TIP-CONNECTION COMPANY presents an animated exhibition of theatre models:
An exposition + contemporary puppetry art =
60-minutes theatre production for 60 spectators
IDEA AND CURATOR: Anna Ivanova-Brashinskaya
• THE TIP-CONNECTION, TURKU
• DATURA GROUP, VILNIUS
• THE VILNIUS ACADEMY OF ART
• THE TURKU ARTS ACADEMY
Coordinators of the Project:
Šarūnė Pečiukonytė (Vilnius)
Nanna Mäkinen and Vitalia Samuilova (Turku)
DESIGNERS & MODELS:
- Julija Charsika: Mikhail Bulgakov “Master and Margareta”
- Simona Finkelšteinaitė: Feliksas Bajoras “Suite of stories”
- Gintarė Jonaitytė: Edgar Allan Poe “The silence”
- Sigita Jonaitytė: George Orwell “1984”
- Grėtė Ginaitytė: Sophocles “Ajanta”
- Aneta Kairys: Henrick Ibsen “Ghosts”
- Paulina Nešukaitytė: Richard Bach “Jonathan Livingston Seagull”
- Šarūnė Pečiukonytė: Franz Kafka “The Burrow”
- Gintarė Vaivadaitė: Jonathan Swift “Gulliver’s Travels”
- Marija Zalensaitė: Lewis Carroll “Through the Looking Glass”
- Diana Zinkevice: Anton Chekhov “Ward N 6”
- Dovilė Levickaitė: Lewis Carroll ”Alice in Wonderland”
TRANSFORMATIONS INSIDE OF MINIATURE LANDSCAPES: Still/Life, TIP-Connection, directed by Anna Ivanova-Brashinskaya, premiere 18.11. in Tehdas teatteri.
“Still/Life is an interesting contemporary theatre happening, where the installations made by Lithuanian stage designers come to live by the means of puppetry.
The starting point for the installations are black boxes approximately the size of a shopping basket. In the most scenes the box works as an small-scale stage, where is build up a landscape inside.
The performance builds unusual intimacy/closeness among the audience by forcing the viewers gathering around the mini-stages come really close to each other.
The scenes without words are based on visual narration. The whole becomes a dreamlike and labyrinth-like net of associations. In many installations there is being used some material, that is being shaped during the performance (soil, sand, water or different movable or scattered objects). In many landscapes there are also recognizable figures as people, birds, furniture, ships or chess figures.
Even though the puppeteers are mainly withdrawn from the small-scale stages, their physical existence is however emphasized beside the small made-up worlds. There is organic warmth and presence in the faces seen on the background and in the hands that penetrate in to these small landscapes”.
ANNINA KARHU Turun Sanomat 19.11.2011
Translation from Finnish: Laura Hallantie