migrant workers, millions of whom move from village to metropole in search of work.

PANEL 1: ON THE USE AND ABUSE OF HISTORY FOR LIFE- UPDATING DOCUMENTARY STRATEGIES:

The documentary form has become associated with acts of r emembrance - personal stories, archival gestures, and approaches that utili ze bodies as historical archives dominate the documentary stages. This aest hetics mimics the “N(YOU) media” (Wendy Chun), which puts the personal and “authentic” identity of the user in the center of all reception. Thus turni ng identity into the only currency of public and political action. By evoki ng Nietzsche`s critical intervention into the fetishization of history and documents (that he published as part two of his “Untimely Mediations” in 18 71), this panel wants to ask if there are any useful roles that forgetting and difference could play in documentary procedures.
(The perspective of this panel partly draws from Siting Yang`s lecture during Tuchmann and G hosalkar`s online theatre course WOULD I LIE TO YOU?)

LECTURE PERFORMANCE: DAKLAKATHA DEVIKAVYA by Lakshmana KP

In the le cture performance Lakshmana will talk about the process of making the play, the texts and documents used to construct the narrative. Through his illus trations of songs and music from the show he will delineate the role of ins truments and lyrics in the making of the complex performance, Daklakatha De vikavya among other things.

Excerpt from the playbook of Daklakat ha Devikavya:
Daklakatha  Devikavya is an experimental p lay drawing on the epic poetry and stories from Kannada write and founder m ember of the Dalit Sangharsha Samiti, K.B. Siddaiah. This experimental piec e begins with a re-reading of a cosmogonic myth—from a community that is op pressed even amongst the oppressed—narrating the origins of the world and l ife on it. The play progresses through weaving and unraveling untouchable r ituals, beliefs, hunger and desires through song and storytelling. For unto uchable communities nudi (speech, sound, voiceand word) is like breath that cannot be separated from the body. The play uses instrumentssuch as the ar eye and tamte as vines of nudi that enmesh the narrative and sprout new dir ections from within. Thereby opening up the untouchable world as a world of deep sonic imprints. In a context such as this, the play confronts what ha ppens when the ‘written word’ that has so far been unreachable collides wit h and becomes an organ of the untouchable body, giving rise to a new relati onship of intimacy and struggle.

WORKSHOP: HOW TO DO THINGS WITH WORDS WHEN PUBLISHING ON PERFORMANCE?

By investigating e xisting radical experiments in the field of performance-publishing, this wo rkshop sets out to deduce tactics that allow one to extend curatorial gestu res into a book.
The background for this is that Kai Tuchmann and Anuj a Ghosalkar are currently creating the scaffolding of their newest book on histories and practices of documentary theatre in India. They understand th is publication as an expansion of their own curatorial work into the field of writing. While classical performance writing stays within the world of a single play, their curatorial approach is concerned with the orbit of inte ractions that theatre productions have with their outside. Consisting out o f theatre makers and editors, this workshop tackles the question: What stra tegies allow one to extend a curatorial approach into a book?

TREE WALK: SAHYADRI OVERSTORY by Sananda Mukhopadhyaya

A wa lk around the FLAME campus, to meet local trees from the Sahyadri range and others who now call it home. The walk will introduce participants to ways to looking at trees, to recognise and celebrate them while also listening t o readings from literature about tree life. Having grown up with biologist parents Sananda Mukhopadhyaya developed a kinship with the natural world, e specially trees. Through her tree walk titled ‘Mumbai Overstory` which she facilitates in Mumbai, she aims to make people more aware of the trees they share the island with and hope this knowledge brings a spark of joy and wo nder to their daily Mumbai lives.

FILM BASED ON RESEARCH: FUCK BRECHT! by Liu Chengzhen, Han Lele, Lian Zikun and Sun Yaqi

In this video work, four students reflect on their relationships wi th Brecht— including all their emotion, anger, rationality, analysis, confu sion, discovery. Under the banner of “misreading”, they juxtapose historica l materials with recent productions, combine personal feelings with academi c concepts. Who the fuck is Brecht anyway? He is a German who brings us deb ate and confusion. In the second half of the 20th century, when Brecht ente red China, chaos began to ensue. Yes, we need him. His ideology is no probl em and contributes to our Communist cause, but this strange western writer… Who is he? What is the alienation effect? How does it create the distance between the stage and the audience? How to deal with the fucking empathy? I s there a real, essential Brecht? We create another “Brecht” and use it to pursue our own political goals. Fuck the real Brecht.            

PANEL 2: THE DRAMA WITH EDUCATION - PEDAGOGIES OF THE DOCUMEN TARY:

This panels gathers speakers from various contexts of theatre e ducation. Together they will unpack the following questions: what aspects o f craftsmanship and techniques are unique to the documentary form and which masteries of the dramatic idiom cannot or should not be undone?   What are the demands of this form when it comes to curriculum- and syllabus making? How can one institutionalize the autonomy of creativity?

DTSTAMP:20260710T084039 DTSTART;TZID=Asia/Kolkata:20230626T150000 DTEND;TZID=Asia/Kolkata:20230627T174500 SEQUENCE:0 TRANSP:OPAQUE END:VEVENT END:VCALENDAR