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Un cíborg es una entidad cibernética.
Un híbrido de máquina y organismo, ambos concebidos como dispositivos codificados, una criatura de la realidad social y también de la ficción.
En nuestra época, una época mítica, todos somos quimeras, híbridos teorizados y fabricados. Una ficción que cartografía nuestra realidad social y corporal.
En resumen, todos somos cyborgs.
En el conflicto en la frontera de los territorios de la producción, la reproducción y la imaginación, este capítulo es un alegato a favor del placer en la confusión de las fronteras y de la responsabilidad en su construcción.
[Donna Haraway]
Se exige al público que entre en la oscuridad y en el objeto del que no sabe nada.
Como una crisálida, los contornos borrosos parecen multiplicar las figuras y alejar el hábito de la identificación. El espacio crea límites para encontrarse con los demás en una dimensión humana compartida del tiempo -que no es suficiente-, mientras que el ritual nos guía para hacer una pausa y, forzando la quietud, volver a conectar con el misterio olvidado.
A través de su lamento, la entidad obligará a los límites a cambiar de forma.
Un cyborg è un’entità cibernetica.
Un ibrido di macchina e organismo, ciascuno concepito come dispositivo codificato, una creatura della realtà sociale così come una creatura della finzione.
Nel nostro tempo, un tempo mitico, siamo tutti chimere, ibridi teorizzati e fabbricati. Una finzione che mappa la nostra realtà sociale e corporea.
In breve, siamo tutti cyborg.
Nel conflitto al confine tra i territori della produzione, della riproduzione e dell’immaginazione, questo capitolo è un’argomentazione per il piacere nella confusione dei confini e per la responsabilità nella loro costruzione.
[Donna Haraway]
Al pubblico è richiesto di entrare nell’oscurità e nell’oggetto di cui non sa nulla.
Come una crisalide, i contorni sfocati sembrano moltiplicare le figure e allontanare l’abitudine all’identificazione. Lo spazio crea confini per incontrare gli altri in una dimensione umana condivisa del tempo – che non è sufficiente – mentre il rituale ci guida a fermarci e, forzando l’immobilità, a riconnetterci al mistero dimenticato.
Attraverso il suo lamento, l’entità costringerà i confini a cambiare forma.
Idea and creation:
Camila Scholtbach & Cistifellea Collective
Performer and choreographer:
Camila Scholtbach
Sound design and live sound:
Nico Yurgaki
Stage direction, Schenography, 360 video:
Elena Tilli
Interactive Sound Mentorship and equipment:
Claudius Lazzeroni, Folkwang University
Presence on Stage:
Agata Scholtbach
Pictures:
Jan Schmitz Fotografie
Video:
Justin Weers
Coproduction:
Theater Im Depot, Cistifellea Collective
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
