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næ am dezvoltat o practicæ de hacking, un fel de piratare a spectacolelor sau marilorfestivaluri, o intervenflie în ierarhiile din festivalurile artistice.Romanian Dance History (RDH) e un proiect care-i implicæ, în principal, pe Manuel Pelmuø, Brjnjar Bandlienøi Farid Fairuz/Mihai Mihalcea (alæturi de Ion Dumitrescu øi Florin Flueraø) øi care abordeazæ, cu mijloaceleperformance-ului, tematici legate de statutul dansului contemporan în România øi pe scena internaflionalæ(în principal, prin „bruierea“ spectacolelor unor coregrafi celebri, în cadrul unor mari festivaluriinternaflionale, de multe ori cu acordul organizatorilor øi/sau al artiøtilor), istoria lui neoficialæ (prima „parte“a RDH a reprezentat un reenactment neconvenflional al Ciocanului færæ stæpîn, un spectacol experimentalal lui Stere Popescu din anii ’60) øi practicile dansului social de periferie (cel mai recent episod RDH,de la sfîrøitul lui 2011, investigheazæ dansul de manele din Bucureøti). RDH atacæ, în principiu, niveluri colateralepostspectacolului, øi anume mecanismele de creare a canoanelor artistice, a mainstreamului, în dans,reprezentarea istoriilor artistice naflionale pe scena globalæ øi percepflia socialæ, prin constructe prestabilitecultural, a actului artistic.¬ Ce-afli fæcut voi e mai degrabæ din domeniul hackingului decît al pirateriei „clasice“,cum a fost atunci cînd, la Viena, în timpul Festivalului ImPulsTanz, afli intrat pescenæ, dupæ spectacolul Annei-Theresa De Keersmaeker, En attendant.√ Atunci a fost mai mult un fel de hijacking al publicului, trebuie sæ-fli forflezi intrareape marea scenæ, cæci istoria dansului românesc n-o sæ aibæ niciodatæ loc în aceastæistorie. Am mers la spectacol øi am aøteptat acolo, era o atmosferæ ca de bisericæ,o piesæ superemoflionalæ, premieræ, în cel mai important festival etc., dupæ ultimeleaplauze am intrat în scenæ øi am spus: „Hello, we are the Romanian Dance History,we are very pleased to be here…“, am fæcut un pic pe naivii, ce frumos e aicila voi, ce fericifli sîntem sæ fim aici. Evident, directorul festivalului a venit la mine peurmæ, „you don’t do this kind of stuff here, you should talk to me before“, la Manuelau venit doi bodyguarzi, l-au împins afaræ, øi aøa, împinøi cætre ieøire, am mai apucatsæ spunem „you see, the Romanian Dance History doesn’t have a place here!“.S-a stîrnit un pic de vîlvæ în festival, a scris despre asta øi Helmut Ploebst – o autoritateîn critica de dans.La Berlin, la Tanz im August, am fæcut la fel, dar atunci era un tribut adus lui MerceCunningham, fæcut de Boris Charmatz. Am venit øi noi pe scenæ, dar a fost cu totulaltæ reacflie, øi atmosfera era mai lejeræ, øi organizatorii aflaseræ despre Viena, plusatmosfera øi publicul, cu mulfli studenfli de la Akademie der Kunste.În sens neutru, provenind din limbajul noilor tehnologii, hacking reprezintæ capacitatea de a explora øiexploata detaliile de funcflionare a unor sisteme în scopul extinderii propriilor abilitæfli dincolo de cele aleutilizatorului minimal, în timp ce hijackingul se referæ la luarea în posesie a controlului asupra utilizærii unuisistem øi exploatarea acestuia în scopuri proprii øi în beneficiul altcuiva.¬ Cum funcflioneazæ identitæflile multiple ale candidatului?√ Florin Flueraø: Avem un candidat, un consilier, o primæ doamnæ, a apærut øi oamantæ, dar care nu øtim cine e. E un trolling online. Mi-ar plæcea sæ aparæ un candidatfæræ ca noi sæ øtim, pe undeva, prin Timiøoara sau altundeva,√ Ion Dumitrescu: Dar ar trebui sæ fie sub aceeaøi umbrelæ conceptualæ.√ F. F.: Aici nu sînt neapærat de acord, mie mi-ar plæcea sæ aparæ oricum.√ I. D.: Eu, în schimb, vreau sæ existe o minimæ conexiune la nivelul mesajului.¬ Toate aceste identitæfli funcflioneazæ, aøadar, în cadrul conceptual stabilit de voi,pentru cæ, altfel, cineva poate sæ ia doar partea de spectacol din postspectacol (chestionareareprezentærii ca reprezentare în sine).√ Da, interøanjabilitatea rolurilor are loc la nivel de ierarhie, dar nu de discurs.¬ Care a fost prima voastræ acfliune în spafliul public?√ Cea de la OTV, 2012, ultima apocalipsæ. Ideea era sæ folosim instrumentelespecifice spectacolului/performance-ului, dar pe scenele mari. Cînd ne-am dus laOTV, era doar o intenflie de proiect, dar nu øtiam unde ne duce, acfliunea de la OTVe încæ parte din seria postspectacol.dential Candidacy was launched on January 21 and, according to theprogram, it should have been preceded by a debate about thefuture of television, with Manuel Pelmuø and Dan Diaconescu. Punctually,the title of the latter project incorporates conceptually, in anironic way, the performative detour of the political substance whichis absent in the Romanian public space and is artificially concentratedin the significant stake of the presidential election campaign.The concept of postspectacle, in this context, deals with a continuousprocess of investigation and interrogation of the idea of spectacle(as it appears in Guy Debord, a form in which authentic social lifehas been replaced by its mere representation) and its political connotations,with emphasis on the critical detour of the social spectacularand casting out the spectacle (abandoning a language ofrepresentation) in the performative act.We developed a postspectacle practice, trying to get our discoursebeyond the spectacle world, on the big scenes, in mass media, politics,or to bring the outside spectacle in the theatre, like when weinvited the army or Dan Diaconescu. After we visited him at his television,we invited him [to BNDC], he confirmed, but, unfortunately,he never came.Then we added the collaboration with Manuel (Pelmuø) and Brjnjar(Bandlien), because Romanian Dance History also works in this postspectacledirection; together we developed a hacking practice, akind of piracy of spectacles or big festivals, an intervention in theartistic festivals’ hierarchies.Romanian Dance History (RDH) is a project that mainly involvesManuel Pelmuø, Brjnjar Bandlien and Farid Fairuz/Mihai Mihalcea(with Ion Dumitrescu and Florin Flueraø), approaching, by the meansof performance, issues related to the status of contemporary dancein Romania and on the international scene (mainly by “jamming”performances of famous choreographers at big international festivals,often with the consent of the organizers and/or the artists),its informal history (first “part” of the RDH was an unconventionalreenactment of the Hammer without a Master, an experimental showmade by Stere Popescu in the ’60s) and the peripheral social dancepractices (the most recent RDH episode, at the end of 2011, investigatesmanele dancing in Bucharest). RDH deals in principle withcollateral levels of the postspectacle, namely the mechanisms forcreating artistic canons and mainstream in dance, the representationof national artistic histories on the world stage and the social perception,by preset cultural constructs, of the artistic act.¬ What you have done is rather hacking than “classic” piracy, likein Vienna, during the ImPulsTanz Festival, when you came on stageafter Anne-Theresa De Keersmaeker’s show, En attendant.√ It was more a kind of hijacking of the audience; you have to pushyour way on the big stage, because Romanian dance history willnever have a place in this history. We went to the show and waited,it was a church-like atmosphere, a super emotional piece, a premiereat the most important festival, etc. After the last applause we goton stage and said “Hello, we are the Romanian Dance History, we arevery pleased to be here...”, we played the naiveté card a little bit,“it’s so beautiful here, we are so happy to be here“. Obviously, thedirector of the festival came to me afterwards: ”You don’t do thiskind of stuff here, you should talk to me before”, two bodyguardsapproached Manuel, they pushed him out, and so, while beingpushed to the exit, we managed to say ”you see, the RomanianDance History doesn’t have a place here!“ There was a little bit of astir in the festival, Helmut Ploebst wrote about it – he is an authorityin dance criticism.In Berlin, at Tanz im August, I did the same thing, but it was a tributeto Merce Cunningham, made by Boris Charmatz. We came onstage, but there was a completely different reaction, the atmospherewas lighter and the organizers had heard about Vienna, and therewas this atmosphere and the audience with many students from theAkademie der Kunste.128