Tuesday, September 9, 2014

Questionnaire with participant kadrinoormets (EST)

kadrinoormets (26) an estonian performing artist and text creator

Have you been (when) to Budapest - Hungary with your pieces and artistic works earlier?
i haven’t

What do you know about Hungary and what kind of information do you have about our dance life?
how buda and pest are reaching towards each other, endlessly. how stone remains stone even the cities become one. what a clear sculpture you have!
my knowledge about your dance life is poor, though.

Could you share with us, if you have any idols in theatre/dance life?
haven’t idols in theatre nor in dance so much. actually, i cannot talk about idols at all, i’d say activating influences instead or quality carriers. 
and in my case, these activators are mostly coming from other fields, and tend to be more general, rather experienced qualities than specific names.

/…/ graphic design, statement of street art, posters, written music critics, chess, dictionaries, words /…/
what influences is the process of translating the activator into my specific approach, into my personal vocabulary, meaning performing art and text creating. for instance, what could be the role of specific language of graphic design put into performance process; where do they meet, between which qualities the encounter or overdrive might happen. 

of course there are also some names coming up but i’d never call them idols as such. considering them as miracles, preferably left untouched.

What kind of piece will you bring to L1danceFest? Does this piece mean any differences or similarities to your earlier works? Where did you perform it already?
the piece is called an hour of, and it premiered more than a year ago at the august dance festival in tallinn. 
so far we have performed it in different festivals in estonia.
as well as my earlier works and also the stuff i’ve done recently, they have all been carried by the idea of seeing art as organised space of concentration. the genre i’ve been researching throughout the processes, which i’ve found inviting for myself, is human active installation
so far i haven’t had enough of going deeper, haven’t reached the satisfying illustration or solution for these statements (organised space of concentration, human active installation) yet. so for instance, these particular ideas have kept me busy from piece to piece, and they still do; being constantly echoing through whatever i do.
what is different, is the fact that with an hour of i felt for the first time a real need to integrate the sound design and the light and all the surrounding as an equal component to the action done by body. i moved from seeing body as the only essence to seeing the space as integral whole and quality itself. good news, i’d say.

Do you have your artistic statement, could you share with us?
i have had several ones but since i noticed them changing from time to time, i couldn’t take them that seriously anymore. i understood that every single work of mine which i share, release or show is in fact my statement itself which i wouldn’t be interested in putting into language structure that much. i like the idea of not needing extra explanations. 
although, what i am still very interested in, is finding and saying out different words, terms and self-produced definitions that i’ve been busy with throughout creative journeys, which have popped out during processes.

right now i can share this: art as a potential for becoming an organised space of concentration.
when talking about the interest for micro spaces happening between art objects and audience-receiver, being interested in the very/micro moments when analog encounter happens, when object and subject meet, letting the third space appear. apparently talking about holy stuff.

Do you have any hobbies beside working as a performer or creator?
(finding it difficult to be a non-creator. haven’t met many non-creators as one is always somehow busy with creating, i find)

making clear, because the error that beats, starts already when simply using the wrong, not precise words. 
i don’t consider myself as a worker. i don’t work as a performer, if i should then i would skip doing it soon, starting with something else instead. the idea of working, the term work itself, and all the context that it brings along today, doesn’t attract me. i get blocked when i start working, i freeze and slowly walk away. 
in that sense, all i do, including performing, creating, writing etc, is about me having hobbies. although the word hobby i wouldn’t use either. but for the sake of understanding, let’s say so. 

besides performing, creating texts i also lead a course poster and performance in estonian academy of arts, in graphic design department; i am one of the hands at the festival notafe (www.notafe.ee), where i take care of the visual identity of the festival and the ideological developments inside it; making posters, practicing action theatre, dealing with chess and collecting words.

Can you write some details about your artistic life, which direction did you come from and which direction do you go right now? Tell us some important steps from your background!
one of the most important steps comes from my very early age when i started studying and playing chess. at the present moment i can clearly see that it has been and it still is a very simple and basic keyword for opening (not to say understanding) my creative approaches, decisions and developments. after chess there was a long note without disturbance, after which the action theatre as a quality restart, as the second step and keyword came. 
i am coming from dance and choreography, from playwriting and performing arts.
right now i am traveling with my attention around the world and catching landmarks from the air. i am consciously bringing good news, and writing a dictionary titled zero guarantee

How did your summer time go? Did you get any new inspirations? What was the best experience during this summer?
my summer was busy with creating a piece darks in blues at the seaside. it is a collaboration with a madrid-berlin based artist diego agulló, and got premiered at the august dance festival in tallinn. this particular process itself was deeply inspiring and needless to say, speaking directly. basically i got inspired by nature through filter. 

although the highlight of this summer was one another yes - i jumped by running, from high into the light blue lagoon, and survived. and it wasn’t a movie, my impression was. cheers, such a pleasure to have that kind of experience in body-memory. still coming back to that…

Does it mean any differences to play your pieces in different countries? If so, could you please tell us in what sense?

What does it mean to you to be in the process and to show the work to the audience? What kind of feedback are you open for?
being in process means trusting life, trusting experiences and trusting body impulses. it also means taking time.
showing something to the audience means a dialogue, a proposal and enriching body experience for everybody who happen to be there, sharing time and space. it also means taking time.

i am open to feedback as a potential for dialogue and conversation. which doesn’t mean as if i would be always ready to handle all the question marks i cause. but ideally i am always open. and it’s the matter of time, that i would be open without exceptions. 
it also means taking time.

Do you read critics about your works? What kind of critic do you need?
depends. i read when i feel like, when having a special interest. the urge of reading everything, i don’t have, that’s for sure.
who needs critic anyway, i need love.

Do you criticise other’s works? Do you write about it?
if i feel like criticising or being critical, i try to make some generalisations out of it, so i wouldn’t attack anybody personally, which i’m not interested at all, but rather considering the emotional reaction i got as a potential material for rethinking the topic inside myself first, then moving forward towards the bigger picture. when the urgent bigger picture happens, i always write. which is rather rare, though. unfortunately, fortunately. 
i consider writing to be a specific way of thinking, closely connected with time. i take it as a privilege, and a great honour.
i often start writing, when after seeing a piece, some fresh keywords appear which i all of a sudden am able to define then. i find the possibility of putting experienced qualities into words, being attractive to me. i know that words may come after deeper inner understanding, and deeper inner understanding could be worth of registering. green light, i tend to guess.

Are you open for a round table discussion with the audience after a premier or after your show?

Here you find some words, could you put them in sentences which could be kind of ars poetic of yours!
sharing face in sense of hug and getting closer by homage 
while performing is exchange though community it stays 
as popular as organic food 
in religions, nations sharing face in sense of hug

Do you have any question?
i took some books with me, where could be the perfect table here for reaching the right reader?
how is the weather during the festival?

it depends on - do you want to sell them or just to share with the audience?
the weather we hope will be nice - evenings are colder

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