Everybodys Toolbox open source in the performing arts

THE LOVE PIECE,
with and by Alice Chauchat, Ana Achimovicz, Nino Bokan, Pravdan Devlahovic, Oliver Frljic, Zvonimir Kvesic, Ivana Pavlovic, Ivana Roncevic, Nina Sakic and Una Vizek (2007)

SCORES & DESCRIPTIONS COLLECTION

Within the performing arts, scores are not, in spite of many artist’s individual efforts, a common way of sharing, documenting and archiving performance works. Existing notation systems (such as Laban) are rarely adequate to contemporary practices in an art form that is constantly redefining its aims; every singular work demands a new way of writing it down, according to its main focus, strategies, etc. For the reader, scores offer an insight into the specific ways performance works can be made.

1. A work is not about its author. It is not about something. It is something.

2. Mental activity is a dance. A particular thought process is a choreography, and produces a dance.

3. Don't represent ideas, provoke ideas. Whatever ideas led you to do something, a piece is not there for the audience to understand your ideas.

4. Ideas are all types of experience which possibly can be reflected upon.

Coaching should:

1. coach the project and the one being coached without preciousness and care but with respect and urgency

2. question and make transparent the expectations of processes in relation to this particular process

3. pressume that the one being coached wants to work

4. in case the one being coached don't seem to want to work, question the one being coached's point of working at all

5. insist on talking about the responsability of the one being coached and its work when making a piece.

6. be generous with time, knowledge and perspectives

Coaching should:

1. coach the project and the one being coached without preciousness and care but with respect and urgency

2. question and make transparent the expectations of processes in relation to this particular process

3. pressume that the one being coached wants to work

4. in case the one being coached don't seem to want to work, question the one being coached's point of working at all

5. insist on talking about the responsability of the one being coached and its work when making a piece.

6. be generous with time, knowledge and perspectives

22. January 09 by krõõt

1. rather do nothing at all than something really wrong
2. focus on form rather than content
3. doubt about everything / don’t trust the coach/ the audience/ yourself
4. give up and restart constantly/ dream about escaping
5. do the show because you agreeed to do it /signed the contract
6. face the fact that you probably have nothing to say and that you don’t know what you really want
7. be prepared (expect) to fail / be misunderstood/ find yourself in an embarrasing situation
8. face the fact that what you do is probably irrelevant/ boring

19. January 2009 by krõõt
1. We have to aim for impossible/ unimaginable
2. Success is our only mothafuckin option/failure’s not *(i.e no hoping for the best)
3. the prerformance must already do what it claims (i.e politcs only effective if effective on the micro-level of your immediate surroundings/context)
4. movement is more than visual imagery
5. body is more than semiotics (i.e the study of signs, signification, communication)
6. audience is as smart/stupid as you are (i.e “we” against “I”)
7. creativity is not enough

History and Objectives: