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We have taken some tools of virtuality, in collaboration with other colleagues, to build a space of interrelation between creators and people. A digital place that dispenses with the physical space and, without replacing it, demands other forms of coexistence, of creation and therefore of construction of an artistic discourse. Forms and techniques that must escape from the anxiety to imitate cinematography, audiovisual art, or theatrical language.
theatrical language. Discourses that recover, at a distance, the performance in real time, the meeting of people and the exchange of ideas.
In Agresión y Dignidad we do not look for an anecdotal fiction but we try to build an artistic discourse with the digital tools we have, but from the scenic thought. We seek the concatenation of events, the interweaving of bodily, sonorous, visual and We are looking for the concatenation of events, the interweaving of body, sound, visual and literary signs, the opinions of people, of other artists, sometimes direct, sometimes metaphorical, sometimes taken out of context to put them face to face.
This project is not limited to the presentation of the piece, it is a basis for the exchange of ideas. After the presentation, a conversation with the spectators takes place through a zoom-in where we count on social agents not belonging to the performing arts.
In previous performances we had the participation of teachers and students from the National School of Anthropology and History. On this occasion the guests, if selected, would be members of the civil organization La Poderosa from Argentina. We are aware that in the search for the common good it is necessary to go beyond the frontiers of our guilds and link the arts with other fields of knowledge and social action.
Hemos tomado algunas herramientas de la virtualidad, en colaboración con otros tantos colegas, para construir un espacio de interrelación entre creadores y personas. Un lugar digital que prescinde del espacio físico y, sin sustituirlo, exige otras formas de convivencia, de creación y por lo tanto de construcción de un discurso artístico. Formas y técnicas que deben escapar de la ansiedad por imitar a la cinematografía, al arte audiovisual, o al lenguaje teatral presencial. Discursos que recuperen, a la distancia, el performance en tiempo real, la reunión de personas y el intercambio de ideas.
En Agresión y Dignidad no buscamos una ficción anecdótica sino que ensayamos la manera de construir un discurso artístico con las herramientas digitales que disponemos, pero desde el pensamiento escénico. Buscamos la concatenación de eventos, el entramado de signos corporales, sonoros, visuales y literarios opiniones encontradas de personas, de otros artistas, a veces directas a veces metafóricas, a veces sacadas de contexto para ponerlas frente a frente.
Este proyecto no se limita a la presentación de la pieza, esta es una base para el intercambio de ideas. Después de la presentación se realiza una conversación con los espectadores a través de zoom donde contamos con agentes sociales no pertenecientes a las artes escénicas. En funciones
anteriores tuvimos la participación de docentes y estudiantes de la Escuela Nacional de Antropología e Historia. En esta ocasión los invitados, en caso de resultar seleccionados, serían integrantes de la organización civil La Poderosa de Argentina. Somos conscientes que en la búsqueda del bien común es necesario traspasar las fronteras gremiales y vincular las artes con otros campos del conocimiento y la acción social.
Abbiamo preso alcuni degli strumenti della virtualità, in collaborazione con altri colleghi, per costruire uno spazio di interrelazione tra creatori e persone. Un luogo digitale che fa a meno dello spazio fisico e, senza sostituirlo, richiede altre forme di convivenza, di creazione e quindi di costruzione di un discorso artistico. Forme e tecniche che devono sfuggire all’ansia di imitare la cinematografia, l’arte audiovisiva o il linguaggio teatrale.
arte audiovisiva o linguaggio teatrale. Discorsi che recuperano, a distanza, lo spettacolo in tempo reale, l’incontro tra persone e lo scambio di idee.
In Agresión y Dignidad non cerchiamo una narrativa aneddotica, ma piuttosto cerchiamo di costruire un discorso artistico con gli strumenti digitali a nostra disposizione, ma dal punto di vista del pensiero scenico. Cerchiamo la concatenazione degli eventi, l’intreccio dei segni
Cerchiamo la concatenazione di eventi, l’intreccio di segni corporei, sonori, visivi e letterari, le opinioni contrastanti di persone, di altri artisti, a volte dirette, a volte metaforiche, a volte estrapolate dal contesto per metterle a confronto.
Questo progetto non si limita alla presentazione del pezzo, ma è una base per lo scambio di idee. Dopo lo spettacolo c’è una conversazione con gli spettatori attraverso uno zoom in cui sono presenti agenti sociali esterni alle arti performative. In precedenza
Nelle precedenti rappresentazioni hanno partecipato insegnanti e studenti della Escuela Nacional de Antropología e Historia (Scuola Nazionale di Antropologia e Storia). In questa occasione gli ospiti, se selezionati, saranno i membri dell’organizzazione civile argentina La Poderosa. Siamo consapevoli che nella ricerca del bene comune è necessario superare le frontiere delle corporazioni e collegare le arti con altri campi della conoscenza e dell’azione sociale.
Title
Agresión y Dignidad
Company
Colectivo Cistifellea
Duration
25 min
Direction y Interprete
Cesar René Perez
Original Music
Nicolas Cristancho
Multimedia Design
Elena Tilli
International Support
Fonca (Mx)
Cistifellea ©2023 – All Rights Reserved
Composer, pianist, guitarist and percussionist specialized in Jazz and Afro-Caribbean music. Creator of soundtracks for audiovisuals and performing arts.
Song writer.
Double degree in Jazz Piano from the Universidad Javeriana de Bogotá, Colombia and the Escuela Superior de Música de Catauña, Spain.
Nicolás is the co-founder of the Cistifellea Collective together with the director and stage designer Elena Tilli, where he works as a sound designer, performer, and writer. His practice of improvisation and his emphatic approach during the process offers unique possibilities.
He investigates unconventional forms of participation of the public while attending a performance and as inspiration to his process with sound. He develops specific tools for interaction and builds custom-based small-scale instruments.
Using software, and electronic sounds, together with live played instruments, Nicolas allows himself a fullscale exploration that together with his wide versatility as a musician and composer, opens up a high level of complexity that translates into a beautiful, inspiring, and sometimes provocative experience for the public.
Nicolas is also a singer-songwriter, leader, and manager of the independent musical project Yurgaki since 2005.
Composer and co-producer of the projects Candombe Tierra, Sones de Marimba, Chonta Dura, in Barcelona.
His work has been presented internationally in countries such as Ecuador, United States, France, Italy, Croatia, Romania, Ecuador, Morocco, Azerbaijan, Colombia and Spain.
Nicolás also works as an educator for children, youth and adults. He promotes Afro-Caribbean music around the world through concerts and workshops where he spreads various musical genres, disseminating traditional music and transforming it through his own compositions.
Find out more at yurgaki.com
Elena is a multidisciplinary artist.
She insists on the body as the epicenter of scenic language while researching, studying, developing post-dramatic approaches to technological constructions she develops, engineers and builds.
Elena is the co-founder of the Cistifellea Collective together with the musician Nicolas Cristancho, in which she directs, and builds scenery, machines, and media design. She is also a video designer in the theater and her collaborations have been seen at The Kitchen Theater in New York, at the Barichstaadt Opera in Munich, and in public theaters in Barcelona.
After graduating in mechanical engineering (MA), Elena completed her education at Yale School of Drama studying Technical Design and Production and Design for Theater. She completed the three years program held by Claudia Castellucci at Scuola Conia Raffaello Sanzio focused on the Theory of Scenic Representation. Since 2021 Elena is an alumni Fellow at the Akademie für Theater und Digitalität, Dortmund with which she continues to partner and develop her work.
Elena creates visual experiences combining technical and technological elements, for a variety of artistic applications, such as performance, installations and theater productions. Her practice focuses on the process and aims to develop dramaturgies that inhabit technology, always guided by the commitment to find in the collaboration a unique and essential value.
n 2023 she directs, stage and technology design Coded Rituals together with Camila Scholtbach and NIcolas Yurgaki. The performance is co-produced by Cistifellea Collective and Theater Im Depot and it opened the Festival Beyond Gravity in November 2023.
In 2022, the performance Presence of Absent was funded by the Kulturbüro of the city of Dortmund and the NRW Kultur Sekretariät as part of the project Distant Land Vol I. It was seen at Lake Studios Berlin as a work in progress and later premiered at Theater Im Depot in February 2023.
With Cistifellea she directed the performances/long theater pieces Codes of Absence (2023), Presence of Absent (2022), Don’t Make it A Play (2022), Asuntos Humanos (2021), Todo Bien Todo Tranqui (2021), El Silencio no Existe (2020).
In 2023 she was the video designer and technologist in the theater piece Nomadas, premiering at Teatro OBando, Lisbon in April.
She also assisted video designer Susanne Steinmassl as a stage live camera coordinator, content creator and film editor in Die Nibelungen Festspiele in Worms in 2023.
In September 2022 she was part of Digital Body Archive residency at Lake Studios Berlin. Here she began, together with more than 15 fellows a research focusing on the principle of “no technology before need” (as suggested by TroikaRanch) as a start, to then tailor the technology she wanted to see by creating artwork that uses/misuses tech that was available.
In September 2022 she was also part of te project Togather with the installation titled Unlearning Journey into a virtual body. The project was funded by NRW Kultur Sekretariät and premiered at Favoriten Festival 2022 – Unlearning for Possible Futures.
With Cistifellea she directed the performances/long theater pieces Codes of Absence (2023), Presence of Absent (2022), Don’t Make it A Play (2022), Asuntos Humanos (2021), Todo Bien Todo Tranqui (2021), El Silencio no Existe (2020).
Find out more at elenatilli.com
