Robotic Art : TOTEMOBILE Interview with Chico MacMurtrie - When Art meets science Kriszta Doczy 2024-03-26 | Chico MacMurtrie is internationally recognised for his large-scale, performative, kinetic installations, and interactive public sculpture. In this video a fullscale Citroën DS transforms in a few minutes to an 18-meter-high totem, nearly touching the roof of the Cité des Sciences et de l'Industrie in Paris (Science Centre), and this it does without recourse to Hollywood special effects.During an interview Chico MacMurtrie talks about how he creates his robotic sculptures and installations, about the challenges he and his engineer team are facing.He is the Artistic Director of Amorphic Robot Works (ARW), a collective he founded in 1991, consisting of artists, scientists and engineers. Currently operating out of Brooklyn, New York, ARW is dedicated to the study and creation of movement as it is expressed in anthropomorphic and abstract robotic forms. MacMurtrie has been working over the last years on his innovative, inflatable sculptures, which were exhibited in major museum shows and other international exhibitions.The interview was filmed at the Robotic Art Exhibition at the Cité des Sciences et de L'industrie, Paris 2014, Curator Richard Castelli, EpidemicSee more pictures facebook.com/media/set/?set=a.1188615074486093.1073741849.148120121868932&type=3Educational streaming: Bloomsbury Publishing"
Black Symphony 1970 Kriszta Doczy 2024-07-27 | A physical theatre version of Jean Genet’s play The Blacks was performed in a cellar-theatre in Budapest by the alternative theatre company, Domino in 1970. Led by Miklos Kollo, the company was regularly banned by the Communist regime. The Blacks was closed down after only a fewperformances after tickets were sold for triple price on the black market.The film Black Symphony is a (film) adaptation of this (theatre) adaptation. A double mirror which reflects both the contemporary French and Hungarian theatre and our deeply hidden desire for freedom. Though Black Symphony is a double interpretation and a twofold transformation of a provoking play it still remains just as provoking as the play itself.This unique experimental film by Andras Peterffy is a rare example of avant-garde, underground film culture in the 1960-70 in Eastern Europe. It also contains invaluable archival footage of a ritualistic physical performance style which later became known through Grotowski’s work. Towards the end of the 50 years of Communism Hungary was considered as "the happiest barack of the socialist hemisphere". The film industry in Hungary was a "socialist establishment” with strict criteria for funding and heavy censorship. Outside the mainstream film studio an alternative film culture emerged. The”playground” for young people was the film club movement which soon became a prestigious, independent, creative circle with an audience of its own. The Balazs Bela Studio became internationally known as the creative hub of independent film makers. The theatre of Eötvös Loránd University functioned as the centre of progressive creative art of all kinds.Script and choreography : Miklós KollõDirector-producer: András Péterffy and László GyörgyPerformed by: Miklos Kollo, Eva Káli, Ajtony Ponori-Thewrewk,Kriszta Doczy, Sándor Szabó, Galina Vida, János Paszabi,Vali Sági, Péter Rajka, Edit Szeles. Vocal: Rita SzalókiProduction assistants: Miklos Petrucz, Jenő Kucsera, András KáliThe Domino Movement Theatre was one of the well known progressive alternative experimental theatres in Europe in the 1970-80s. Based inBudapest and directed by a young charismatic choreographer, Miklos Kollo, the company attracted many artists from all fields of art. Regular contributors to the performances were jazz musicians, visual artists, singers, photographers and filmmakers. The company later became an export commodity for the communist centralized art management companies. The non-verbal performances were sellable in Europe festival circuits; the otherwise difficult Hungarian language did not pose any barrier. The controversy was, of course, that the theatre was bannedd by the police andthe communist party on a number of occasions, while it performed in front of thousands of people in Spain or Germany. In 1970 Miklos Kollo and the Domino were at the beginning of their journey: putting in many months of physical labor, they restored a basement in downtown Budapest. They devised and produced an adaptation of Jean Gene’s play titled “Blacks”. Itwas a rather free adaptation of the original play, based on movement, metaphorical and ritualistic non-verbal storytelling, the cocktail everybody was interested in at that time. A popular tactic of getting around the severe censorship was to use metaphors and symbolical actions, music and a dramaturgy which invited the audience to find their own explanation to riskypropositions. Using surrealism in images, text, movement and visuals allowed a direct, uncontrollable connection between the performers and the audiences. Ceramic tickets were specially fired for the theatre, and came tobe known as C33- referring to the number of spectators (33) thesmall basement performance space could host. The Blacks could only have a couple of performances: the communist Ministry of Culture banned the event in a hurry. The reason was always given as “fire hazard” referring to safety regulations never specified. The style and technique of the performance was most progressive in 1970. Experimental avant-garde theatre at that time was inspired by Artaud, The Living Theatre from the USA,and others from the surrealist and Dada movements. Contemporaries at this time were Grotowsky’s Laboratory in Wrozlaw, Lecoq and, Tomaszewski Dance Company just to mention a few.In the next decade Miklos Kollo and Domino produced a number of performances. The technique and style became more sophisticated and complex, with professional performers and artist co-creators working full time, creating performances while fostering young talent in Budapest. In the 80s Domino became an iconic cultural phenomenon, but like most of the artists and alternative underground groups which were rebelling against the regime, it did not survive the lack of funding and stress caused by the constant prohibitions and harassment by the communist government.
Theres a Desert in my teapot Kriszta Doczy 2024-04-23 | Spare Part Theatre performance, 1995, Fremantle, Western AustraliaDirected Peter L. WilsonPerformers: Kriszta Doczy, Alice Cummins, Maddy Slabacu, Michael Barlow, Warrick WilliamsVideo: Peter Oldham
Franz Kafka: The Trial - 1996 Murdoch University theatre students performance Kriszta Doczy 2024-04-07 | Adapted and directed by Kriszta DoczyIn 1996, Murdoch University, Perth, Western AustraliaThe show toured in Singapore Theatre Festival in 1997 .The dramatic novel of Kafka contains rich visual imagery, which is surreal and absurd, and which deals with political, moral, and social issues of universal relevance. The aim was to develop the style of physical/visual theatre which is non-narrative yet which uses text. We investigated further the use of movement, text, mime, dance, and visual imagery and metaphor, with no one element dominating the production. We also tested the use of different acting ‘styles’ in a single piece, and explore vocal techniques and text delivery.Script is available.
Dynamic Shapes - Architecture Through the Lens Kriszta Doczy 2024-04-05 | Nancy Da Campo shares her passion and skills during a video interview. Nancy studied Architecture in Milan before living in London and becoming an accomplished architectural photographer and Instagram influencer. She is inspired and fascinated by lines, perspective, symmetry and geometry.She travelled extensively in Europe, Asia and Australia, in Sydney she was named one of the ""8 Photographers in Australia You Need to Know"" (Shutterstock Custom)Her education in Architecture gave her the tools to read and understand layouts and forms, the link between functions and aesthetics. It gives her a unique perspective to create images that represent spaces, design and buildings in their best light.The interview is illustrated with photographs of many famous contemporary buildings and interiors from Berlin, Geneva, Singapore, Basel, Zurich, Hong Kong among others.Interview + Photo gallery"
Dance me to the end of life Kriszta Doczy 2024-04-05 | Short etude performed by the students of Hush in 1996 at the Perth Institute of Contemporary Arts (PICA) Perth, Western Australia.Hush School of Mime and Non-verbal Theatre, founded by Kriszta Doczy, offered training for actors and the community in Fremantle, WA between 1993 - 1998.
Dynamic Shapes - Nancy Da Campo Photogallery Kriszta Doczy 2024-04-03 | Nancy Da Campo is an architecture photographer born in Milan, Italy. She always had a passion for travelling and curiosity for exploring the world, a deep interest about what physically surrounds her. She has always felt inspired and fascinated by lines, perspective, symmetry, geometry and these are all the elements that she tries to capture and isolate in her photos. She combines all these interests with her architectural education that gives her a unique perspective to create images that represent spaces, design and buildings in their best light. In the past few years she’s been based in London, Paris and Sydney. Now you’ll find her travelling in Asia documenting the best architecture on this side of the world.
Expressive Gesture Kriszta Doczy 2024-04-03 | Alternatives to realism. Gestures carry messages, very often unintentionally. In performance, one can say, expressive gestures reflect the person's inner emotional or mental state. They are non descriptive, non-illustrative and non-narrative yet far from abstract. Dramatic, meaningful, intriguing and moving - expressive gestures are the most powerful communicators between the performer and the audience. This communication can slip with ease onto a subconscious level: instead of "word processing", the meaning of the non-verbal message bypasses the mind and the spectator absorbs directly what she/he sees. The shape, direction, dynamics and emotional charge of the gesture of the performer will trigger associations, long lost memories, and emotions stored in the unconscious of the spectator. Some kind of non-linguistic truth - otherwise inaccessible and inexpressible - of the unconscious might surface. The focus of the film is on GESTURES and their ""imaginative"" application in non-realistic performance. Kriszta Doczy, theatre practitioner and lecturer has been involved in physical performance throughout decades and across continents. The video focuses on gestures with the special emphasis on imagination. The film is the first of a series planned to explore the physical aspects of performance. ""Imagination is what makes the difference; between ordinary and extraordinary and between average and fascinating.."- KD
Physical Theatre: Butoh and Beyond Kriszta Doczy 2024-04-03 | Filmed by Kriszta Doczy, the video is a documentary of a weekend workshop presented by Cheryl Heazlewood in Perth in 1996. The participants consist of young actors, dancers, performers and teachers. Cheryl presents powerful and inspiring training exercises which are drawn from her eclectic training in occidental and oriental movement and theatre.Cheryl Heazlewood- Choreographer, Actor, Teacher and Healer - has spent her life involved in theatre and dance.
Robotic Art : Transformations Kriszta Doczy 2024-03-30 | The interviews were filmed at the Robotic Arts Exhibition presented by the Cité des Sciences et de l'industrie in Paris, (8 April 2014 - 4 January 2015)Curator and producer, Richard Castelli, Chico MacMurtrie, Till Nowak, Shiro Takatani speaks about how artists might be inspited by technology, how scientists collaborate with artists to manifest the vision of the artist and about the process of creating artwork from the birth of the idea till the opening of the exhibition in the Science City in Paris.ROBOTIC ART exhibition looks at transformations made possible by the use of technologies developed for the most part since the mid-twentieth century, particularly electronics, computing, bionics, and robotics.
You are naked, so am I Kriszta Doczy 2024-03-29 | Daniela Miszkinis is a visual artist and practising art therapist and counsellor. She is focusing on painting in oils from life, in particular portraiture, still life arrangements, interiors and painting from figure. Always working directly from life, without reference to photographic material, Daniela creates paintings based on the premise that the sitter’s psyche can be accessed through the observation of their body. Her work centres on the psychological realms of the human mind and gives expression to her fascination with the interior, deep and hidden realms of the life force. Painting the body of the model allows the psychological themes to emerge through the work instinctively; to portray the richness of human experience, the beauty of beginnings, the sorrow and heroism of illness, the lyrical inevitability of death.
Interview with David Perry Kriszta Doczy 2024-03-28 | David Perry is unique among Australian artists in that he is equally competent in making paintings, drawings, prints, posters, photographs, films and videotapes. In work encompassing more than half a century, he has demonstrated his proficiency in these media, with his art exhibited in international film and video festivals and leading art galleries. To some extent, this versatility has counted against him, since he has been unclassifiable, a hybrid for which there is no name, other than multimedia artist, though this has come to mean someone who combines mediums, which David rarely does.This is a rich illustrated interview is about David’s paintings, drawings, photography and his ventures in life.
Physical Theatre: A workshop in Biomechanics Kriszta Doczy 2024-03-28 | Meyerhold's theatre and physical training system called Biomechanics puts the physical ability of acting at the beginning of every theatrical working process. The basic principle of Biomechanics is "that if the tip of the nose works, so does the entire body. The entire body takes part in the work of the most insignificant organ of the body. One must, first of all, establish the equilibrium of the entire body. " Before the actor can reach this totality on stage, every moment of his physical actions should be worked out consciously. The video is a documentary of an intensive weekend workshop presented by Ralf Rauker (actor/director and international educator of Biomechanics from Berlin, Germany) in Fremantle, Western Australia in 2002. The aim of the workshop was to introduce the basic principles and the vocabulary of Biomechanics to the participating actors, teachers and students in theatre arts. Part of the biomechanical training is to analyze each movement and to make clear what is - the preparation - the action - the stop (before the next preparation). The workshop gave a first understanding of this analysis of movement and how it is used in the Biomechanical Etudes.
An Interview with Albie Thoms - Australian Avantgarde Kriszta Doczy 2024-03-28 | This precious interview had been planned by Albie Thoms and Kriszta Doczy for the entire year in 2012 while Albie was battling with his illness and using every drop of his energy to finish his book "My Gen" about the Sixtieth alternative underground film makers and artists in Sydney. Finally, just three weeks before he passed away Albie talked to Kriszta and the camera.Their conversation covered a wide range of topics: his early theatre experiments with absurd plays, becoming a film maker, the UBU experimental film group's work, government politics, rebellion, and the emerging of Sydney's counterculture amongst others. He speaks about the why and how of being an "experimental" artist and the bravery needed to not belong to the mainstream.The interview is illustrated with original photos, film clips, excerpts of performances and most importantly with selected clips from Albie's experimental films.This film is dedicated to Albie Thoms, a much loved and respected figure in Australian culture and film history.The interview covers a wide range of topics: Albie Thoms' early theatre experiments with absurd plays, becoming a film maker, the UBU experimental film group's work, government politics, rebellion, and the emergence of Sydney's counterculture. He speaks about the why and the how of being an "experimental" artist and the bravery needed to not belong to the mainstream. It is a touching account from a once rebellious artist, illustrated with original photos and film clips.
An Interview with Paul Winkler - Australian avantgarde Kriszta Doczy 2024-03-28 | An inspirational encounter with German born, Australian experimental filmmaker Paul Winkler.In this in-depth interview with Kriszta Doczy, Winkler talks about his work, demonstrating some of his peculiar techniques as well as explaining his conceptual approach to work and his personal process of creation. He shares his experiences in life as an artist, the stories of his journey from Europe to Australia by motorbike and his exhibit tours worldwide. Born in Hamburg, Germany, Winkler underwent a bricklaying apprenticeship before migrating to Australia in 1959. His self-education in film and film history began in 1962, when he produced his first films in 8mm on Bell & Howell and Canon cameras. In 1967, he switched to 16mm and a Bolex camera which he has used ever since.Winkler characterises his films as "a synthesis of intellect and emotion, filtered through the plastic material of film". "I try to let 'imagines' flow freely to the surface".The ideas which he terms ‘imagines’ may reflect Australian icons like Bondi Beach, Ayers Rock/Uluru and the Sydney Harbour Bridge, or textures, as in Bark/Rind, Green Canopy, and the bush.In 1973, Winkler's film Dark identified with the Aboriginal land rights movement, acquiring a spirituality which was also manifested in Chants and Red Church. Later films take contemporary society for their subject, as in Rotation, Time out for Sport and Long Shadows. His early apprenticeship is recalled in Brickwall, Backyard and Brick and Tile.In 1995, the Museum of Contemporary Art and Sydney Intermedia Network mounted a retrospective screening of 30 of his films. The following year, the Carpenter Center for the Visual Arts, Harvard University, USA screened 30 films in a three-day retrospective.“Filmmaking has always been a journey into the unknown for me. Each new film demands its own trajectory. I might start with a particular idea and then after the first 100 feet of exposed film comes back, the imagines tell me which way to go or not to go". "There is always a kind of pull between me and the material photographed, something opens up. If everything works out fine and the imagines connect to me and i can almost hear the sound they want, it is one hell of elation running through jour body and mind, unbelievable. To sum up: my approach to filmmaking is primarily an organic one. The films are a synthesis of the intellect and emotion all filtered through the plastic material of film. I try to let imagines flow freely to the surface.” - Paul Winkler
Curious Portraiture - Interview with Garry Shead Kriszta Doczy 2024-03-28 | Shot in his studio, the video is an intimate interview - about his portrait painting -with Garry Shead, one of Australia’s most famous and acclaimed lyrical figurative expressionist artists, the winner of the Archibald Prize for Portraiture and the Dobell Prize for Drawing.The role that portraiture occupies in Garry Shead's oevre can only be described as curious. At least since the late 1960s, Shead seems to have been out of step with prevailing fashions in the art world, yet as a portrait is this credentials have never been questioned. On twelve occasions his portraits have been hung in the ""Archibald Prize"" exhibitions at the Art Gallery of New South Wales. At the age of nineteen he appears to have been one of the youngest artists ever to be hung in the "Archibald"; and in 1993 he was awarded the Archibald Prize for his Portrait of Tom Thompson. By the age of twenty-five he was a recognised and decorated portraitist on the Australian art scene. (Sasha Grishin) "
Forman Planet - Interview with Richard Foreman Kriszta Doczy 2024-03-27 | "Artists are involved in trying to keep alive and sustain an alternative reality…"" (Herbert Marcuse) Video interview with 9 time ""OBIE"" winner Richard Foreman, writer, director, designer, choreographer and founder of Ontological Hysterical Theatre, in New York City. A visionary experimental theatre artist of four decades, Foreman talks about his creative processes, about psychic freedom, about reality, realism and realistic theatre, And about collisions of objects and words with primary impulse. Answering to interviewer Kriszta Doczy, Foreman also shares his private feelings and concerns about living and working as an artist in New York City today. The video interview is broken up by the fascinating images of Photographer Paula Court offering a visual feast and a ""beyond-intellectual understanding" of Foreman's work.
Stelarc - Stelarc - The Body is Obsolete. Interview with Stelarc Kriszta Doczy 2024-03-26 | Art meets Science. Stelarc is an Australian artist who has performed extensively in Japan, Europe and the USA - including new music, dance festivals and experimental theatre. He has used medical instruments, prosthetics, robotics, Virtual Reality systems and the Internet to explore alternate, intimate and involuntary interfaces with the body.http://www.stelarc.va.com.auThe video features an interview with Stelarc as well as descriptions and images of all his major artworks. He has acoustically and visually probed the body - having amplified brainwaves, blood-flow and muscle signals and filmed the inside of his lungs, stomach and colon, approximately two metres of internal space.
The Emotion of Design. Furniture Makes Architecture Human. Interview with Mark Gabbertas Kriszta Doczy 2024-03-25 | Mark Gabbertas, one of London's premier designers talks about the most current questions in furniture design; branding, productions, psychology of space and the emotion of design. The richly illustrated, in-depth video interview is a must-see for all design courses. Mark: What drives us/makes me get up in the morning? the prospect of getting better at what we do. Goal posts change and move and objectives refine and mature. The remotest possibility that we might have done something with enduring significance. The idea that furniture design makes architecture human. The ability of furniture to fundamentally affect how you feel, and thus its ability to fundamentally influence behaviour... ...On more sophisticated level, how you want people to feel... relaxed, alert, social, confident, calm etc...all these emotions are able to be influenced by the furniture they are using, and it is the fascinating job of a designer to understand the relationship between the design and the desired experience. Mark's philosophy is to create character through simplicity. .
The Mules Foal Kriszta Doczy 2024-03-24 | Adapted by Alan Becher from the novel by Fontini Epanomitis and developed and devised the play with Kriszta Doczy, and a cast of 7-8 actors through 2 years, this recording is one of the final rehearsals / presentations before the premiere in the Pert International Festival in 2020.The Mule's Foal concerns three families throughout 100 years of Greek family life. In the village Theodosios abandons his wife and gorilla child, then spends a lifetime trying to get them back. There's Meta, who is neither male nor female. And Yiorgos the Apeface, who is both man and beast. Young Agape of the Glowing Face, who can stop men's hearts with a look. From the centre of superstition and gossip, rumour and chaos, Mirella the ancient whore finds a calm place to tell her tantalising tale. This adaptation deliberately avoids realistic or naturalistic text, conventional dialogue and characterisations, but stays true to its cultural origins in oral storytelling. (Australian Plays Transform)'...an extraordinary piece of theatre that is at once fluid, musical, beautiful, tender and funny.' Sarah McNeill, Post NewspapersFeb 2, 2000'Mystical, sensual and intense, the legend of the Mule's Foal draws you into another world, enticing you into a foreign land rich with folklore and the age-old art of storytelling.' Jean Stewart, News Chronicle Feb 2, 2000
Franz Kafka : The Trial - 1999 stage adaptation and experimental performance Kriszta Doczy 2024-03-23 | Physical Theatre: The TrialKriszta Doczy adapted and directed Franz Kafka’s novel, The Trial in Australia (1996) and in New York (1999). Performed by a cast of truly multicultural background. The two productions toured in Singapore and in Korea. The video is a physical/visual theatre performance inspired by elements of the Theatre of the Absurd and surrealist imagery. Through the experience of training, rehearsing, performing the talented acting students learnt about the visual and physical language of physical theatre.Kriszta: "We focused on the story which contains rich visual imagery, which is surreal and absurd, and which deals with universal and contemporary political, moral, and social issues. The aim of this project was to investigate the use of movement, text, mime, dance, visual imagery and metaphors, with not one element dominating in the production. I also explored the use of different acting styles, vocal techniques and text delivery in one single piece."Cast: Louis Vuolo, Susan Stewart, Justus K White, Daniel Kennedy, Leigh Anmol Michaelessi, Lex Jorge, Dike Obioma Matthew, Hugo Jhun, Jonathan Park, Katherine Damigos, Marisa Donadelle, Cynthia Polakovicz, Randy Rajkumar, Felicite PercySet Design: Danny LiculCostume design: Veronika ZamdmerSee photos about the Korean trip, performance preparation: facebook.com/media/set/?set=a.1193986176257&type=3
Tango Part1 Kriszta Doczy 2024-03-05 | Mrozek: Tango - Shadow Industries Theatre Company, 1998, Perth, WASee Part 2: youtu.be/ZCT9TyId4qM?si=xq9CgytSlUedc2ZHSlawomir Mrozek was born in 1930 has become the best known among the Polish avant-garde dramatists. His plays have been performed in most of the capital cities in Europe and in New York with enormous success.
Tango Part 2 Kriszta Doczy 2024-03-05 | Mrozek: Tango Part 2Go to Part 1: youtu.be/MYNeUAfy1Hc?si=8GGyKPTHpdNLid_LSlawomir Mrozek was born in 1930 has become the best known among the Polish avant-garde dramatists. His plays have been performed in most of the capital cities in Europe and in New York with enormous success.
Do you love me? Kriszta Doczy 2024-03-05 | An adaptation of the short story written by Peter Carey.Concept and direction by Kriszta DoczyPerformed by George Shevtsov, Andrew Robinson and the Shadow Industries Theatre Company: Jodie Thanos, Gabor Kollo, Gari-Emma Perry, Genevieve Moran, Suzannah Edwards, Narelle Hurley and Larissa Price.Words by Sophia Martin-Pavlou:‘Do You Love Me?’ describes a world in which people and things are gradually fading away, dissipating to thin air, ‘like the image on an improperly fixed photograph’. People wish to know the contents of their nation, and the narrator conveys their responses to us. They cling to every detail of the annual census, a total inventory put together by cartographers. Within this swiftly changing society, the need to record is paramount.Theories as to the cause of the disappearances vary, but our narrator is convinced by the hypothesis once put forward by his own father: only the loved remain. The scenario created, in which everything is carefully documented and accounted for, is not so unlike our own networks of constant, instantaneous information. The author seems to critique not only his own fact-fixated characters, but also the reader’s anticipation of answers, our ‘desire to know, always, exactly where we stand’.
Peeling Kriszta Doczy 2024-03-05 | Adaptation of Peter Carey's short storyConcept and direction by Kriszta DoczyPerformed by George Shevtsov, Andrew Robinson and the Shadow Industries Theatre Company: Jodie Thanos, Gabor Kollo, Gari-Emma Perry, Genevieve Moran, Suzannah Edwards, Narelle Hurley and Larissa Price.Peter Carey's story 'Peeling' raises the question 'What is Femininity for men?', and a similar question for feminist readers. 'Peeling', published several times and frequently studied by students of Australian literature over the past decade, enacts a masculine nightmare/fantasy in which a man undresses a woman in anticipation of sexual intercourse only to find that she is destroyed in the process. It is one of Carey's best-known stories; while it has been described as 'bizarre' and 'unappetizing', its disturbing gender politics are rarely discussed. Reviewers have described the male narrator as a victim of 'loneliness' and 'alienation', but have ignored the woman as a victim of any kind. In the story's reception, we have another instance of the repression of the act of repression.Tate, T. (1987). Unravelling the Feminine: Peter Carey’s “Peeling.” Meanjin, 46(3), 394–399. search.informit.org/doi/10.3316/informit.585827284161963
