Mis on labürintteater? / What is labyrinth theatre?

Labürintteater on immersiivne, interaktiivne, kohapõhine, kontaktile orienteeritud teatrivorm.
Teose kogemisel rakendub puutetundlikkus suuremale osale vaataja kehast kui pelgalt toolile toetuv tagumik.
Vaataja muutub ka kuulajaks, nuusutajaks, katsujaks, maitsjaks ja mõtlevaks tegutsejaks.
Ta juhitakse läbi ruumi erinevate osade, milles aset leidvad stseenid on kooskõlastatud ruumi omadustega ja kuhu on vajaduse korral lisatud stseeni toetavaid elemente.
Stseen sünnib vaataja/külastaja ning etendaja/kohaliku kohtumisel, üleminek ettevalmistajatelt järelvalmistajatele on sujuv.
Võib juhtuda, et külastaja asub teoses viibimisele eelnenud ja järgnevaid kogemusi ümber mõtestama.

Kas me teeme labürintteatrit? Oleme avastanud, et tegelikult mitte. Sensoorsed labürindid kasutavad pimedust, et teisi meeli ergutada. Meie oleme jätkuvalt kasvavas proportsioonis liikunud pimedusest hämaruse kätte ja pannud pinge alla pigem külaliste intellektuaalsed võimed.
Mis on interaktiivne teater? G9 ei loo illusiooni, et ‘tavaline teater’ pole interaktiivne, aga meie oleme. Vastupidi. Osaluse viisid ja määrad muutuvad teosest teosesse, teosed omakorda aga võivad esineda kus iganes ja see, et eepilised draamad esinevad pigem lava ja saaliga teatriruumides, on eesmärkide ja abinõude pulm. Meie lihtsalt eelistame mängida pigem kellegagi koos kui kellelegi.
Mis on kohapõhine teater? Teatri tegemine ruumides, mis pole algselt teatritegemiseks mõeldud, või kui on, siis teatri tegemine nendest ruumidest. Variant 1, näide 1: suvelavastus kusagil taluhoovis. Täiesti vabalt võiks selle ära teha ilusas värskelt renoveeritud teatris, aga on suvi ja inimesed on nõus maksma ränka raha talurahva kodust küüditamise, vihmas kükitamise, sääskede poolt sööduks saamise ja millegi eriti mannetu vaatamise eest. Variant 2, näide 1: loomegrupp ei kasuta teatrimaja eesmärgipäraselt, stseenid on majas laiali, rahvas liigub, ideaaljuhul on esile toodud ja rõhutatud hoone ruumiliigendust, ajalugu, tõukutud koha olemuse kirbest hõngust.
Mis on kontaktile orienteeritud teater? Kui olete kuulnud praeguses hetkes elamise imelistest teooriatest ja miks mitte ka praktikatest, siis see teatrivorm püüdleb just säärase eneseteadlikkuse poole. Võiks toimuda osapoolte kadumine-ühtesulamine, kus nemad ja meie moodustame ühtse mina e. teose. Samas võiks kaduda tunnetus toimuvast kui teatrist, mis erineb teosest väljapoole jäävast, ja saada märgatuks toimuv sellena, mis ta on iseeneses, ilma väljastpoolt vaatamise abil peale surutud mõisteteta. See kõik toimub ideaalis mitte ettenäitamise, vaid aktiivse dialoogi käigus.
Kas me teeme kõike seda? Midagi kindlasti teeme ja teeme ka muid asju. Kui kuskil on manifest, mis selle sujuvamalt kokku võtab, siis on see ehk inim-spetsiifilise teatri oma. Oluline on otsene individuaalne kontakt, kohalolu, osalus, lähedus, suhtlus.
Kuidas meie tegevust siis nimetada? Tehniliselt võttes kehtib antud teksti esimene lause igati. Teisalt võiksime endale võtta vabaduse neologism luua, mis säästaks ajakirjanike õrnu sõrmeotsi, arvutiklaviatuure, trükimusta ja kaasaegse muudele, ellujäämise seisukohast ülitähtsatele asjadele pühendunud inimeste kullast kallimat aega. Olgu selleks Võrdsuse Teater.
Mis on © LTÜ G9 Võrdsuse TeaterTM? Kui juhtub, et autor ja külastaja ikkagi jäävad eraldi saarekestele, siis vähemalt ei peaks külastajad end tundma kunstivõhikutena, kelle ülimad kunstigeeniused on üle kavaldanud mingite ülisügavate metafooridega. Me oleme võrdsed. Me tahame kõik hästi aega veeta ja midagi huvitavat kogeda. Me kõik oleme teadmatuses, aga loodetavasti mitte hirmul, vaid uudishimulikud.

G9 teatrimanifest ->

______________________

Labyrinth theatre is an immersive, interactive, site-specific and contact-oriented theatre form.
While experiencing the artwork, the sense of touch is activated more widely than just in the area of the buttocks that rest on the chair.
The spectator becomes also a listener, sniffer, toucher, taster, and a thinking agent.
He or she is led through different parts of space, where scenes take place. These scenes have been developed according to the attributes of the space, and by adding elements to support the scene, where necessary.
A scene comes to life when the spectator-visitor and the performer-local meet. The transition from pre-parer to post-parer is smooth.
Possibly the visitor will start to re-evaluate the experiences preceding and following the time spent inside the performance.

Is it labyrinth theatre that we create? We have discovered that it might not be so. Sensory labyrinths use darkness to make other senses tingle. We have, at least with the Matter trilogy, moved from darkness to twilight, and added slightly more strain on the intellectual strands of the participant.
What is interactive theatre? G9 does not try to create an illusion, that ‘the usual theatre’ was not interactive, but we are. On the contrary. The modes of participation and its degree are in constant change, differing greatly from artwork to artwork, and artworks can appear in whatever place. The fact that epic dramas appear in theatre buildings that have stages and chairs, is simply the pairing of goals and means. We just prefer to play rather with somebody than to someone.
What is site-specific theatre? Performing in spaces that were not purpose-built for performing, or, if they were, then performing using, from, and through these spaces, instead of just trampling on their physical infrastructure. Meaning 1, example 1: a theatre’s summer performance in a farm. It could be more easily done in the freshly renovated theatre building, but it is summertime, and people are ready to pay insane money for getting the farm owners deported, squatting in the rain, being devoured by mosquitoes, and watching something utterly appalling. Meaning 2, example 1: the creative collective does not use the theatre building purposefully, but places scenes all over the place, moves audiences around, ideally draws attention to the architectural specifics, the history, and gets deeply inspired by the true essence of what the space metaphysically radiates.
What is contact-oriented theatre? If you have heard about the fantastic theories, and why not, practices of the living in the now, then this theatre form aspires to achieve such proprioception. What could happen is the melting-into-one of the parties, so that them and us form a singular me, the artwork. Could happen that the sense of this being theatre, being different in timespace from what is ‘outside’, disappears, and that what happens is taken for what it is in itself, not how it is described from the outside. And ideally all this takes place not by one showing it to the other but through an active dialogue.
Is all that what G9 does, then? Some of it we sure do, and we also do many more things. If there ever is a manifest out there that summarises this in a slightly fluent manner, it is the concept of human specific performance. Important values are direct individual contact, presence, participation, proximity, communication.
How should we name what we do, then? Technically, the first line of this text applies nicely. On the other hand, we could take the liberty of creating a neologism that saves journalists their fragile fingertips, saves keyboards and print dye, and the oh ever so valuable time of contemporary people who are just really very preoccupied with the most basic individual survival-oriented issues. Let’s call it The Theatre of Equality.
What is © LTG G9’s Theatre of EqualityTM? If it should happen that the author and the visitor still stay on their separate little islands, then at least the visitors should not feel that they are just laymen in the art field and us utter art geniuses are making them fools on purpose with our superdeep metaphors. We are equals. We all want to spend good time and experience something interesting. There are many things we don’t know, but we’re trying not to be scared, rather be curious.

The G9 theatre manifest ->

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s