Festival Baltoscandal is opened on Wednesday, 6th of July 21:30 in Theatre Yard.
There will be performance of Kiwa and Henri Hütt "Godot is a DJ" and speeches.
Duration 30 min
INGA SALURAND “Kiss and Fly”
/ space installation /
In Theatre Park
Open: 6.–9.07 12:00–23:59
Kiss and Fly is a space installation on memorising and chewing located at Rakvere Theatre Park. The initial starting point for the installation was a diagram drawn by Jenny Holzer on 1976. It is an abstract, schematic drawing of a city, below the drawing there is a text: “Retrospective painting as seen during the no past condition”.
Kiss and Fly unclasps itself from memories and stands against dragging along things, people, stories and traditions as well as repeating patterns.
This artificial city built for the festival reminds us that all spaces that we spend time in mental and physical world are liminal and meant only for passing through.
Author of the installation, performer, sound designer: Inga Salurand
Dramaturgical assistance: Maike Lond
Technical assistance: Magnus Andre, Hendrik Kaljujärv
Technical support, producer: eˉlektron
Project manage: Eneli Järs
Inga Salurand is a performer working in the field of contemporary art, who does not want to limit her work to a certain medium. Her means of expression are performing arts, graphics, sculpture and sound. In the last years she has been working with concepts around liminal spaces. The goal of her artistic practice is to map intermediate areas, both physically and mentally, by discovering gaps or spaces that seem to say nothing. It can be liberating, it can be boring, but it is also the key to stimulating the imagination.
Anthropologies of Space
“Kiss and Fly” is part of an interdisciplinary (performance)art project “Anthropologies of Space initiated by eˉlektron. It will result in the creation of three new works at this year’s Baltoscandal. As the name suggests, artists deal with space and human. The environment and conditions around us are something that we perceive on a daily basis as "the thing in itself" - something that has been given to us but has become more and more strongly influenced today. Be it a global pandemic or a virtual reality that is becoming more and more a regular part of our sense of space.
LIIS VARES “Where are you?”
/ choreographic space /
Where: Apartment 34 (telephone 32 45605) and elektron.art
Official visits to the physical space:
7.07 11.00–14.00; 17.00–20.00
Virtual window to the apartment is open at elektron.art every day at 11:00 – 20:00
LV: “Few years ago I came here just to be. To have less to do and more time to observe what is already there. Here one can take time and give time. Forget oneself and find again. When being here, something might even happen. When a plan comes up, it will for sure change. Here every moment leaves a trace.”
This apartment is a typical living space built on 1973 with all conveniences and where every room has its certain function that has for decades allocated the rhythm and ways of being and moving for the people that have lived here. This apartment has its past and its future, but in our focus is this current time and the people who meet here during July 6-9.
Liis Vares is a choreographer and artist. In the center of her practice is the contemporary body. Attention is her ‘dancer’ with whom she dances in black box, white cube and on grayscale online platform. She plays with borderlines between physical and mental, between personal and social. By following her research question: how does it feel/what does it mean to be in a body, she is diving more and more into transmedial spheres of art and being.
Anthropologies of Space
“Where are you?” is part of an interdisciplinary (performance)art project “Anthropologies of Space” initiated by eˉlektron. It will result in the creation of three new works at this year’s Baltoscandal. As the name suggests, artists deal with space and human. The environment and conditions around us are something that we perceive on a daily basis as "the thing in itself" - something that has been given to us but has become more and more strongly influenced today. Be it a global pandemic or a virtual reality that is becoming more and more a regular part of our sense of space.
BOHDANA KOROHOD, DARIA KHRYSTYCH “performing inscribed trajectories: a play in walks”
/ scripted walk / collective archive
We are waiting for you on 6–9 July:
12:00–15:00 in Lääne-Viru County Central Library (Lai 7, Rakvere), and
17:00–20:00 in Rakvere Theatre
You receive a book – an invitation to walk and read differently. To write the city-text with different bodies. To be both the Spectator and the Performer of Rakvere – the Walker.
The book offers you three scripted walks, “Walk-with Care”, “Walk-with Not / Belonging” and “Walk-with Stillness”. Each of them narrates condensed affective perceptions of the city. Together they perform an archive of the ways to be in Rakvere.
The archive includes shared walks-with:
*the locals who define Rakvere as their home,
*the dwellers who befriended the city through community work,
*the newcomers who came here, looking for a shelter from the war,
*the trees who host the whole ecosystems,
*the rocks who bear witness to thousands of years of history,
*and the wind who was directing our routes.
After you receive the book, you can walk-read it at any time suitable for you while being in Rakvere. There is no predefined duration for the walks.
In exchange for the book, we kindly ask you to contribute to the collective archive of affective states of the city. This could be done on the spot when you pick up your copy.
We are waiting for you on 6–9 July:
12:00–15:00 in Lääne-Viru County Central Library (Lai 7, Rakvere), and
17:00–20:00 in Rakvere Theatre (Kreutzwaldi 2a).
When you depart on a walk, we recommend having with you: a pair of headphones, a phone with internet access, comfortable shoes, an umbrella or a raincoat (for alternative reality weather: sun hat).
Book is available in three languages: English, Estonian, Ukrainian
initiation and walking-writing by Daria Khrystych, Bohdana Korohod
design by Jaan Evart
music composition by Sander Saarmets
translation to Estonian and proofreading by Epp Aareleid
walks-with Leigi Kütt-Gistvall, Kaili Õunapuu-Seidelberg, Oak Trees, Angela Tikoft, Tipsu, Lilija Andrusischin, Ulyana Andrusischin, Rocks and Crows
grateful to Lea Lehtmets, Eve Alte, Enno, Kaie Olmre, Hendrik Kaljujärv, Maike Lond, Eneli Järs, Felix Cognard, Liis Vares, Inga Salurand, Heneliis Notton and Kausaal, Lääne-Virumaa Keskraamatukogu
published by eˉlektron
in co-initiation with eˉlektron, Baltoscandal 2022, Cultural Endowment of Estonia
Bohdana Korohod is Ukrainian independent researcher and interdisciplinary artist, living and working in Estonia. In her practice she works with (written) text and (moving) image. No matter the form she is engaging with, the question of necessity comes first. “How could I use this public moment of my work being presented or shared so that it goes beyond the mode of personal expression? Within which broader social, economic and political realities do I work?”
Daria Khrystych is Ukrainian independent researcher and socially-engaged artist, currently based in Estonia. In her practice she works at the intersection of feminist spatial readings, performativity of corporeal existences and radical care methodologies as a political act of resistance against the present capitalist condition. As a white Ukrainian able-bodied cis-gender woman, she addresses the questions of subjective embodied experiences in public space and incorporates frameworks of care to unfold the potential of mutual supportive coexistence.
Anthropologies of Space
“performing inscribed trajectories: a play in walks” is part of an interdisciplinary (performance)art project “Anthropologies of Space” initiated by eˉlektron. It will result in the creation of three new works at this year’s Baltoscandal. As the name suggests, artists deal with space and human. The environment and conditions around us are something that we perceive on a daily basis as "the thing in itself" - something that has been given to us but has become more and more strongly influenced today. Be it a global pandemic or a virtual reality that is becoming more and more a regular part of our sense of space.
elektron.signal podcast is a listening space for discussions on art, science and digital mediation created by eˉlektron. A festival radio will be opened at Baltoscandal, where six programs will be recorded and broadcast on site with artists directly from the epicenter of Baltoscandal with hosts Maike Lond, Taavet Jansen, Kaie Olmre and Hendrik Kaljujärv. The recordings are public and invite you to participate, think along and talk.
After a 12 years international tour, director Gisèle Vienne decides to adapt for film her cult performance „Jerk”. Through a long sequence-shot, it’s the struggle between an actor and his extreme role that we are experiencing in a visceral way. Also the one from drama to cinema. With a strong inspiration from the genre film, especially horror movies, it’s the fascination for the ultra-violence that is explored through questions of domination relations, bodies incarnation and disembodiments.
„Jerk” is an imaginary reconstruction – strange, poetic, funny and somber – of the crimes perpetrated by American serial killer Dean Corll who, with the help of teenagers David Brooks and Wayne Henley, killed more than twenty boys in the state of Texas during the mid-70s. This show sees David Brooks serving his life sentence. In prison, he learns the art of puppets, which somehow enables him to face up to his responsibility as partner in the crimes. He has written a show that reconstructs the murders committed by Dean Corll, using puppets for all the roles. He performs his show in prison for a class of psychology students from a local university. The story, however realist it may be, seems to border on unrealism. The play’s apparent realism stems from its linear narration, as well as from its basic true story and from the trickster-puppeteer’s total identification with the fictive character of David Brooks.
„Jerk” is the fourth play that was produced in collaboration with the American writer Dennis Cooper. In these plays, the links between fantasy and reality are being constantly probed, thereby altering our perception of reality. The more realist „Jerk” puts forth a consistent linear narrative, generating the credibility that undeniably stems from this form. And it is this undeniability that is reexamined by way of our different formal experiences.
Gisèle Vienne is a Franco-Austrian artist, choreographer and director. After graduating in Philosophy, she studied at the puppeteering school Ecole Supérieure Nationale des Arts de la Marionnette. Since the company was founded in 1999, over 20 shows, exhibitions, installations, radio plays, audio books and films have been created. Vienne was presented at the Baltoscandal festival in 2008 with the „I Apologize”. In 2020 a film by Patric Chiha „Si c'était de l'Amour ", from „Crowd” by Gisèle Vienne was screened at the Baltoscandal festival. In 2018 the radio-play „Jerk” was presented at the NU Performance festival in Tallinn.
The film „Jerk” premiered in October 2021.
Fri 8.07 20.30 Kino
Sat 9.07 17.30 Kino
Duration 60 min
In French with Estonian and English subtitles
Director Gisèle Vienne; writer Dennis Cooper; original music Peter Rehberg; with Jonathan Capdevielle; with the voices of Catherine Robbe-Grillet & Serge Ramon; creation of the puppets Gisèle Vienne & Dorothéa Vienne-Pollak; creation of tattoos and drawings Jean-Luc Verna; make-up artist Mélanie Gerbeaux.
Director of photography Jonathan Ricquebourg; chief editor Caroline Detournay; sound engineer Pierre Bompy; chief electrician Georges Harnack; chief machinist Romain Riché; first assistant operator Ronan Boudier; second assistant director Brandon Luong; assistant director Camille Queval; stage manager Antoine Hordé; color grading Yov Moor; sound mixing Mikaël Barre; special effects Robin Kobrynski.
Filming location CND Centre national de la danse. A co-production DACM / Compagnie Gisèle Vienne; CND Centre national de la danse; MC93 – Maison de la Culture de Seine-Saint-Denis; La Compagnie des Indes (Associate Producer – Gildas le Roux). With the participation of France 3 Paris-Ile-de-France & Théâtre Vidy-Lausanne. With the support of the Ministère de la culture / Direction générale de la création artistique, de Image/mouvement du Centre national des arts plastiques et du Centre National du Cinéma et de l’image animée..
The presentation at the Baltoscandal festival is supported by the French Institute in Estonia.
The New Gospel
What would Jesus preach in the 21st century?
Who would his disciples be? And how would today’s bearers of secular and spiritual power respond to the return and provocations of one of the most influential prophets and social revolutionaries in human history?
Set in the southern Italian town of Matera, where both Pasolini and Gibson shot their legendary films on the life of Jesus, director Milo Rau (Das Kongo Tribunal, Locarno 2017) and his team return to the origins of the gospel and stage it as a passion play of an entire civilization.
Together with Cameroonian political activist Yvan Sagnet, Rau creates a biblical story that couldn’t be more topical. With “The Revolt of Dignity” they have created a political campaign that fights for the rights of migrants who came to Europe across the Mediterranean to be enslaved on the tomato fields in southern Italy and to live in ghettos under inhumane conditions. An authentically political as well as theatrical and cinematic New Gospel for the 21st century emerges. A manifesto of solidarity with the poorest, a revolt for a more humane world.
Fri 8.07 18.30 Kino
Sat 9.07 19.00 Kino
Duration 110 min
Subtitles in Estonian and English
With Yvan Sagnet, Papa Latyr Faye, Samuel Jacobs, Yussif Bamba, Jeremiah Akhere Ogbeide, Mbaye Ndiaye, Kadir Alhaji Nasir, Ali Soumaila, Vito Castoro, Marie Antoinette Eyango, Anthony Nwachukwu, Mohammed Souleiman, Alexander Kwaku Marfo, Blessing Ayomonsuru and many others; and Marcello Fonte, Enrique Irazoqui, Maia Morgenstern; with the voice and the songs of Vinicio Capossela;
Conceived, written and directed by Milo Rau; producers Arne Birkenstock, Olivier Zobrist, Sebastian Lemke; director of photography Thomas Eirich-Schneider; dramaturgy & editing Katja Dringenberg; dramaturgy & concept Eva-Maria Bertschy; dramaturgy & assistant director Giacomo Bisordi; set design & costumes Anton Lukas, Ottavia Castellotti; original sound Marco Teufen, Julian Joseph Sound; editing Guido Keller, Dieter Lengacher; production management Elisa Calosi, Laryssa Stone; Estonian translation Mart Rummo.
Production of fruitmarket, Langfilm & IIPM – International Institute of Political Murder; in coproduction with SRF Schweizer Radio und Fernsehen / SRG SSR, ZDF; in cooperation with ARTE in collaboration with Fondazione Matera Basilicata 2019, Consorzio Teatri Uniti di Basilicata and Teatro di Roma; supported by Film- und Medienstiftung NRW, Bundesamt für Kultur (BAK), Zürcher Filmstiftung, DFFF - Deutscher Filmförderfonds, Kanton St.Gallen Kulturförderung / Swisslos, BKM - Die Beauftragte der Bundesregierung für Kultur und Medien, Volkart Stiftung, Suissimage Kulturfonds.
In our modern society, we let machines get so close to our own comfort that they almost become (one of us) a part of us. We name our car, have a smart fridge, a vacuum cleaner that does its job without any human interaction and so on. But do we become a part of the machines? Do we become one with the machine or its vibration? Should we as humans be in a specific state of mind to be able to let ourselves “sync up” with a machine, or does this happen subconsciously?
With the installation “Portaal”, Renzo van Steenbergen and Kristjan Pütsep created an evolving environment in which several standalone sculptures are controlling the vibrations of audio and image (light) in the space. Together the vibrations emitted by the machines form harmony and disharmony that will fill the entire space.
During the festival, “Portaal” will provide a space where visitors have a chance to let their minds rest, become one with the vibrations and tune out while tuning in.
Authors: Renzo van Steenbergen and Kristjan Pütsep; supported by Cultural Endowment of Estonia; in collaboration with eˉlektron
The Island (Live A/V)
The audiovisual concert „The Island” is the most recent collaboration between composer Franck Vigroux and video artist Kurt d’Haeseleer. A prolix duo who endeavor to find common modes of artistic language and try to invent synesthetic experiences with an identity of their own. „The Island” is a sensorial, associative and electrifying experience, inspired by a number of stories of islands and valleys destined to be submerged by the construction of a hydroelectric dam, causing deep human and geographic upheaval. The immersions of Naussac in Lozère (a village engulfed in 1980), the novel "Farewell, Little Island" by Valentin Raspoutine, or the 3 Gorges dam in China (which is so big it influenced the speed of rotation of Planet Earth) spring to mind. „The Island” questions the replacement of one world by another and our blind belief in progress. A phantasmagorical universe unfolds through incisive electronic music and reality-bending video images, resulting in a "mental journey" through a topography of mutating places.
Thu 7.07 23.59 Kino
Duration: 45 min
Language no problem
Production Cie D’Autres Cordes; co-production Anis Gras, Werktank; support Cie D’Autres Cordes; co-support Werktank with Flemish Authorities; residency Stuk (Leuven, BEL); Espace des Anges (Mende, FRA); Imago / VIDEOFORMES (Clermont-Ferrand, FRA). Thanks Folie Numérique (Paris).
Performance at the Baltoscandal festival is supported by the French Institute in Estonia.
Kas te olete oma kohaga rahul
"It Stays As It Is" by Mart Kangro, Juhan Ulfsak and Eero Epner in collaboration with Artjom Astrov, Oliver Kulpsoo and Maria Arusoo is a piece about views, rows and the medium price of a square meter. What is it we are lacking? Or what do we dream about? What is this thing that is falling apart and that we can see from our 5th floor window? Window blinds and concentration camp, harmony and window square. What do we think about when we think of real estate? We think about perspectives.
Mart Kangro is a freelance choreographer, director and dancer. In his works, he focuses on the meaningfulness of the human body and movement in theatre as semiotic space-time, and on existential issues of stage situation. His productions have been performed at major festivals in more than 20 countries across Europe. In recent years, he has produced works where he himself is not cast.
Juhan Ulfsak is an actor and director. Since the 1990s, his energetic performing style and artistic principles have done a great deal to define the look of Estonian avant-garde theatre. Working in Von Krahl Theatre as an actor and, in recent years, director, Ulfsak has proceeded from anarchism, punk, decadence, surrealism and conceptualism, but his productions have also recontextualized classic plays.
Eero Epner was a dramatist with Theatre NO99 since the theatre was founded in 2005. He has worked with several dozen directors, including many times with Kangro and Ulfsak.
In 2019 their previous collaboration “Workshop” was awarded with the Performing Arts prize of the annual Estonian Theatre Awards.
Fri 8.07 20.30 balcony of the Big Hall – in English
Sat 9.07 17.15 balcony of the Big Hall – in Estonian
Duration 90 min
Not accessible with wheelchair
Authors-performers Mart Kangro, Juhan Ulfsak, Eero Epner; dramaturge Maria Arusoo; light design, technical director Oliver Kulpsoo; sound design Artjom Astrov; project management Annika Üprus, Eneli Järs; photos Alissa Šnaider; co-producer Kanuti Gildi SAAL; supporter Cultural Endowment of Estonia.
A car leaves the road and dives into a strange and wild dimension, buried as if out of time. Little by little, the topography of the place, where real and unreal seem to merge, is revealed.
Drawing both from the world of the English writer J.G. Ballard (author of "Crash" and "Concrete Island" in particular) and from the personal experience of a road accident, "Flesh" explores the exact moment that follows the shock, the short instant where time seems to stop or expand. The moment where the mind detaches itself from the body, to reveal a panoramic view of a surrealist scene. Vehicle carcasses take the form of moving objects, motorway viaducts become gigantic Golems, car engines appear to levitate over a sea of ice. And on this flow of images and sensations, the spectator experiences what a driver experiences as he crosses an unknown dimension... a truly hallucinogenic journey. Between electronic opera and an audiovisual experience, Flesh is a musical and visual art form as well as a dance/movement performance, a moving painting whose meaning is revealed in the experience and the emotion it creates.
Franck Vigroux is one of the few artists who is both a musician and a director. As a composer-performer he has the rare capacity to produce a very wide range of sounds from electroacoustic to industrial noise, modern composition and experimental electronic music.
Wed 6.07 22.00 Big Hall
Thu 7.07 20.30 Big Hall
Age restriction 14
Duration 55–60 min
Language is no problem
The performance uses stage smoke
Conception, music Franck Vigroux; video Kurt d'Haeseleer; choreographer Myriam Gourfink; performers Azusa Takeuchi, Céline Debyser; dramaturgy Michel Simonot; additional video Olivier Ratsi; light manager Perrine Cado; technical conception Carlos Duarte; costume designer Atelier Darwin.
Sponsors and institutions which contributed
Prroduction Cie d’autres cordes; diffusion Théâtre de Nîmes Kaasproduktsioon / co-production Théâtre l'Empreinte Brive/Tulle, Césaré CNCM Reims, La Muse en circuit CNCM Alfortville, Festival Aujourd’hui Musiques de l’Archipel, SN de Perpignan; with support of biennale Nemo/Arcadi Île-de-France, ADAMI, DICREAM, SPEDIDAM; residency Espace des Anges Mende, Humain trop humain CDN Montpellier, Festival Aujourd’hui Musiques de l’Archipel, SN de Perpignan, Anis Gras Arcueil, Théâtre l'Empreinte Brive/Tulle. La Cie d’Autres Cordes is supported by Regional Council, DRAC Occitanie. Associated artist with Théâtre de Nîmes.
Performances at the Baltoscandal festival are supported by the French Institute in Estonia.
Together with collaborators Jaakko Pallasvuo and Oxhy – working with text and sound, respectively – and fellow performer Bosa Mina, Metsalu presents an unintentional and accidental but inevitable sequel to her 2017 solo performance “Mademoiselle x”. In “Mademoiselle x” Cotard's syndrome was utilised as a tool to express “zombification” and individuals' autopilot behaviour in the world while simultaneously and paradoxically it cried out for basic human connection, touch and compassion. Nevertheless, even as it demonstrated connection, it emphasized disconnection.
“The Well” takes the concept further by incorporating the audience as agents within the work and confronting them with both their passivity and complicity as observers and actors. Rather than being witnesses of a passive declaration of emotional turmoil, the audience is invited to perceive power, and how it inflicts itself on the disorderly body. The witnessing gaze of the audience will be reimagined as a gaze which has become clinical. In “The Well” the preconceived notions regarding the structure and meaning of protagonist's reality have disappeared into the abyss and the anxiety in which she has become aware of her finitude, an ontological insecurity has taken effect. She has no family, no friends, no connections. The world has become overwhelming in its complexity so she is being lowered into the well by her four psychoanalysts – AJ, Brian, Kevin and Nick. Her job while lying on her leather couch in the bottom of the well is to write and give the world a structure. She is a composer. She is a magician and an alchemist. Through the narrative story of this tragic protagonist, the non-narrative performance deals with an individual apocalypse in a liminal space. The performance space becomes an erotic mindscape, an internal and secret place, confinement secluded from reality for the misbehaving deviant body, hearing what should not be heard, seeing things that are not there.
Maria Metsalu is an Estonian choreographer and artist, who graduated from SNDO (School for New Dance Development) in Amsterdam in 2016. She is creating visual performative works that regardless of the chosen medium place her own body in the epicentre. She views performative experiences and performing deviance as possibilities through which one may reflect upon the state of things and become inspired to act, formats through which collective memory could be created. She is interested in ways the position of the spectator can be challenged, destabilised or abolished altogether. Her work seeks to advance ambiguities, to proliferate meanings rather than systematise them into a clarity. She views performance as a radical space, capable of creating new meanings, new ways of looking and seeing. Besides her solo work she is one of the founding members of international art collective Young boy dancing group and has collaborated with and performed for Tino Sehgal, Michele Rizzo, Nils Amadeus Lange and Gelatin among others. Her solo work has been shown at kim? Riga, gallery Art In General during Performa17 in New York, Kunstraum in London, Theater Nanterre-Amandiers in Paris, Kiasma Theater in Helsinki, Alt_Cph18 in Copenhagen, FLAM Festival in Amsterdam, Les Urbaines festival in Lausanne, Impulstanz Festival in Vienna, Tallinn Art Hall in Tallinn, 3hdFestival by Creamcake in Berlin and Centre d'art contemporain - la synagogue de Delme to name a few.
Fri 8.07 18.30 Sportchurch
Sat 9.07 19.00 Sportchurch
Duration 60 min
Concept Maria Metsalu; text Jaakko Pallasvuo, Maria Metsalu; sound Oxhy; performers Maria Metsalu, Bosa Mina; stage Tarvo Porroson; dramaturgical support Manuel David Scheiwiller, Nicolás Facundo Rosés Ponce; light Priidu Adlas, Henry Kash; technical support Henry Kasch, Kristiina Tang; photos: „The well“, 3hd 2021: Harnessing Control, images by Ink Agop, © Creamcake; project manager Kaie Küünal, Eneli Järs; supported by Eesti Kultuur Maailmas, Eesti Kultuurkapital / Cultural Endowment of Estonia, Estonian Ministry of Culture; residency support FABRIKKEN for Kunst og Design, Esitystaiteen Keskus, HIAP – Helsinki International Artist Programme, Nordic Culture Point; co-production Kanuti Gildi SAAL, Maria Metsalu; premiere 20.12.2021, Kanuti Gildi SAAL; first showing 23.10.2021, Park Center Treptow.
The History of Korean Western Theatre
In the documentary theatre performance The History of Korean Western Theatre, Jaha Koo investigates the influence of the Western theatre tradition on Korean theatre. In this final piece of his Hamartia trilogy, Jaha Koo resolutely focuses on the future. With a new generation of South Koreans in mind, he attempts to break with a tradition full of self-censorship and keeping up appearances. Because only when based on an authentic version of history, he can pass on a future to the next generation.
Celebrating the centenary of Korean theatre in 2008, the South Korean theatre maker / composer Jaha Koo realized that there is actually no space for Korean theatre tradition: what is regarded as Korean theatre is largely determined by the Western canon. But why are the South Koreans so proud of this Western interpretation? And why does everyone keep referring to Shakespeare? It raises questions about tradition, self-censorship and authenticity.
In this final piece of his Hamartia trilogy, Jaha Koo resolutely focuses on the future. Meticulously, he exposes the tragic impact of the past on our lives, unveiling the small cracks in modern Confucianism - an ideology that continues to define the moral system, way of life and social relations between generations in South Korea. With a new generation of South Koreans in mind, he attempts to break with a tradition full of self-censorship and keeping up appearances. Because only when based on an authentic version of history, he can pass on a future to the next generation.
Like the performances Lolling & Rolling and Cuckoo, which respectively focused on South Korea's past and present, The History of Korean Western Theatre is an intelligent documentary theatre performance in which Jaha Koo interweaves personal stories with historical, political and sociological facts. Often themes that contain a clash of Eastern and Western culture: from cutting string of tongue to make it in the West, to the heavy personal toll of Western interference on a macroeconomic level.
Wed 6.07 18.00 Väike saal
Thu 7.07 19.00 Väike saal
Duration: 60 min
Korean spoken with Estonian and English subtitles
Concept, text, direction, music & video Jaha Koo; performance Jaha Koo, Seri & Toad; dramaturgy Dries Douibi; scenography and drawing Eunkyung Jeong; artistic advisor Pol Heyvaert; technical Korneel Coessens, Jan Berckmans, Bart Huybrechts, Koen Goossens (& Jonas Castelijns); hardware hacking Idella Craddock; research Eunkyung Jeong & Jaha Koo; research assistance Sang Ok Kim; interview Jooyoung Koh, Kiran Kim & Kyungmi Lee; production CAMPO; co-produced by Kunstenfestivaldesarts (Brussels), Münchner Kammerspiele, Frascati Producties (Amsterdam), Veem House for Performance (Amsterdam), SPRING performing arts festival (Utrecht), Zürcher Theaterspektakel, Black Box teater (Oslo), International Summer Festival Kampnagel (Hamburg), Tanzquartier Wien, wpZimmer (Antwerp), Théâtre de la Bastille (Paris) & Festival d’Automne à Paris; residencies Kunstencentrum BUDA (Kortrijk), wpZimmer (Antwerp), Decoratelier Jozef Wouters (Brussels), Doosan Art Center (Seoul); with the support of Beursschouwburg, Vlaamse Gemeenschapscommissie & Amsterdams Fonds voor de Kunst.
CAMPO is supported by the city of Ghent and the Flemish Community.
We mostly think of robots as work machines, as efficient and precise executors of tasks. In German industry, they barely look like people, to avoid emotional complications. Unlike in Asia, where humanoid robots have already been developed for some time, for example for care-work or as sex partners. The external similarity to human beings makes the acceptance of machines easier. However, if the machine is too similar to a human, we begin to feel mistrust: what is human, what is machine? Japanese robotics researchers call this weird similarity the “uncanny valley”.
For his new play, Stefan Kaegi works with a writer and playwright for the first time: Thomas Melle allowed an animatronic double of himself to be made. This humanoid takes the author’s place and throws up questions: what does it mean for the original when the copy takes over? Does the original get to know himself better through his electronic double? Do the copy and his original compete or do they help each other?
Sat 9.07 16.00 Väike saal
Sat 9.07 21.00 Väike saal
Sun 10.07 15.00 Väike saal
In English, with Estonian translation
Duration 60 min
Concept, text and direction Stefan Kaegi; text, body and voice Thomas Melle; equipment Evi Bauer; animatronic Chiscreatures Filmeffects GmbH; manufacturing and Art Finish of the silicone head, coloration and hair Tommy Opatz; dramaturgy Martin Valdés-Stauber; video design Mikko Gaestel; music Nicolas Neecke; production management Rimini Protokoll / touring Epona Hamdan; light design, touring Robert Läßig, Martin Schwemin, Lisa Eßwein; sound- and video design, touring Jaromir Zezula, Nikolas Neecke; translation Mario Pulver.
This play has originally been produced by Münchner Kammerspiele; coproduction Berliner Festspiele / immersion, Donaufestival (Krems), Feodor Elutine (Moskva/Moscow), FOG Triennale Milano Performing Arts (Milano), Temporada Alta – Festival de Tado de Catalunya (Girona), SPRING Utrecht; support to Estonian performances Goethe Institute.
Performing rights: Rowohlt Theater Verlag, Reinbek bei Hamburg.
Save the Last Dance for Me
In „Save the Last Dance for Me” Alessandro Sciarroni works together with the dancers Gianmaria Borzillo and Giovanfrancesco Giannini on the steps of a Bolognese dance called Polka Chinata. It is a courtship dance originally performed by men only and dating back to the early 1900s: physically demanding, almost acrobatic, it requires that the dancers embrace each other, whirl as they bend to their knees almost to the ground.
The work was created in collaboration with Giancarlo Stagni, a Filuzziani dance master who revived this ancient tradition thanks to the rediscovery and study of some documentation videos dating back to the 1960s. Sciarroni discovered this dance in December 2018 when the dance was practiced in Italy only by 5 people in total. For this reason, the project consists of a performance performed by the two dancers and a series of workshops aimed at spreading and reviving this popular tradition in danger of extinction.
Fri 8.07. 15:30 Assembly hall of Rakvere Gymnasium
Fri 8.07. 18:00 Assembly hall of Rakvere Gymnasium
Sat 9.07. 18:00 Assembly hall of Rakvere Gymnasium
Workshop: Sat 9.07. 14:00 Assembly hall of Rakvere Gymnasium
ALL FREE ADMISSION. For attending the workshop please write: firstname.lastname@example.org
Rakvere Gymnasium`s assembly hall is on address Vabaduse 1.
Language no problem, the workshop is in English
Duration 20 min, the workshop duration is 120 min
Invention Alessandro Sciarroni; with Gianmaria Borzillo and Giovanfrancesco Giannini; artistic collaboration Giancarlo Stagni, Aurora Bauzà, Pere Jou (Telemann Rec.); styling Ettore Lombardi.
Production corpoceleste_C.C.00 #, MARCHE THEATRO Teatro di Rilevante Interesse Culturale; coproduction Santarcangelo Festival, B.Motion, Festival Danza Urbana.
Sihtkoht teadmata 12 HMR
The production „Destination Unknown 12HMR“ presents us a diverse and universalized portrait of the lives of young people, of graduation, of the crossing of splitting roads, of growing up in a small town and dreams for the future. What could be expected, is sentimentality in all its colors, as well as explosive energy to move on, erasing all the traces.
The performers are the fresh graduates from Rakvere High School of Sciences – the experts of their age – with whom Liisa Saaremäel and Emer Värk will create a spatial experience, where documentary material and its fictitious interpretation are closely interwoven. The space of the production is a meeting place for the young and the audience in order to activate the controversial body of memory, containing beauty, misunderstanding and cutting sharpness.
What is this last moment that precedes a new chapter?
Withering flowers and endless capturing of time at the graduation ceremony. Is it the last chance to open yourself up and exhibit? The first kiss and someone’s curls sliding into potato salad. Are you surrounded by a constrained community or friends for life? How many times have you heard the words “spread your wings” or “you’re as clever as ever”? Showing the finger to everything and absolute uncertainty towards the future. What will come of your empty room or the jokes of your gang that no one else will ever get? Will we be seeing each other again, my friends and foes, in ten years, at the reunion … Sudden tears and freedom.
You might remember that moment, but I hardly believe you.
P.S. Everything starts and ends with a party!
Social media: https://www.instagram.com/destinationunknown12hmr/
Wed, 6.07 18:00 Carola, Kuke 3
Thu, 7.07 18:30 Carola, Kuke 3
Duration 90 min
Language no problem
Not accessible with wheelchair
Lullaby for Scavengers
Lullaby for Scavengers.
A lullaby is a soothing song.
Scavengers eat dead animals.
Kim Noble's ex-lover and co-host is an angry dead squirrel.
The angry dead squirrel can talk.
The piece is quite funny.
The piece is about grand feelings.
For example, people's fear of loneliness.
It is also about our wishes and dreams.
Kim Noble is an English cult comedian/artist.
He lived in a sewer and in a tree.
He got a very important theatre award in England.
His performances are humorous, but the squirrel doesn’t think so.
The performances are also about serious things.
Like death and friendship.
Kim Noble is an award winning comedic performance and video artist. His multi-disciplined approach has led him to work across theatre, TV, film, art and comedy. Kim’s work uses a provocative and humorous style to expose the human condition: notions of death, sexuality, gender and religion are picked at with dry comedic use of tragedy meshed with absurdity. He has a girl’s name and no longer smells of wee.
He was one half of Perrier Award-winning, BAFTA-nominated experimental art-comedy duo Noble and Silver. At CAMPO, he previously created Wild Life FM together with Pol Heyvaert and Jakob Ampe.
Thu 7.07 22:00 Peace Hall
Fri 8.07 22:00 Peace Hall
Duration 60 min
In English with Estonian subtitles
By & with Kim Noble; dramaturgy Pol Heyvaert; technical Koen Goossens, Korneel Coessens, Seppe Brouckaert, Saul Mombaerts & Squirrel; music DEEWEE; production CAMPO Gent; coproduction Schauspiel Leipzig, Kampnagel Internationales Sommerfestival Hamburg & Festival Actoral Marseille; special thanks to Jeroen Vandesande, Toon Maillard, Michiel Tilley & my mum.
The performance contains explicit scenes that might seem offensive and not suitable for minors.
At the dawn of the 21st century, the vast majority of the world's populations are still driven by the mirage of a golden age, a utopia of infinite abundance accessible to all. A perpetual springtime set as a target to be reached and which seemed within everyone's reach during the “Trente Glorieuses”. In industrialized countries, this period of emancipation of peoples saw the emergence of a vast middle class generating unprecedented wealth. A global movement nourished by the universalization of wage labor and the development of mass consumption and the leisure society.
In the trilogy „Golden Age”, Igor Cardellini and Tomas Gonzalez propose to question the foundations of our time through guided tours. The spectators are invited to visit a shopping centre (originally also a bank and an administrative office) in the way tourists stroll through archaeological sites. These functional spaces are almost invisible in cities. They escape our attention in everyday life and are rarely taken as objects of attention. Yet the forces shaping our contemporary world run through these places that are at the heart of globalisation.
Based on the architecture of these ubiquitous buildings – which can be found in any city – the three visits form an archaeological trilogy for the present time. A trilogy with three focal points inside capitalism’s recent history: finance, wage labour and consumption. In Rakvere can be seen the third part, which concentrates on the topic of consumption.
The paths we trace go through the multiple layers of the sites, the way they act on us and what they reveal of the organization of our postindustrial Western societies. Particular attention is paid to the relationship between the local and the global as well as to the different temporalities that are written on their walls.
Thu 7.07 14.30 Main entrance of Põhjakeskus
Thu 7.07 17.30 Main entrance of Põhjakeskus
Fri 8.07 14.30 Main entrance of Põhjakeskus
Fri 8.07 17.30 Main entrance of Põhjakeskus
Sat 9.07 14.30 Main entrance of Põhjakeskus
Sat 9.07 17.30 Main entrance of Põhjakeskus
Duration 70 min
Not accessible with wheelchair
Concept, texts Tomas Gonzalez, Igor Cardellini; guide Riina Maidre; assistant Pierre-Angelo Zavaglia; production and touring Sarah Gumy; dramaturgical collaboration Adina Secrétan; translation Külli Seppa; research Kristo Kruusman. Performances at Baltoscandal are supported by Põhjakeskus; thanks Tiiu Onga ja Raivo Puusepp. Production K7 Productions, Théâtre de Vidy-Lausanne; production support Kunstencentrum Vooruit, Ghent; KANAL-Centre Pompidou, Brussels; and Canton de Vaud, Ville de Lausanne, Loterie romande, Pro Helvetia – Fondation suisse pour la culture, Fondation Nestlé pour l’Art, Fondation Ernst Göhner, Fondation Jan Michalski, Fonds culturel SSA.
Esimene tants. Viimast korda. Rakvere
“The First Dance. For the Last Time” (“Esimene tants. Viimast korda.”) is a piece co-created and co-produced by Henri Hütt, Jan Teevet & Paide Teater and Kanuti Gildi SAAL. Rakvere version is produced by Baltoscandal festival.
“The First Dance. For the Last Time.” is a celebration of dance, body and time. Fifteen local dancers fill the stage. Their average age is 63, but their energy is anything but average. They are ready. Ready to forget all about their pacemakers and hip replacements.They are ready to dance. For the first time. For the last time. Forever.
How does the body change over time?
How does dance change over time?
How does time change as the body dances?
The uniqueness of doing something for the first time is unforgettable. Doing something for the last time has a very significant place in our personal histories. The latter is a decision, because what could come after the last?
Thu 7.07 16.30 White Hall
Fri 8.07 16.30 White Hall
Duration 90 min
In Estonian with summary in English
Director Henri Hütt; dramaturge Jan Teevet; stage and costume design Nele Sooväli; sound design Roland Karlson; lighting design Kermo Pajula; production Paide Teater, Kanuti Gildi SAAL; “The First Dance. For the Last Time. Rakvere” is produced by Baltoscandal festival.
Supporters Cultural Endowment of Estonia, Ministry of Culture of Estonia.
„Inferno“ is a participative robotic performance inspired by the concept of control and representation of the different levels of hell as described in Dante's Inferno or seen in the Singaporean Haw Par Villa's Ten Courts of Hell.
What makes this performance special is the fact that the different machines involved in the show are installed on the viewers' body. A selected group of the audience therefore becomes an active part of the performance, in which performers wear robotic harnesses that control their arms in time with synchronised music and light. Sometimes the viewers are free to move; sometimes they are in a partial or entire submission position, forced by the system to act/react according to its own will.
Visitors who are interested in participating in the performance by wearing one of the exoskeletons are invited to buy a PARTICIPANT ticket. Please note that the participants will be asked to arrive 30 minutes early to prepare for the performance for a briefing and preparations, which include safety instructions and signing a waiver. 24 participants will be asked to wear an exoskeleton weighing 20 kg in shifts for 30 minutes, the full performance is approximately 1 hour long.
VIEWER ticket holders can participate at the dance event as a regular guest.
More info: Getter Marii Kalvik / email@example.com
R Fri 8.07 23.55 Hangar
L Sat 9.07 16.00 Hangar
L Sat 9.07 22.30 Hangar
Language no problem
Duration 60 min
Caution: this show uses smoke and stroboscopic lights
Concept, robots, light and sound Bill Vorn, Louis-Philippe Demers; electronics Martin Peach; production support Canada Council for the Arts; co-production support ACREQ-Elektra, La Maison des Arts de Créteil, Arcadi (Paris), Le Conseil des arts et des lettres du Québec.
The performances at Baltoscandal are supported by Raum OÜ
According to her testimony, in 1889, an American journalist Nelly Bly travelled the world in 72 days, unaccompanied and despite the lack of any experience. It was the first attempt ever made to beat Jules Verne fictional character. Despite the appeal for adventure, the journey consisted, in fact, of seventy-two days of boredom rotated by rare exiting events and true wander. The young journalist spent all of her time sitting in carriages or on decks, rushing up and down trains & steamers, travelling from her cabin to the restaurant and back. After reading the book, the world of commercial travels feels like a dull reiteration of empty rituals, racist images and dry comments. Yet as the 1st class journey still happens across the Earth, here and there, N. B. catches a glimpse of the world; ends in some memorable accident; makes fleeting, beautiful encounters. From a realistic observation of her physical experience and the vacuity of the enterprise, we started counting our 72 days in a black box.
What is there to be experienced at the end of our journey is no longer the collection of visual impressions of a world glimpsed from a train but a spectrum of physical sensations. The body of the performers is constantly searching through forms from disparate sources, channelling foreign presences to the stage. In this bizarre world, which oddly reminds a claedhscop everything is connected by the human desire to be carried away entirely, by one thing only, out of necessity. The cast, all-female, leaves before our eyes for a journey, a physical effort to experience and at the same time remembering what is about to be experienced. They take us into sensible inaccessible territories, through a language that is sometimes poetic and sometimes inevitably political, up to where the recent past is archived and ready to be told.
Sat 9.07 22.30 Big Hall
Sun 10.07 16.30 Big Hall
Duration 120 min
Language no problem
Not accessible with wheelchair
Authors and directors Ene-Liis Semper, Tiit Ojasoo; body dramaturgy Giacomo Veronesi; on the stage Liisa Saaremäel, Keithy Kuuspu, Rea Lest, students of EAMT Drama Department Lauren Grinberg, Hanna Brigita Jaanovits, Hele-Riin Palumaa, Kristina Preimann, Kristin Prits, Emili Rohumaa, Alice Siil, Astra Irene Susi; light Siim Reispass; sound Raido Linkmann
Supported by Estonian Culture Endowment, Estonian Academy of Music and Theatre & Heldur Meerits