conversations in ten questions 20 : Guy Weizman & Roni Haver (Club Guy & Roni)
In this series of interviews we try to get to know the artists of İstanbul Theatre Festival 2020. Our fourth and last guests are Guy Weizman & Roni Haver.
Ayse Draz, Art Unlimited Performing Arts Editor & Mehmet Kerem Ozel, Writer
[The Turkish translation of this interview is published on art.unlimited]
Urgency is the spirit. Relating to content, not to form or aesthetics.
Contemporary art for me is interdisciplinary, it’s about pushing the boundaries of the disciplines. For a performance to be urgent, the performers should always be fully informed of what they’re doing.
We don’t use dance aesthetics as the leading element in a creation. We are questioning every discipline every time we create, according to the subject we want to tell. Reinventing the languages of dance, theatre and music language according to the content.
Do you believe in the transformative power of art? How?
Absolutely. I think art can function as a valve for society. You see it in cultures where everything has been said and done, art can transform noise, fear and consumerism into a diamond of emotions and powerful minimalism. And in society where nothing is allowed to be said, the creativity of art allows free expression in many different forms. It is also very transformative to the performer, but that’s another subjec. The performer is also being transformed with every performance.
How do you think that this pandemic which humanity is facing at a global scale today will transform performing arts in the future?
First of all I believe it will develop the whole digital aspect of it. It will bring art into virtual environments. And I can imagine art will be changed in the same way humanity is being changed. Wearing our masks and not seeing each other’s smiles, keeping distance and not being able to hug disconnect us: Art could be the counterpoint, hoping we don’t miss out on each other, art can be the antidote to connect and share.
Are there any artist whom you can describe as "my master", or any person whom you think influenced your art most? And if there is such an artist or person, who?
I don’t have ‘masters’ but in general a variety of disciplines is inspirational, with books, literature, first in line. We work with a lot of elements in our performances, including texts, fashion, film and video, dance, theatre and live music.
More specific the film makers Hal Hartley and David Lynch are endlessly inspirational. As well as Hermann Nitsch and former ‘La La La Humansteps’ lead by choreographer Édouard Lock.
When you are working on a piece, what sources inspire you? Do dreams play a role in your works?
Every performance I make I try to construct like a dream, with an illogical, associative narrative where things transform. The creativity of dreams is something I try to imitate, recreate, in my work. The boundlessness of dreams inspires me. The performances I make somehow happen often inside someone’s head. Also, because reality is boring and fantasy is super exciting.
The sources of our work have to do with big social questions, urgent social dilemma’s and books.
When do you decide to give a title to a work you are working on if it already does not have one?
The title is often the first decision we make. It’s the first choice of the direction of the piece, the first frame. In our project ‘the Human Odyssey’ we make performances about the pillars of our society: Love, Happiness, Phobia, Freedom, Fortune, Faith. We start with one of these words as the title, framing the beginning of the creation process for the performances.
You had a long journey full of adventures from your country of origin Israel to the Netherlands where now you are quite established; what were the most significant stations/stops for you on that journey?
We had a very fortunate, rich career. Starting at the Batsheva Dance Company ensemble in Tel Aviv. Every step was super exciting, and not less exciting was it to work in cities like Barcelona, Brussels, Berlin and Amsterdam. Travelling the world. Along the way we worked intensively with Wim Vandekeybus at Ultima Vez, Lanònima Imperial,
Itzik Gallili and many more.
You have an idiosyncratic interpretation of the fairy-tale of swan-lake that we are accustomed to from the tradition of classical ballet, or more recently from the movie black swan; could you elaborate on your own interpretation that underlies this piece of yours?
In 1895, as Russian society began to brew and foment and tell-tale signs of the 1917 Bolshevik Revolution were sweeping the nation, an elite audience in St. Petersburg marvelled in wonder at Swan Lake. It was the premiere of that romantic ballet, brimming with beautiful dancers in pointe shoes and tutus, about an enchanted lake and forbidden love. You can almost imagine theatregoers intentionally cloistering themselves, far from the unpredictable outside world, and escaping into the fictional reality of a romantic fairytale. And in 2020, that same fairy tale is still an unparalleled favourite, enchanting audiences everywhere.
Writer and mathematician Nassim Nicholas Taleb coined the term Black Swan Event in 2001 to describe an improbable event that fails to fit into our usual ways of thinking, and yet has major economic or social impact. Over the last few months, our society has become
intimately acquainted with the black swan called corona. Not to mention the climate crisis, which may not be unpredictable, but its future consequences certainly don't fit into our current way of thinking.
In this unpredictable world, it is tempting to retreat under the warm blanket of security and predictability, or cling to a fictional past that we yearn to return to as soon as possible. It is far more difficult to explore what new ideas, words, or thoughts could help us through the crises we’re facing. Where the future is uncertain and dangerous, the past is familiar, recognisable and reassuring. But conventions can also be suffocating, and freeing yourself from their grasp is never an easy task.
That is true of both society and our own individual lives. Shedding your past, facing insecurity and fear, seeking out new and better ways to arrange your life or be yourself are matters that everyone has to deal with in life. Each individual life has its own black swans.
Swan Lake is the story of how we handle crises and the choices we make along the way. It is about the choice between past and future, between proven quality and the risky path forward, between remaining yourself and becoming yourself.
The evening is designed as a journey through four acts and four dance solos. There are three unique journeys, but the audience can only see one at a time. The outcome of the performance is determined in part by your choice and the choices made by the performers in Swan Lake The Game. How do we want to head into the future? Tall and strong on pointe, or hesitatingly wearing sneakers?
How are you in person handling/dealing with the challenging conditions posed by the pandemic? How did having to comply with the constraints imposed by COVID-19 in the creation process of this piece sparked your creativity?
Creativity is finding a solution that at first sight is maybe not visible. I think in a creation process there are always constraints. This time they were not so much about budgets but about the form in which this performance could happen. Once you can’t go in one path there are 15 other paths that open, I’m holding on to that.
Is there anything in particular you would like to tell people before they see this show? Is there anything particular you would like to tell the Istanbul audience?
As supposed to the original ballet, this performance is a philosophical etude. It’s not about understanding, but about experience, allowing to spark new thoughts in your head. It’s intended as a bridge between the person and their hidden images in their heads.
A bit like poetry and visual arts. Also, in that visual dramaturgy.
We can’t wait to perform live for you, in an actual theatre. Next to our online version! We really look forward hosting you in our NITE hotel and hear your thoughts afterwards!
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