FESTIVAL FOR EXPANDED MEDIA
PERFACT / THEATERFILM
Since 2001 the Filmwinter Stuttgart has been dealing with the relation of performance and acting in film in various programmes. Among others there were screenings of films/videos by Cipri and Maresco, Erwin Wurm, Fluxus and other diverse videos and films, discussing theatre, stagings but also everyday actions.
Wand 5 is going to offer a distinguished programme at this year’s Filmwinter once again. The centre of consideration, however, are questions of theatre-notions, artificiality and practice in acting. The extrusion of theatre in film - as it was demanded by the Avantgarde Film in the 20ies – seems to be subjected to a reverse boost. Everything considered not filmic back the, i.e. extensive dialogues and monologues, stage-like settings, stagings in several acts, is now considered progressive. In the age of assimilation of experimental design in advertising spots and music video is probably a return to early (theatrical) cinema and the theatrical aspect in itself is a strategy of avoidance and a form of criticism. It is noticeable that theatre producers increasingly turn into film producers. The most prominent examples here would be the Volksbühne in Berlin. We included some of their productions – by René Pollesch and hangover ltd. – into the Filmwinter programme. A key figure of this tendency is of course the omnipresent and inevitable Christoph Schlingensief. The Filmwinter will introduce his most current film product “Attabambi-Pornoland” for the first time and in a joint venture with production company Filmgalerie 451. Screenings of a few of his earlier films were part of a presentation of the work of Dietrich Kuhlbrodt, actor and federal prosecutor. Schlingensief, who has often worked with experimental filmer Werner Nekes during the 80ies combines theatre production, experimental film work and action art. His work for the stage proves how strategies in performance and action art have increasingly pushed into the realm of theatre. The DV-video “Petra” by group artists hangover ltd., who draw from the work of Fassbinder, shows the strong interchange of theatre and film. Fassbinder is again an important reference in “Abolition of beating language”, an installation by Michael Dreyer. The piece of work deals with “talking about someone in his/her presence. Which filmic impression of a main character is produced if they cannot get a word in. How do the concerned parties - in their functions as actors as well as characters – get out of this” (Michael Dreyer). The (amateur) actors use the technique of shadowing: the listeners have earphones and the text is prompted. They repeat what is said.
The theatre notion is taken to the extreme with the hommage to the late Gary Goldberg. No settings and minimalist decoration offered Goldberg full concentration on acting. The focus of all of Goldberg’s films was on his actors Taylor Mead and Bill Rice – noted for their parts in Andy Warhol’s films and currently seen in Jim Jarmusch’s “Coffee and Cigarettes”. Time is made visible and sensible in statically shot actions. Goldberg’s films are evocative of the work of Samuel Beckett in many respects.
Beckett is part of the programme “Flaming Gestures” with his only film “film”. The main part is played by silent movie star Buster Keaton, who incorporates the body of theatrical gestures in film like no one else, a body which seemingly turned obsolete as movies with sound emerged. Different forms of exposure and depiction of gestures come to the fore in this historical programme, which draws on performer and filmmaker Jack Smith as a starting point. Here the gesture itself – on one hand a daily medium of communication on the other an instrument of actors – is a subject: exaggerated as a burlesque, deconstructed in a video or celebrated as banality.

14.01.2005 10PM FILMHAUS SAAL 2

TRIBUTE TO GARY GOLDBERG

FIVE FILMS BY GARY GOLGBERG PRESENTED BY JERRY TARTAGLIA


PLATES

USA 1990, 11:00 MIN., 16 MM CAMERA, SOUND EDITING JACOB BURCKHARDT ACTORS BILL RICE , TAYLOR MEAD
“Bill serves Taylor plates.” GG.
"Not to be missed." - Amy Taubin, The Village Voice
"It is probably the most original, thought-provoking comedy I've ever seen." Alexander Kogan, Films Around the World, NY

USHER

USA 1991, 11:00 MIN., 16 MM,NO SOUND CAMERA MARK BAUMGARTENER ACTORS BILL RICE, TAYLOR MEAD
Bill plays a blind usher in an old movie theater. Taylor is a bag lady who comes to see the show.

BIG BABY

USA 1993, 20:00 MIN., 16 MM CAMERA MARK BAUMGARTENER ACTORS BILL RICE, TAYLOR MEAD, HAPI PHACE
“Big Baby is baad.” Can be performed with live cap pistol.

THE CHAIR

USA 1995, 10 MIN., 16 MM, NO SOUND CAMERA MARK BAUMGARTENER ACTORS BILL RICE
“The Chair is about a man that cannot get out of his chair.” GG

SHINE

USA 2000, 33 MIN., 16 MM CAMERA MARK BAUMGARTENER ACTORS GARY GOLDBERG, JACOB BURCKHARDT, JOE RUCK
“The story of a flashlight.” GG

15.01.2005 4PM BETT

MICHAEL DREYER: “ABOLITION OF BEATING LANGUAGE“

HAPPENING

Michael Dreyer’s project “Abolition of Beating Language“ wants to construct a certain kind of viewer - a listener who feels being watched. The project is also an examination of the art genre portrait and it wants to reconstruct forms of threatening passivity in linguistic acts of violence and caring.

13.01.2005 10PM FILMHAUS SAAL 2, PART 1 AND 2 14.01.2005 4PM FILMHAUS SAAL 2, PART 3 AND 4

RENÉ POLLESCH: “24 HOURS DO NOT MAKE A DAY“

TV SERIES IN 4 PARTS

WRITTEND AND DIRECTED BY RENÉ POLLESCH SET DESIGN BERT NEUMANN COSTUMES NINA VON MECHOW TITLESONG AND SOUNDTRACK BRITTA CAMERA, EDITING UTE SCHALL ACTORS BRITTA, INGA BUSCH, CHRISTINE GROß, THORSTEN HEIDEL, IRM HERMANN, GORDON MURPHY KIRCHMEYER, NINA KRONJÄGER, TINA PFURR, RENÉ POLLESCH, VOLKER SPENGLER, CLAUDIA SPLITT, CATRIN STRIEBECK, PAULINE STRIEBECK, MARKUS WERNER. CO-PRODUCED BY WITH ZDF THEATERKANAL
Theatre meets soap opera: the 4 episode TV series by René Pollesch deals with work and love, is political, confused and funny. It must be of interest for someone that I survive here. For instance for this fucking global capitalism, or homogenous state, or economic politics. They might be interested in my survival. But there is a risk of failure in what you’re living here. Maybe it’s just not of interest for anyone. And that’s why stories aren’t of any interest and the story you’re telling me, your life for instance, it’s just not interesting. The risk of failure that the shit, the shit that is your life is not of any interest at all is just too high. Here people pick themselves up like dogs and weed themselves out for their individual life strategies.

16.01.2005 14:00 FILMHAUS SAAL 2

CHRISTOPH SCHLINGENSIEF AND HIS FILMS

INTERVIEWFILM GERMANY 2004, 77:00 MIN INTERVIEW FRIEDER SCHLAICH CAMERA ELFI MIKESCH EDITING ROBERT KUMMER PRODUCED BY FILMGALERIE 451
The first longer portrait about the director and his films. The agent provocateur Christoph Schlingensief, well known as director and performer has his roots in the film. In the age of seven he already shot his first 8 mm film “A little mystery story”. Since then he made a film nearly every year. With “The mystery of earl Kaunitz” he seemed to start a career as a director of “Tatort” till the university for film in Munich refused him and his scheme of life is getting unfirm. He can take refuge in the studio of the experimental filmmaker Werner Nekes. In 1983 he is able to leave him with his homage “Tunguska – the boxes are here”. Thereafter he shoots and produces 10 feature films, more than all other filmmakers in his generation. The portrait “Christoph Schlingensief and his films” is only a long interview and section of his films. So a lot of his early films are screened for the first time. The director and performer discloses the mystery of his first double insolation, his first real love and his weirdness about the number 2000. His development shows the archetypical life of suffering of a young filmmaker who tries to be successful in the German film scene and finally finds his own way. “I see myself in the tradition of the new German film that started with the target to make films, being innovative but then it became snivelling. The author shouts mea culpa and the critics are nodding. Although I see myself in this tradition but I think that my only authorisation lies in drastic things: 75 minutes with the fist into the screen.”

16.01.2005 4PM FILMHAUS SAAL 1

ATTABAMBI-PORNOLAND – THE VOYAGE THROUGH THE PIG

A FILM BY CHRISTOPH SCHLINGENSIEF

Attabambi-Pornoland is a stop on the way to the “Church of Fear“, leading from “Atta-Atta“ in Berlin, „Bambiland“ in Vienna to „Parsifal“ in Bayreuth. In late Romanticism the idea that the devil is here and that he cannot be killed by science is gaining ground. This is hollered from the top of a chapel in Schlingensief’s “Bambiland”. The devil survives the death of god and thus inherits a few rights of his former partner. He who wants to struggle with god now has to approach the devil – ideally in his modern shape, the megalomaniac and animalistic part of the self over which god-seekers have been tripping since the Renaissance. Cue the dialogue with the pig, at first secretly and concealed by art until the actionists act publicly as proud pigs and fart on art. The actionists offer a practice on how to find your way in hell as a pig – as Artaud did before or Schlingensief’s „Church of Fear“. In co-operation with Filmgalerie 451

15.01.2005 8PM FILMHAUS SAAL 2

PETRA

SHORT FILM PROGRAMME

GERMANY 2003, 70:00 MIN., DV WRITTEN AND DIRECTED BY HANGOVER LTD.* CAMERA, EDITING UTE SCHALL SOUND DESIGN JOCHEN JEZUSSEK MUSIC SOPHIE HUBER SET DESIGN, COSTUMES JANINA AUDICK ACTORS CHRISTINE GROß, SOPHIE HUBER, CLAUDIA SPLITT, TATJANA TURANSKYJ, DOROTHEA MORITZ, SUSANNE SACHßE
Petra is a workaholic, a predator. Every day and night she stages Teddy, Kim and Hannah – at any time. By using them she tries to realise her ideas and obsessions inside the hermetic world of her flat. In co-production with the Volksbühne am Rosa-Luxemburg-Platz “Petra“ was realised by hangover ltd.* a.k.a. Christine Groß, Sophie Huber, Ute Schall and Tatjana Turanskiy. It is a kind of video-theatre about artistic exploitation and the incompetence to communicate without the protection of staging and the wish to repress the knowledge about this deficit. The film is modelled on Fassbinder´s “Die bitteren Tränen der Petra von Kant”.
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