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Tidligere kursus 2012

Its okay - performance lecture with Lisa Lucassen from She She Pop

It's Okay will provide first-hand insights into She She Pop's game based performances. You will learn how to
- dance like flowers
- play weird German games
- interact with fellow performers according to strict rules
- make a conversation turn sour
in only two and a half hours. 

The lecture is part of Miriam Frandsen's teaching at the departments for Scenography and Directing at The Danish National School of Performing Arts.

She She Pop: 

The history of She She Pop is one of audience consultation and interaction. We encounter our audiences around conference tables, in ballrooms, at campfires or during candlelit blind dates. Our audiences are visibly integrated into our shows. The audience, along with the performers, negotiate scenarios in a trial and error fashion.

Where it is deemed necessary, new rules are introduced, decisions made, requests and confessions delivered, interview techniques and social systems tested. Grand gestures are rehearsed and then discarded.

Audience members look underneath our stones and behind our curtains. They are hands on. They share our fate, our intimate moments and our tight corners. They wear our costumes, dance with us, touch us, kiss us and undress with us. They throw blunt objects at us. They talk to us, discuss and argue with us. They choose one of us and neglect others. They slip us money. They dictate our subject matter. They always play a role.

It is not common for audiences to have as much of an influence on productions as is the case with She She Pop and seldom is there so much voluntary artistic self-restraint. We attempt to dismantle hierarchies and make collective creation into an art form. By allowing and encouraging audience intervention in the development of our work we aim to explore the freedoms and difficulties inherent in the negotiation between individual decision making stategies and the production of collective/inclusive performance. Such audience interference would often be considered an artisitc restriction. However, only when these conflicts and issues are revealed can the performers be made truly responsible for what is said and done.?Our performances are characterised by a dramaturgy that is open to the unexpected. Performers do not merge with a role, rather they attempt to articulate examples of an unprepared self. We bring the concept of a multi-layered, variable and often self-contradictory stage identity to the fore – an identity mobilized as a performative strategy.

In recent years we have trained ourselves to concoct an immediate and recognisable biography from external contributions, influences and opinions. We use each performance’s successes and mishaps to present a deconstruction of identities based on personal experiences. Onstage, through a mutual process of dramatic freedom and restriction, improvisation and adaptation, in-house design and external influence we attempt to portray ourselves and encourage our audiences to do likewise.

How much can we assert ourselves as artists/authors whilst remaining in control of our creation? Why would/should a performer, give up so much control and expect such exertion and imput from their audiences? Does this amount to a relinquishment of responsibility? Unlike actors, She She Pop possess considerable room for manouver. We are our authors, freely choosing the texts to work from to enable a sense of character responsibility.

She She Pop’s art deals with responsibility and risk. It is a place where performing the self and presenting the art of the everyday bring with them challenges that each of us must rise to.

She She Pop is a performance collective based in Berlin and Hamburg. Founded in 1998 by graduates from the applied theatre studies course in Giessen, She She Pop currently has seven permanent members: Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou and Berit Stumpf.

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