|Concept, Directing and Choreography||Saar Magal|
|Performers||Joel Suarez, Shiori Tada, Malika Fankha, Dariusz Nowak, Dafna Dudovich, Emmy Blein, Samuel Retortillo|
|Composer & Sound Designer||Simon Berz|
|Set Design, Props & Costumes||Irina Mafli, Saar Magal|
|Video Animation||Pascal Jeker, Aurelian Ammon & the students of Bachelor of Interaction Design ZHdK led by Luke Franzke|
|Light Design||André Donzé|
|Technical Director||Ueli Kappeller|
|Sound Designer & Sound Technician||Willy Strehler|
|Production Manager||Ketty Ghnassia|
|Production Assistant||Meret Bhend|
Co-Produced & Co-Funded by: KONZEPTBÜRO ROTE FABRIK ZÜRICH
Kyros Kikos & Dagmar Lorenz
Premiered at the AKTIONSHALLE ROTE FABRIK, March 20th 2018
Partners: Tanzhaus Zürich, Zürcher Hochschule der Kunst
Stadt Zürich Kultur
Ernst Gönner Stiftung
Omanut Verein zur Förderung Jüdischer Kunst in der Schweiz
Georges und Jenny Bloch - Stiftung
ZHdK Interaction Design
Video Archiving Flavia Reinhard
Photos Niklaus Spoerri
Along the path of exploring processes of extinction as a physical, political, ecological, social and cultural phenomenon, I’m interested in intentionally bringing together what might appear to be widely divergent source materials. Among them: recent work in cosmology; writings and new technology concerning the notion of the “post-human”; literature dealing with the limits of human life, transmutation and metamorphosis; survivor literature; ancient myths and prophecies concerning end times; Dante’s Divine Comedy, etc.
The process of creating this musical performance trilogy would be dedicated to generating a constellation of images, narratives, movements, sounds, sensations that will allow the audience to think and feel their way to the edges of what now constitutes the measure of the human. The notion of the “anthropocene” has forced us to consider a radically new kind of temporality, one in which human history and geological time converge. How can this convergence be taken in by embodied subjects? How can it be mediated so that it gets under our individual and collective skins? How can the prospect of our own extinction as a species be brought into the now, into the texture of lived experience? Become an object of our own experience? How can this most abstract—and “impossible”—of possibilities be made concrete, palpable, urgent? Performance, especially dance, music and theater, live and involving the audience, can transform “theoretical” emergencies into lived urgency and form a way of waking up to our own dreams.
Speculations and predictions about the future often emerge in times of crisis. Striving to predict what is going to happen and when – in order to legitimize actions in the present and also to prepare for the worst-case – seems to be connected to anxieties over global ecological conditions, military and terrorist threats, economic breakdowns, to perceived abandonment of traditions and values, but also the destruction of the very resources of human survival.
What if the end of world as we know it is happening now? What does extinction produce? What is the substance of the fantasies that sustain the natural order and reality of the world? What happens when these fantasies loose their grounding in a living tradition? What forces move us towards or against changes? What might these transformations incur?
Extinction / I'm Still Here - Futurity Episode 1 was produced with the Konzeptbüro Rote Fabrik, at the Aktionshalle Rote Fabrik Zürich in March 2018