Deeper Foundation Collective
SMASH THE ORANGE
Every evening , a call to share some of our new experiments. We put ourselves on the spot, saying yes to every idea.
Smash the orange was a platform for improvised performances. An experiment to find and allow breath on collective practices of creation. An artistic collective exercise. A place for interests to coexist, clash, mould and unfold themselves in not foreseen manner. A laboratory for ways of exchanging, building and living together.
From Thursday April, 11th 2019 to the early morning of Monday April,15th 2019; we lived in one room at CHB (Collegium Hungaricum Berlin) and had access to the Dock11 Hall, where three different performance evenings were open to the audience.
We are in constant negotiation with our interdependence. After all we exist for one another, as a specie we aren’t alone, and aren’t self sufficient.
Deeper Foundation Collective is form by Tamara Zsófia Vadas, Imre Vass, Csaba Mólnar and Márcio K. Canabarro. The Collective started as a search for alternatives to support each others work, development and environment.
Becoming a continuous investigation on how we build, influence and transform our large community through the chain of our immediate affections and our ability to care.As practice we allow our works to be mutable/adaptable, by listening to how it interact with the rhythms of its surroundings; we take in consideration all the information contained in the frames where we and the work inhabit.
As a result, an innate dramaturgy of what-is-already-there emerges, a dialog between the proposal,
the location and the audience we encounter.
With this allowance, timings and events can be easily sourced through “how” we meet and behave in a specific place and situation. Giving us a chance to understand and acknowledge new nuances on our art making and art transmission. Providing new links between coexistence and present context; suggesting cues of how the future of creation in community can be.
The first challenge was to figure out a method of work inside the circumstances: amount of time for creation, decision, edition, rehearsal, practices, dialogues and living. To help locate ideas and wishes, we started by creating a concept for the space, a spacial dramaturgy to embrace the pool of propositions. It served us as a guide, also helping out with clarity for communicating with the technician about logistical needs.
The environment/frame as a guide.
For the first evening we open all windows, took off the dance floor, took out all chairs from the auditorium, use the working lights and did not use music. Props, if used, were small, and we occupied the venue space as a whole, stepping out the stage space, showing the backstage and allowing ourselves to perform at the audience risers. We subtitle the evening :
The second evening, the side blinds of the theater were closed, and we allowed ourselves to use loud music and lights, bigger props, we were performing from the backstage to the stage edge, but not crossing to the audience risers, being exaggerated and theatrical. We subtitled: