WEEKLY QUESTIONS
Term 1
01 — Bral / Song of the Goat
To what extend can hybrid aesthetic forms that reconcile pop music with traditional polyphonic singing emerge or, in other words, to what extent is a reconciliation between secular and sacred music possible ?
02 — Marco Donnarumma
How can my performance and music practice resist the mechanization of human behavior in an AI-driven world?
03 — Jan Fabre / Troubleyn
How can we access our cruelty as performers?
04 — Ultima Vez / Troubleyn — Artistic Leadership & Transmission
As an artistic leading figure, how to discern the historiographical conditions we are embodying and transmitting?
05 — Stacy Makishi — Trauma & Transmutation
How is the notion of trauma being exposed in traditional theatrical representation spaces VERSUS in contemporary art spaces of transmutation, as proposed by Stacy Makishi?
06 — Stacy Makishi — Subtext
What does Stacy Makishi mean by “subtext” in performance? And how does it resonate in the visual arts? A tentative definition.
07 — Lloyd Newson / DV8
What happens when voice and movement are split? Lloyd Newson’s anti-synaesthetic dramaturgy.
Term 2
01 — Eddie Martinez / Pina Bausch & Robert Wilson
What connected and differentiated Pina Bausch and Robert Wilson in their approaches to the modern crisis of language?
02 — Gecko — Led Breath & Temporality
How does Gecko’s led-breath practice transport the performer into another space-time, and how can this altered temporality itself be understood as a survival practice in times of global crisis?
03 — Gecko — Collapse, Identity & Collective Process
What occurs when a performer loses their emotional, mental, and physical balance — when the very framework of identity begins to collapse — yet remains contained within a collective creative process such as Gecko’s?
04 — Viewpoints / Arjan
Are we anarchist performers? (definition)
05 — Jeremy Nedd
Does physiological dramaturgy, unlike psychological dramaturgy, require a holistic approach?
06 — Viewpoints / Devising — Collective Protention
How can a devising process create new forms of collective protention in an epoch of disindividuation? (A Vocabulary List for Myself)
07 — Clément Layes — Time as Mental Architecture
How can we, as performers, expose “time” as a mental architecture — a constructed space of the mind capable of generating, feeding, and dissolving political demons?
08 — Clément Layes — Emotional Censorship
What’s emotional censorship in artistic context?
09 — Mart Kangro
Is the contemporary artwork supposed to be autonomous?
10 — Peader Kirk — Collective Fiction
How can bodies synchronize around a collective fiction?
Term 3
01 — Sacrificial Art
Is sacrificial art still contemporary?
Have we inherited an old artistic mythology that confuses pain with depth, over-exhaustion with devotion, and self-destruction with authenticity? How do we preserve depth, devotion and authenticity then?
02 — Art & Life / Identity
Dialectic between art and life: does art emerge from the visceral need to annihilate our identity?
03 — Ephia — The Dreaming Body
How does the colonial logic of dreaming manifest itself in art? The dreaming body: discerning extracting VS. inhabiting.
04 — Ephia — Anatomical Landscapes
Accessing the non-human body: what’s the purpose of activating Anatomical Landscapes?
05 — Ephia / Soundscape & Dreaming
What is at stake in the soundscape when performers work the liminal state of dreaming in the studio?
06 — Rimini Protokoll — Theory
What’s the knowledge integration system hidden behind the “Expert of the Everyday”?
07 — Punchdrunk — Sacred Image & Performativity
Is the act of performativity behind the reenactment of sacred religious paintings, such as Jérôme Bosch’s “Crucifixion of Saint Julia” within our Punchdrunk workshop, bound to desacralize its content — even to the point of rendering it grotesque?
08 — Theatre Re — Authority of Form
Are contemporary physical performance makers’ bodies unconsciously resisting the authority of pure form — an authority that belongs more to modernism than to contemporary art?
09 — Rimini Protokoll — Practice / Minor Keys
Why reconnecting with elemental forces is fundamental to (my) physical & artistic practice… even when creating an audio walk?
10 — Rimini Protokoll — Independent Woman Artist / Laboratory Condition
How to deal with the rat laboratory condition as an independent woman artist?
11 — Yorgos - Physical Lab — Industry is the new Ritual
Is ritual, more than narrative, now the reorganizing forces of the industry (and therefore, to contemporary performance) ?
12 — Marina Abramovic Institute — Loss of language / Body of Flesh
What’s the quality of human consciousness without language?
13 — Marina Abramovic Institute
So... What is my practice, and what has changed since day 1 at CPPM?
14 — YBDG — The Young-Girl / Colonisation of the Self
Where does the Young-Girl concept crystallise in myself?