BORIS KADIN – THE ORESTEA #1 #2 #3
Boris Kadin is a versatile and internationally active Croatian performer, for years in artistic and productive dialogue with the Artistic Direction of the Lenz Foundation.
In his independent projects he radicalizes the position of the artist and the spectator. Kadin creates performative actions, media-art and film Through the study of history and philosophy, Kadin produces works that generate multiple meanings. He has performed and led numerous workshops at many international festivals and venues in Marseille, New York, Athens, Barcelona, Liked, Belgrade, Prague, Parma, Düsseldorf . After ten years of working with the Via Negativa collective and two with Happy Gorilla, continues his artistic journey with projects in solo, pushing the boundaries between theatre, performance, visual art and public art in the direction of collective work, belonging to the community, crossing the line of separation between stage and real life, between museums and streets, between private and public, between connection and disconnection.
Many times guest of the Natura Dèi Teatri Festival, dal 2018 is in creative residency at Lenz Teatro within the project onOresteia of Aeschylus for the creation of three performances, currently on international tour: ORESTEA The Post-truth, THE ORESTEA. Dystopian. e ORESTEA Paranoid Android.
ORESTEA The Post-truth
2018
As Nancy states in Alliterations «We are faced with a new instance in artistic terms»: the request that art be "made by everyone". On the same front, Beuys declares that every human being is an artist. The project Oresteia / The Post-truth deals with the same idea, placing the focus on the "posthumous spectator" as an active and collective performer / community.
The questions that fuel the engine of the project are: what is still touching us and teaching usOresteia of Aeschylus? How to transform the spectator into a posthumous spectator? What is a tender role of theater for today's community? What is our posthumous truth about the first written trilogy? Oresteia / The post-truth requires individuality, singularity and difference or collectivity and community? How to move from the stage to the city, how to score / like making a scar in the fabric of public space, such as leaving physical evidence of the game after the live performance, how to expand the body of Orestes / The Post-truth from the theater to the “real” world?
The Oresteia project / The Post-truth will also explore aspects of our general difficulty with equality and democracy, as well as aspects of Aeschylus' tragedy in the contemporary context: what is a process today? Who is the culprit? We are capable, as a society, to recover, rewrite, relive our future?
In November 2019 Boris Kadin was in Matera, European capital of culture 2019, to present a re-staging as part of AltoFest by TeatrInGestAzione human-specific of the first chapter of the multi-year project dedicated toOresteia of Aeschylus, Oresteia. Post-Truth, created in creative dialogue with the Artistic Directors of Lenz Fondazione Maria Federica Maestri and Francesco Pititto starting from some questions: «What touches us and what does Aeschylus still teach us inOresteia? How to transform the spectator into a post-spectator? What is the role of theater for today's community?».
THE ORESTEA. Dystopian.
2019
Dystopian it is a performance based on the idea of an invincible DNA, source of eternal repetition: conditions that cannot be resolved even by the Gods Aeschylus, especially today, when we are all connected and technology (mobile) it has become part of our being, whose (non) we are.
Dystopian it is also a soft cyborg. That's why the poem repeated by Dystopian it's a generic magical realism pattern that spits out words every single minute. The poem is from a machine, using a limited amount of words.
Dystopian he is also a murderer. In a postmodern way. The question is: it is nobler to kill a parent or passively observe the disappearance of body and mind in an institution that cares for the elderly?
Dystopian it is the performance that takes the form of a semi-concert with generic poetry narration, using visual samples and stage actions linked to the intimate history of the performing artist.
THE ORESTEA. Paranoid Android
2020
Paranoid Android is a multimedia, text-based performance (sounds and screams) dei Radiohead, while the title is taken from Marvin the Paranoid Android (the Douglas Adams series The Hitchhiker’s Guide to the Galaxy).
Using body, sound and video, Paranoid Android deals with futility, starting from’Oresteia di Eschilo fino alle bombe mentali di Slavoj Zizek > Humanity?
Yes, All right.
Concrete people?
No, il 99% they are boring idiots.
Just like Tom York said, “Paranoid Android it's about the most boring people on Earth”.
Performance THE ORESTEA. Paranoid Android It's about two of the most boring people on Earth, Oreste and Boris Kadin. One is real, the other not.
Conception and implementation| Boris Kadin
Performer| Boris Kadin
Direction and scenography | Boris Kadin
Production | Lenz Foundation
Dystopian is a contemporary bard that hybridizes the rhythmic phrasing of rap with Balkan nostalgia, Dadaist nonsense and a sound carpet of strident acoustic effects. But Dystopian is also, like many of us, a postmodern murderer who condemns his father to intellectual and physical obsolescence by delegating his care to external professionals. He too is an "organ out of place" in the system because he refuses to anesthetize his guilt with superficial ethical hygiene and emphasizes it by tracing it back to a genetic human predestination to kill that is passed down from one generation to the next. The stage setup was very successful, projecting the interpreter onto a Pompeian red digital background, he assimilates him to a character from a vase painting immersed in a narrative punctuated by emblematic objects. (more)
Emanuela Zanon, Juliet Art Magazine
