|WIEDERAUFNAHME||BRIEF HISTORY OF ARGENTINIAN PUNK|
|17. bis 19.05.2012||eine Performance von Tatiana und Tamara Saphir
|PERFORMANCE||20.30 Uhr||im DOCK 11|
BRIEF HISTORY OF ARGENTINIAN PUNK
Die Vorstellungen am 17.+18.5. beginnen um 20.30 Uhr, die Vorstellung am 19.5. bereits um 20.00 Uhr
Brief History ist ein "pädagogischer“ Abend über Musik – eine aus zersplitterten Stories collagierte Mikrogeschichte. Eine kollabierende Konferenz. Eine theatralische Recherche über die Rezeption, Produktion und Reproduktion des Punk im tiefen Süden. Tatiana Saphir & Co. führen uns auf eine Reise ins Herz der Punk-Bewegung in Buenos Aires. Die Performance spürt dem seltsamen Schicksal einer Subkultur nach, die in den 80er Jahren in ein Land importiert wurde, das gerade erst eine blutige Diktatur überwunden hatte und im verstrahlten Enthusiasmus der jungen Demokratie sich den Punk aneignete. Punkig und trashig hinterfragt die Performance die ästhetischen Codes der akademischen Welt und die absurde Theatralität universitärer Events.
"Brief history..." is a pedagogic evening about music. A micro-history made out of pieces of stories. There is a thesis: there is no Punk like argentine Punk. In any case, the ceremony master develops a certain fascination on the topic. A conference that collapses or a non-so-academic class. Certainly too much information. A theatrical research on reception, production and re-production at the far South. Tatiana Saphir will take you on a journey to the heart of the Punk movement in Buenos Aires, Argentina.
Konzept / Performance: Tatiana Saphir
dramaturgische und künstlerische Zusammenarbeit / Performance: Tamara Saphir
Text: Juan Terranova
Musik: Santiago Blaum
Light: Catalina Fernandez
Graphikdesign: Pablo Derka
Research Collaboration: Guadalupe Treibel
Tickets: 10.- Euro / erm. 8.- Euro
About the piece
What would the quintessential punk action be?
This piece consists of two sections, the first of which explores this question, and tries to put it to test in action on the stage. To tag over a reality wall made out of today’s newspaper, ‘Don’t believe in reality!’. To yell out loud a message that is nothing but a pure naked scream. To defeat a series of social conventions. To rip off your clothes… The second part was created out of texts that Argentinean writer Juan Terranova has created for the piece, and the research work carried out by Tatiana and Tamara Saphir. It questions the strange destiny of a British and North American social and cultural movement (not just the ‘musical’ one), when it is imported to the far south: Argentina. What kind of a mysterious brotherhood of ideas and feelings could have existed between certain young people issued mainly from the most blighted areas of a “rich” country (England during the 70´s) and the middle class youth of a “poor” country (Argentina during the 80´s)? Is it a purely formal reproduction? Is it a fashion metastasis? Or is it about a re-interpretation of the aesthetical manifestation of a generation travelling through time and space? The interest of the subject was also that it appeared to be an original, although privileged way to approach the very particular context of Argentina during the early 80´s. It is only after one of the most bloody and repressive dictatorships the country has ever known that, with fresh Democracy’s crazy enthusiasm, Argentina “discovers”, takes over and assumes Punk. The history is told through pieces of stories; real stories, gossip and myths, stories issued by the collective fiction, and also through the “very theoretical” analyses of some artistic objects that are representative of the movement: songs, albums, lyrics, posters, visual sleeves etc. At last, the research was also moved by a more “formal” interest of questioning the aesthetical codes of the academic world: the inner staging of the effort of thinking, and the theatricality of any “university-wise-academic” event. This led us to the particular shape of the piece, developing itself in the way of a conference, broken off and hanged by a different performative code. This conference is as if a malicious spirit or a sleepy student’s imagination projected on stage a hallucinated materialization of flesh and blood images of what is being told, discussed and explained.
Press release extracts
“Tatiana Saphir developed a skilful game of rhythm in the text, covering with her pleasant physics the theory of pogo (…) We also had the chance to learn from very erudite discussions. It was charming and virulent. Tatiana was sweating health. This beautiful dark hair lady singed, putted herself on the edge and gratified the audience with a well chosen “fuck you”, getting the sensible target right in the middle. Congratulations to this artist, I didn’t get bored for one second, I have learned a lot, I appreciated this lady’s humour and her charming
accent…” Lemague.net, France, January the 10th of 2009
"There is no punk like national punk". - The French premiere of a theatre piece about the development of this genre in Argentina, with music and images. The French flag is high, and all in disguise we guess the argentine punk statue like an obelisk with a Mohican punk comb. At the inauguration of the eighth edition of Les Grandes Traversees Festival - "How do you are" in Bordeaux, a one-woman show produces the theatrical exaltations, among songs, safety pins and metal necklaces/chains...
Clarin (Argentine mainstream newspaper), January the 9th of 2008.
Tatiana Eva Saphir was born in Buenos Aires, Argentina. Since 2003 she lives and works between Berlin and Buenos Aires. She studied drama, theatre and dance with Alejandra Boero, Alejandra Boero, Ricardo Bartis, Alejandro Catalan, Paula Lena, Luciana Acuña among others. In Argentina she played in theatre pieces of Jorge Sanchez, Mariana Obersztern, Rafael Spregelburd, Santiago Gobernori and her own. She also acted in some chapters of the T.V. Series “Sol Negro”, “Locas de amor” and “Mujeres Asesinas”. She had the main role at Diego Lerman's first feature film "Suddenly" (Tan de repente), with which participated and won many awards at International Festivals (Buenos Aires Festival Internacional de Cine, Rotterdam Film Festival, Locarno Film Festival, Festival Internacional de Biarritz, Festival de Huelva, etc.). She won several awards as actress like "Clarin/Best newcomming actress in film 2003", Best Actress La Habana Film Festival, etc. She also starred at "Meanwhile" (Mientras tanto) by Diego Lerman, "The Aura" (El Aura) by Fabian Bielinsky, among others. Since 2002 she works with the German theatre group Lubricat, directed by Dirk Cieslak, with which she's done the pieces “Mutations #3/ Vuelvo enseguida- We'll be right back” 2003, "Mutations #5" / 2004, "Zornige Menschen" (Angry people)/2005, How to take over / 2007 and "Wake Island" /2008. Since 2005 she also works with the dance company Constanza Macras/Dorkypark where she performed at "Sure"/2005 (presented at the Festivals and theatres of Berlin, Santiago de Chile, Milan, Bolzano, Athènes, etc) and "Hell on Earth"/2008 (Berlin, Hambourg, Cologne, Linz, Paris, Johannesbourg, Sarajevo, etc). In 2007 she worked at the National Children Theatre in Prague on the theatre piece "The goodies", directed by Jirka Havelko, presented in Prague and Dublin. Since 1998 she works as assistant director, production and tour manager of the argentine director Federico Leon (who's work was presented in Buenos Aires,
Brussels, Berlin, Paris, Amsterdam, Merlbourne, Torino, etc.) She's also part of the electropop/tecnogroncho group AZUKITA, in which she sings and performs since 2004 in many undergroud spaces and music Festivals in Buenos Aires and Berlin (Dock 11, WAU, III Porn Filmfestival Party, Wonderbar). In 2006 she wrote, directed and performed her piece "Re-Genias/Diarios íntimos 1985-1997", together with Carla Crespo, based on her teenage intimate diaries, with great reception by audience and press during the theatre seasons 2007- 2008.
Tamara Saphir was born in Buenos Aires, where she studied dance and theatre (O.Ferri, C.Barnils, P. Rapún, R. Bartis Studio, etc). At the age of 18, she arrived to Paris to continue her studies, obtaining in 2001 the Technical Aptitudes Skills degree of the Centre National de la Danse, while she developed multiple experiences with dancers, choreographers and teachers (RIDC, CND, Susanne Linke, Peter Goss, Wayne Byars, etc.). In parallel, she pursued a theoretical research in University Paris 8, and she achieved a Master 2 of philosophy where she specialised in the relationship between movement and language. She performed in dance and theatre pieces: (In) Potencia by Volumen Express Co, Brief History of Argentinian Punk by TnT Saphir, tango shows at Carrousel du Louvre, Ciudanza 2000, replacement of main character in Constanza Macra / Dorkypark´s piece Hell on Earth, Ayat Nayafi´s Lady Teheran, etc.). She also created two solo performances for the Housing Projects curated by Jarred Gradinger for Les Grandes Traversés / How do You are Beach and There goes the Neighbourhood Festivals, (Bordeaux and Royan, 2009). As a choreographer, she directed Schöne Schule, a performance with a group of teenagers for the UNART project that was selected for the final German tour (Thalia Theater in Hamburg, Maxim Gorki Theater in Berlin, Kammerspiele in Frankfurt and Staatsschauspiel Dresden). She has also collaborated as a choreographer in the theatre pieces That enemy within (Lola Arias, HAU, Berlin 2010), Revolution now (Gob Squad, Volksbuhne, 2010), 14 minutes de danse (by S. Ristic, La Villette, Paris 2009) Re-Genias (T. Saphir and C. Crespo, Exéntrico de la 18, Buenos Aires 2006). She worked as an assistant for the theatre directors Federico Leon and Sonia Ristic, and assisting and translating in the Chantiers Nomades for filmmaker Diego Lerman and theatre director Rodrigo García. In 2007, she worked as a dramaturge for the dance piece Tout va bien, by La mentira dance company. She was invited as guest lecturer by the Art School ESBAM (Le Mans 2009). She taught tango-dance regularly in Paris and gave several workshops of dance in France and Argentina.