Of course, we desperately need new forms of performance and new forms of spectatorship. But they must go further than moving out of the theatre and becoming site-specific works, or relying on technology to compete with social media, video games, and streaming services.
Michał Borczuch ”We developed Cinema of moral anxiety in the moment when right wing political government started to destroyed in Poland everything we connected with democracy and liberation since 1989. So we started to realize how political authorities behave absolutely with our dreams and beliefs and how they start to create a social anxiety about the future.”
„What mainstream rejects in its first reflex, the Łaźnia very gladly accepts, what directors of large institutions are afraid of finds its place and support with us.”
Interview with Małgorzata Szydłowska and Bartosz Szydłowski
A well-known poet and journalist, Saviana Stanescu left Romania for US thanks to a Fulbright Scholarship and she arrived in New York just before the 9/11 attacks which still play a role in her imaginary, alongside with Romanian revolution in 1989 and the ghosts of the past. Here is a conversation with her as a preview to a future common endeavor to take place this fall in Bucharest, Romania - The Revolution Project.
The people that I chose to organize my thoughts around were three artists who exemplified this new direction – Robert Wilson, Richard Foreman (Ontological-Hysteric Theater), Lee Breuer (Mabou Mines). Their work suggested to me the first really big move in the theatre away from having theatre founded in theatrical traditions and ideas exclusively to a theatre more interested in visual arts and dance.