CPP 2022 internal page

 

Dear CPP participants,

 

First of all – congratulations on being part of 2022 cohort of CPP/Contemporary Performance Practices International Summer Intensive – I can’t wait to meet all of you in just a few days!

 

CPP had its inaugural edition in Rijeka, Croatia in 2019. That year, my New York based performance group, WaxFactory, celebrated its 20th anniversary. This was an interesting juncture at which to begin weaving together strands that ultimately became Contemporary Performance Practices. Momentous occasions such as this always prompt us to take stock of what we have been doing so far, re-examine our own practices, and imagine what the next 20 years might look like. As I continue to make work, and teach, I have been thinking a great deal about this: as we gain solid footing within the landscape of the 21st-century time-based art, it is evident that traditional definitions of genres and disciplines are being transcended in favor of multiple, fluid, hybrid art forms. Along with the resurgence of site-specific, devised, immersive and virtual-reality projects, the role of the performer is rapidly evolving, away from being simply an interpreter of scripts / scores to becoming a co-creator of work – one whose contributions are integral to the vision and identity of the new creations. Consequently, the CPP program aims to acknowledge and expand the performing arts canon, tracking current trends and discovering new ones, for the benefit of contemporary performers and performance-makers, such as yourselves; our aim is to collectively imagine what shape the 21st century performing arts training might take.

 

For the program’s 2022 edition, I decided to invite two of the world’s most forward-thinking contemporary performance companies: Sasha Waltz & Guests (Berlin, Germany) and SITI Company, co-founded by Anne Bogart (New York, USA.) While Bogart’s and Waltz’s philosophies approach performance-based work from different angles, both companies are deeply committed to developing truthful, compelling, rigorous visions for the stage, honoring the performer’s intuition and intelligence to advance their development as co-creators rather than merely interpreters of work. I chose these two companies for this year’s program as I find their visions to complement each other in a way that will afford participating artists a well-rounded preparation, inspiring them to generate their own unique creations in the future. 

 

As the CPP’s start date fast approaches, allow me to share a few practicalities.

 

Our first session will begin on Monday, July 11 at 10 AM. We ask that you kindly arrive on time and to meet in front of the main public entrance to the Croatian National Theater in Split (address: Trg Gaje Bulata 1 / Gaje Bulata Square 1) where a representative of our team will greet you and direct you to our workspace.

 

The workshops will take place every day (except Sundays) from 10am to 4pm, with a break for lunch. Additionally, on our last day (Saturday, July 23) we will have a final workshop presentation for an invited audience in the evening, followed by a farewell dinner. It is possible that there will be some minor fluctuations to this schedule, at the instructor’s discretion, but this is the basic framework we will be working with that you should be aware of. Please wear comfortable clothes and shoes as there will be a great deal of physical work involved.

 

We will begin our first day with an introduction of the daily schedule of activities, all the participants and instructors, and will share all the relevant details before we begin to train with Claudia de Serpa Soares from Sasha Waltz’s ensemble.

 

This weekend, you will also receive a mobile phone reminder regarding our first session via our private WhatsApp group. If you should experience any difficulty finding the theater or experience unexpected delays, please let us know: that will be the best way to reach us, as we will be able to respond to you immediately.

 

Again, on behalf of the entire team: welcome to CPP! I very much look forward to getting to know you in the next two weeks.

 

See you soon in Split!

- Ivan Talijancic, CPP Artistic Director

July 2022

 

DAILY SCHEDULE

(please note that this schedule is subject to change - revised: 8 July 2022)

Location: HNK / Croatian National Theater, 1st floor Foyer (unless otherwise noted)

 

Monday, 11 July:

10am: Welcome session (course + participant introduction, practicalities, welcome from HNK, CPP alum and SITI Company)

12.30pm: Lunch Break (1hr)

1.30pm: Work session with Claudia de Serpa Soares (Sasha Waltz & Guests)

4.00pm: End of day

Tuesday, 12 July - Friday, 15 July

10am: Work session with Claudia de Serpa Soares (Sasha Waltz & Guests)

1pm: Lunch Break (1hr)

2pm: Work session with Claudia

4pm: End of day

Saturday, 16 July

10am: Work session with Claudia de Serpa Soares (Sasha Waltz & Guests)

1pm: Lunch Break (1hr)

2pm: Screening of Sasha Waltz & Guests production of Körper (Bodies)

4pm: End of Week One

Sunday, 17 July: DAY OFF

(No scheduled work sessions)

Monday, 18 July - Friday, 22 July

10am: Suzuki training with SITI

11.30am: 15-minute break

11.45am: Viewpoints training with SITI

1.15pm: Lunch Break (45 minutes)

2.00pm: Composition with SITI

4.00pm: End of day

Saturday, 23 July (FINAL DAY OF CPP 2022!)

10am: Suzuki training with SITI

11.30am: 15-minute break

11.45am: Viewpoints training with SITI

1.15pm: Lunch Break (45 minutes)

2.00pm: Composition with SITI

4.00pm: Break 

8.00pm: Final workshop presentation (details TBA)

9.30pm: Farewell dinner (location TBA)

 

SITI Company info:

Hello everyone! Here is some information to prepare for the workshop with SITI Company:

_For Suzuki Training please wear socks or tabi (if you have them, if not socks are fine.)

_Please wear shorts or close fitting leggings for training so we can see the relationship of your knees to your feet for alignment purposes.

_Please have the following speech from Chekhov’s The Cherry Orchard memorized before the first class:

 

Oh my childhood, my innocent childhood./ Happiness awoke with me every morning, it was just like this, nothing has changed, all, all white./ After the dark, dismal autumn and the cold, cold winter you are young again, full of happiness, the angels of heaven have not abandoned you./ Oh if only I could free my neck and shoulders from the stone that weighs them down. If only I could forget my past.

*Please note the ‘/‘ indicates where the breath marks are.

_For Viewpoints we will work in bare feet. Please wear clothes you can move around in that are comfortable.

_For Composition, please bring a notebook and something to write with, pen or pencil is fine. If you could bring a copy of any one of Anton Chekhov’s five major plays (in English) that would be great. We can plunder them for possible text.

The five major plays are: The Cherry Orchard, The Seagull, The Three Sisters, Uncle Vanya and Ivanov.

Any translation is fine!

(Note: you can click on the titles above to access each play online, free of charge.)

Barney O'Hanlon (SITI Company instructor)

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Barney O’Hanlon most recently appeared in FALLING & LOVING, SITI Company’s collaboration with Elizabeth Streb’s Extreme Action Company, choreographed by Elizabeth Streb, directed by Anne Bogart. Previously he appeared in SITI Company’s production of The Bacchae at the Guthrie. Also with SITI Company at BAM’s Next Wave: War of the Worlds, bobrauschenbergamerica, Hotel Cassiopeia, Trojan Women, A Rite (with Bill T. Jones/ Arnie Zane Dance Company), and Steel Hammer with the Bang on a Can All-Stars. Featured in Ann Hamilton’s Event of the Thread at the Park Avenue Armory. Also at BAM: choreography and performance for Charles L. Mee’s The Glory of The World, directed by Les Waters. Barney choreographed the world premiere of Anne Washburn and Dave Malloy’s musical Little Bunny Foo Foo, directed by Les Waters at Actors Theatre of Louisville; Anne Washburn’s 10 out of 12 at Soho Rep, directed by Les Waters; and Sarah Ruhl’s The Oldest Boy, directed by Rebecca Taichman at Lincoln Center Theater.

 
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