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Théâtre/Theater/Theatre (Budapest – Amsterdam) Edit Kaldor Or <strong>Press</strong> Escape Kaaitheaterstudio’s 5.6.8/05 > 20:30 9/05 > 22:00 75’ En, Fr, Nl € 12,5 – 8,5 Concept, texte, jeu/Concept, tekst, spel/Concept, text, play: Edit Kaldor Concipié en collaboration avec/Gemaakt in samenwerking met/Made in collaboration with: Nicola Unger, Zsolt Mesterhazy, Catherine Henegan Software: Marc Boon Production/Productie/Production: Theater Gasthuis (Amsterdam) Coproduction/Coproductie/Coproduction: Künstlerhaus Mousonturm (Frankfurt) En collaboration avec/In samenwerking met/In collaboration with: wp Zimmer (Antwerpen) Remerciéments à Tim Etchells pour ses conseils pendant le processus de répétitions / Met dank aan Tim Etchells voor zijn medewerking tijdens het repetitieproces./Thanks to Tim Etchells for advice in the rehearsal process. Présentation/Presentatie/Presentation: Kaaitheater, KunstenFESTIVALdesArts Rendez-vous avec les artistes après la représentation du 6/05. Ontmoeting met de artiesten na de voorstelling op 6/05. Meet the artists after the performance on 6/05. 22
‘When the first team of morons started approaching rhythmically from the sidelines, I clicked Retry. They marched on. Cancel didn’t work either. As last resort there was still OK. I hesitated.’ Select all. Cut. ____________________________________________________________ McLuhan remarked that each new technology not only changes the world but also changes our body in this world. Tim Etchells (Forced Entertainment, Sheffield) continues: The theatre must take account of how technology (from the phone and the walkman upwards) has rewritten and is rewriting bodies, changing our understanding of narratives and places, changing our relationships to culture, changing our understandings of presence. In these hybrid times one can feel closer to a person, sometimes, when they are further away than when they are fully and simply before us. Theatre makers should take note. "Dear Claire, I send you in attachment the article I was talking about - it's discussing different aspects of experiencing time while sitting in front of the computer. As I told you, I read this article when I started to work on Or <strong>Press</strong> Escape and although I didn't try in any way to apply it directly, it had some influence on the work. It's quite long. Anyway, maybe it's useful for your text, or just interesting to read. Take care, Edit" In cybertime distinctions between past, present, and future fade, and our sense of times passage becomes distorted. Waiting for only a few seconds seems to drag on forever, while time truly flies when engaged in computing. Immersed in these microworlds, time seems to slow down relative to the outside world; (…) The sense of temporal dislocation in cybertime is a key characteristic of the experience of computing, whether it is compared to religious epiphany, druginduced hallucination, or the dream state. Cybertime is in some ways a form of sacred time, a mythic time or dreamtime (Kirk, 1974). And while it has become commonplace to compare the experiencing of audiovisual media to the act of dreaming, no other media provide the same sense of active personal presence as the computer, no other media allow us to construct and encounter other versions of ourselves: dream selves. (Lance Strate: Experiencing Cybertime: Computing as Activity and Event) Edit Kaldor is alone on stage in the shadowy half-light in front of her computer's giant illuminated screen. With her back to the audience she types on her keyboard. The sound of keys being rapidly hit can be heard. The screen displays her emotions and thoughts, her hesitations, as they happen. It betrays her solitary thoughts that suddenly become displaced by messages from outside. She is the agile cursor on the computer screen: reacting in real time, in a virtual space. Her life is organised into files. She creates them when she feels like it or downloads them from a shared server. She opens them and shuts them. She deletes them, has a big clear out. "I wanted to make a performance about the state of being alone, but without having to address the audience directly. Sitting in front of the computer seemed like a good setting for this. It's a very private situation, a specific state of mind, which, I think, is familiar to a lot of people who'd come to see the performance. And the set of codes associated with the daily use of computer are by now complex enough to play with in a way that can communicate. Of course I was also curious whether the warping of the time-perception that occurs when one is alone in front of the computer would also happen in this kind of a communal setting. In general, I find the way it deals with time the most theatrical aspect of this medium. Plus I was interested in using text in a particular way, in making the process of formulation the main action in the performance." 23
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