Through a subtle and precarious approach,“An attendee” tries to guide the audience perspective into the details of space, along the edge of (un)spectacular events, towards the frictions of different encounters. Small stimulation open up to bigger questions, emotionally and energetically charged, as a single performer finds themself in the company of a set of things, fragments and sounds. Upon encounter they transform into subjects, into micro narratives and locations, sketching out a place of memory, loss and hope, where leftover voices give their account.
As the performer moves along and with them, a precise, soft and concentrated body emerges that tries to attend to these accounts, encapsulated in the environment. In the attempt of overcoming a present state of affair towards another state of “future”, the performer encounters internalised projections, obsessions, lingering violence and wounds.
The practice that this work brings to the foreground tries to investigate the utility of being in a broken place, that a priori to fixing or saving, asks to be embraced with delicacy and care, with trouble, yet attention. The viewer is invited to join and rest in this space too, without pushing for answers, judgement and absolution, and to give in to the disquiet.
By looking at ecological philosophies and environmental precarity, effectively supported by an isolating pandemic, Toni Steffens is investigating anew what the notions of “environment” can mean within the theatrical and artificial realm of the black box. In her practice she refers to the context of visual arts and balancing on the line between two different traditions of mediation, in between spectacle and installation, theatre and still life/exhibition. Being sensitive to western arts traditions, she imitates the “gallery space” to foreground the power of things, objects and more than human reality. Here is where she uses performance and theatre with a notable emphasis on movement to let those things open up, create mystery and discourse, take the lead of the story and question the human body in their arrangement and encounter.
Booking info:
length: 48 mins
I am travelling together with my light designer Paulina Prokop. The set deisgn and lights fit into two trollis and two odd sized luggages.
Credits
Choreography and Performance: Toni Steffens
Set design: Nikola Knezevic and Toni Steffens
Costume: Ginta Tinte
Lights: Paulina Prokop
Sound: Toni Steffens, Teresa Winter
Advise: Keerthi Basavarajaiah
Notable Attendees influencing the work: Alina Popa, Ana Mendieta, Camille Claudel, Jeanne Dielman
Production: Veem House for Performance, NBprojects, 2020
Reviews:
Robo dog- who are you? A creature, a robot and also a dog. You are a manmade killer, carrying a riffle on your back, ready to kill whoever your master orders you to kill. It hasn’t been long since I came to like robots or dogs. Most of them made me feel indifferent and at worst scared. Now I like dogs, I even consider to get a puppy. When I am trying to find a way to you, Robo dog, there are certain mind perversions, I cannot fully wrap my head around. For instance to see a YouTube video about a robot/ AI engineer who recounts the moment of silence and shock when the “quadruped” was aired on some robotics fair. How the present collective of robot designers and engineers found itself confronted with what remained beyond the limits of their imagination. Do not get me wrong, Robo dog, I do not think you were really that hard to be fathomed into existence. You make perfect sense inside a history of subordination of non human beings and machines, a history of domestication and drill. While it seems perhaps ridiculous, that people who’s primary work is to design instruments to control, interfere with, such as eventually hunt down and annihilate other people have some sort of imaginary, moral boundaries, what was even more haunting for me, was the fact that this calm and collected engineer, remembering the incidence, merely a side occurrence in his perhaps otherwise unbothered existence, started to smile, shyly and almost humbled, a kind of awkward reminiscence of what perhaps once was a feeling of shame. I believe, if you made yourself such a man, shame has systematically been driven out of your realm of experiences. You, the superior, the forth bringer of technological advance, ultimately will bringing the rest of us to light, you do not have to think about the necessary sacrifices of those lives, you lay waste to. Yet, to sit amongst likeminded colleagues and air the imitation of a dog that can carry all kind of technological extensions such as cameras, rifles, sensors and detectors, must somehow made him self aware of something startling, this seemingly gentle man. What did you do, Robo dog? Was it the usage of a part of who you are, a creature often called the best friend of mankind, the most loyal amongst all animal companions and to create a version of it, that, even a dog of flesh and blood is afraid of, as one can see in some tik tok videos. Was it to use those characteristics to join the madness of mankind towards its bizarre and unique desire for violence, its in-saturable wish to see the world and its multi species inhabitants destroyed. And to do so in order to feel perhaps less alone in its perversion, for normalising its thirst for annihilation, since you, Robo dog, both remember, confirm and bring forward this legacy of human domination, that, eventually somewhere deep down, brings a sense of twisted familiarity, friendship and companionship to the battle field. Or is it maybe, how the shape and the very being of our animal companions can remind us of things, even you Robo dog can’t deny, as you effortlessly jumps through the conflict zones? That we cannot shape shift that aspect of your being. That the more we shape shift the violence we breed, the more you will jump and not bark, but shoot at us.