Thursday, 16 July 2015

Dramaturgy on the Streets: Gijs van Bon


What inspired this production: did you begin with an idea or a
script or an object?

I began with the difference between thinking something and writing something down. Once written the thought can be let go. The deed is done. The stance has been made. A bit like writing something down in a diary. You write a diary to get rid of something, not because you want to read it again. There is also a analogy with writing the names of the dead. To witness and to acknowledge the thought of their lives.

Why bring your work to Surge?Because there can not be enough poetry written in sand throughout
the world. It is a good thing to focus on silence and thoughts amidst a crowded street and a loud life.

What can the audience expect to see and feel - or even think - of your production?
Contemplation and a connection with the process of creating something and then letting it go. Next to that the autarky of the robot writing introvertly the text before revealing it to the public.

How would you explain the relevance - or otherwise - of dramaturgy within your work?
Skryf writes with sand poetry in public space. For the poetry that is a dangerous thing to do. Public space is hazardous for small piles of precisely stacked sand. So in concept there is the highest goal of laying out a complete poem or text. In reality that is almost not reachable. The public is aware of that and feels for the text.

What particular traditions and influences would you acknowledge on your work - have any particular artists, or genres inspired you and do you see yourself within their tradition?
Throughout the world there are many traditions involving sand and drawing something temporary with it. Skryf does it in its own fashion, as a new time robot, with texts that are most of the time site-specific.

Do you have a particular process of making that you could describe - where it begins, how you develop it, and whether there is any collaboration in the process?
The process starts with a combination of concept and technological possibility and offcourse, my own interest and longing for creating something new. After that comes a long and hard tie in my workshop making, testing, remaking, retesting etc. I see that as a collaboration between me and the technology and the concept. No one of the three is really in charge. In the end if all three are equally present I am happy.

What do you feel the role of the audience is, in terms of making the meaning of your work?
I need the audience. They are there to "read" the work, understand the concept and also destroy the written texts. Without an audience there would be half a performance left. Although it would be really powerfull to lay out a text in a very remote place no one would know of.

Are there any questions that you feel I have missed out that would help me to understand how dramaturgy works for you?Best to see the machine in action. I myself will not be at Surge Festivall, Benno, the other Skryf operator will be there. Thanks for your interest!

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