Critical Endeavour

project home
project news

(Big Girls Do Big Things)

Basic architecture of dance

During Beginning Ending

HOW TO PUT A SPELL ON SPELLING

How to Spell a Piece

How to Spell a Piece / Adva Zakai (IL)

L.E.N.

LINKS

Polar Bears Dancing Swan Lake

sound recordings Critical Endeavour workshop

To be continued: (BIG GIRLS DO BIG THINGS)

Tribute to incompleteness

Work in progress: During Beginning Ending

this project is part of

Jardin d'EuropeWorking Title Festival #3

project users

Pieter T JonckAnna Maria SzoboszlaiAyrin ErsözGina SerbanescuHanna PalmanshoferInes MintenRok VevarSébastien HendrickxEleanor Hadley KershawAngelina Georgievakristien van den brande

project tools

login / subscribe

page tools

share / save this page
get permalink

WorkSpace menu

home
news
projects
artists

workspace
residencies
working title platform
partners & links
contact
Critical Endeavour -- published by kristien van den brande -- Sat 5 Dec 2009 - 17:24
updated by kristien van den brande -- Sat 23 Jan 2010 - 01:02

sound recordings Critical Endeavour workshop


WORKSHOP ANNA TILROE
  • 10 commands on art criticism, by Anna Tilroe



  • Dos and don'ts for interviews, experiences by all participants



  • From interview to text, by Anna Tilroe





WORKSHOP PIETER T'JONCK

  • Making inventories, by Pieter T'Jonck
"Together we try to describe as accurately as possible what was literally to be seen in two performances, with as little interpretation as possible. Probably, every participant will discover that some things escaped him or her. We help each other to get as close as possible to a shared accurate description, which also means finding the right words for it. It might be necessary to reenact some moments, just to find out how exacting a movement really is. We might discover that an intrinsically simple movement is made to look difficult or extremely intense and vice versa. These questions can give us the means to recover the key moments, the pivotal points of the performance and give us a better understanding of the purely formal logic of it.  Maybe we discover that some moments don’t seem to fit in this logic. How do we assess that?  Did the artist lose his grip on the events, or is it a kind of counterpoint in the formal logic? How to decide upon that?  In any case, we should try to understand how we, as a spectator, are addressed to. By this method, we might even find a way to catch up with the strategy by which the makers  try to construct a significant meaning of the performance."





  • From 'what?' to 'why?', by Pieter T'Jonck





  • What's theatre?, by Pieter T'Jonck




Pieter T'Jonck - what's theatre?