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In the topics of his works, there is a lot of violence, sex, and there is an opposition to the society.
He is considered by some critics as treasonous and ungrateful. These things are written.
But, the truth is, he is one of the few that puts salt in the wound.
He refers to things that no one, until that time, has ever dared to mention.
He openly claims that the man is fully aware of the evil, and he practice it for personal satisfaction.
The evil is not a coincidence. And, at the same time, it is connected with pleasure.
This can be seen in most of his books.
Extreme behaviors and sexuality, he brings to light the unconscious, which often terrifies.
It's not so pleasant when you read it and realize that you identify with some of these
and so you go: 'Oh my God, what's going on with me?'
In my opinion, he is an incredibly free person.
When someone gets to think and write all of these, he must be a very free man in his mind.
This free spirit gave me the 'freedom' not to go with the flow.
I believe that, working for such a personality, you have to be unconventional.
For example, the theatre convention!
After discussions, we chose that the performance should be given in warehouses
At places not charged with the magic and the dream of theatre, different kind of places.
Which means we should have the standard etching of the set, before we move into the ephemeral.
This ephemeral concept contains a lot of joy in freedom and creation
'I found this', 'I will put that', it's like a game, like a puzzle!
And, at the same time, you know that reality must turn into a dream. So as something might occur.
In dreams, there is no time; people there do not expect the end,
night is longer, a murderer might come through a wall in dreams.
Genet had claimed 'I have a strange plan, to dream of myself, to give life to my dream
in order to return as a dream in other people's thoughts'.
It is very important to be able to dream what could be persistent
in others' minds in order to make you a project.
It's very strange to think and, of course, to create in this way.
I will show you now a series of slides associated with the ephemeral and the actor.
It is a series of masks, theoretically, from a walk in the city.
We take some pictures from several things and
with ephemeral material like cartons and aluminum papers
we create a character that has reference to that picture.
Some of them are funny, serious, others are theoretical and some are even bad.
I just want you to see them and you can stop me, to ask anything
and afterwards we are having a conversation, shall we?
I have always dreamt that the flashes of my motorbike are its eyes, they are in the same shape.
You can do anythingů
The chimney of a building occupation. It could be a tool in our hands.
You can see that the chimney itself looks like a face.
You can put a nose and you can have a figure.
The type of the figure depends on what we want to do.
It's just ephemeral, you may find it, at the place of the performance.
Glass gives me the impression of water.
I mean, you may want to use something to make an image somewhere.
shaving foamůbecause you can have your own view on things
You can say that you estimate this heavy and ancient thing in that way.
You can make a comment through theseů
Lemons! We all have lemons in our houses.
In my view, this Volkswagen is a lemon juice. It just couldn't be anything else.
You may state that it's just my imagination!
The train gives me the impression of a tunnel. Tunnel is just a red torch, nothing more.
If this girl was telling a story about a train and was holding this torch,
we would understand this thing.
You see that everything could be something and have a meaning.
And anything in a performance is transformed from what it really is to a theatrical object.
A coca cola can in a performance is not a coca cola can, but a theatrical objectů.
this is more complicatedů.this could be a nose!
-Jesus! -Unbelievable!
-It's perfect! -This nose is like a snail!
And he is the one that gets the images of the things together.
So, apart from the director's opinion, who is responsible for the meaning part
the stage designer is responsible for the general and final image.
For me, I prefer to get the beginning and get the ending.
I mean that I want the audience to leave with a very pleasant feeling and...
get into a very pleasant feeling.
As far as it concerns me, I don't like the curtains.
I don't like that at the third ring, the curtains open and then we see the set.
I prefer the audience to enter and say 'Oh, what's that?'
-Introduction and closing. -Right.
To give an impression of the things.
I would like a comment out of the set.
In the theatre, I prefer neither to work as a company, nor as collaborators.
I'm interested in working as a gang.
I like this word, because people in a gang have a common goal.
That we are against someone.
'Against'... I don't mean it aggressively...
I mean that we are a closed team craving to do something more.
-Do you know why I'm asking this? Because I have never been at the side of stage designing.
-I usually say that, for example, I need a space which is something like a dream,
something like this, like thatů
-As a director. And you come with some ideas. Usually.
-With some papers, some pieces of fabric, something else maybe...
-And I really wonder, always from the side of the director, how someone can turn
this abstract thing that I demand into drawings.
-He perceives something. How?
You know what? Whenever I discuss with a director, I keep a few words from what he or she says.
We may have a long discussion but I keep some words.
It's like I have a big text and I erase with a marker several lines and in the end,
there are 5 words by which I create a new sentence.
I have the director's thought visualized because of the words he or she uses.
You could describe a room as untidy. If you describe it as a mess
I will create a quite different image impression.
In my opinion, the word that you use means the energy that you want in the set.
I will keep the word regardless of the surroundings.
OK, we want a room with two windows, or a door or no windows at all.
This is a decision we will make together depending on the size of reality we want this room to have.
But the words you would have used will create an impression in my head...
of how I'd like or dream this room according to the text and to you.
So you can work comfortably and I can be satisfied with my thoughts too.
-Although, on stage designingů. -You don't close your mouth, do you?
-No I don't because I'm highly concerned in.. -Then give me a call and tell me!
-Yeah, but there's a problem here.
-When me and you talk on the phone, we never have these conversations!
-Because we have other, more serious things to discuss!