Time to meet: Karol Tyminski

Um uns ein alles erfüllendes Reiben: Ziegel auf Ziegel. Oranger Staub auf weiß-feuchten Körpern. Es knirscht. Anspannung baut sich auf und stürzt beim Klang der zerberstenden Steine ein. Sie geben Rhythmus, Halt, Gewicht. Licht- und Tonschichten lassen die Körper mal zu Subjekten, dann wieder zu Objekten werden. Hypnotisiert von einem organischen Mandala verwandelt sich Ekel in Faszination. Wir sehen ein Abarbeiten. Sich aneinander, am Material, an seinen Grenzen zermürben, abschleifen, spüren.

Karol Tyminski macht in seiner apap-Produktion aus dem Weltuntergang eine Utopie: Das Publikum wird zu Zeugen einer Dekonstruktion und Selbsterfahrung der physischen Grenzen und Möglichkeiten. Die ursprünglichen Körper reagieren wie in einem chemischen Prozess zu einem neuen, unbekannten Element. Sie werden wieder zu dem was sie waren: Fleisch in Bewegung, nicht mehr und nicht weniger. Wir haben anlässlich seiner Premiere „CHURCH OF NON-DIVINE“ im Rahmen des #OpenSpaces2 mit Karol über die Frage gesprochen, wie wir durch körperliche Arbeit zurück zu unserer physischen Gestalt kommen.

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Back to the matter

“I’ve done already 4 works at Tanzfabrik Berlin and studio 5 became nearly my home during the last months. I made much progress in this environment of exchange and open-mindedness of the Uferstudios while Berlin itself helps to transgress by giving much support to artists. In my recent piece „Church of Non-Divine“ we are basically working. It’s physical work and my attempt of making performances is about showing bodies in labour. Also, the choreographies I make in general are very much about the exposure of the effort that the body is doing to execute movements.

Dance is usually going away from this while presenting the body as light and somehow fighting the physics. In my performances, this logic is turning around: It’s about showing how we flex, how much effort you need to put into movements and to show what the body is constructed from, which is at first the structure but also the very physical self.

This church-building is a place where we are trying to engage in the work – not in order to accomplish or construct something specific but to just experience the work itself. It’s about seeing how the work can be transgressive for you, to go somehow beyond yourself. Therefore, the structure of the playground is eminently about “going on the trip”. But it’s supposed to be revealing and recognizing what can be done. You go on the trip to see where you can be taken by what you produce while not necessarily following a plan but just being in the moment. I believe this progress of going beyond your physical capabilities allows you to come to this fragile place where you experience yourself differently. We look at the body through lenses of culture which generate how we think about the body, how we read it through different codes and images. From my point of view, we always make something more out of it than it factually is: we are flesh, we are made from physical material.

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My idea – my need – is to see how people can be by creating this process and space of re-connecting only with the physicality. In the moment, we are very much disconnected from our bodies. As in general disconnected from the bodies that surround us in our society or our culture – that’s the premise. It’s also about how hierarchies are in a certain way created and how the human being is a product of various mechanics of governing itself today. The elements of governments create an idea about who the individual is and should it be what it is. But the question is: What one can be beyond this? Humans are isolated of this world because we create images of ourselves as beings that are separate of the nature and our environment. And if we look for these definitions of who is the subject and what is the object, we take for granted this surrounding of our human world and the world of things.

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An animal can be somehow placed in this world of things but by doing so we attempt to abuse it. In the same way, we treat the people from the working class. Especially the people of the third countries become more and more exploited which means they become also somehow an element in the world of the animals. They are inscribed into the world of things and we profit from this sort of people. This idea can shift through the experience of yourself more as a part of your own surrounding, about yourself as a matter. Because often we see the matter that surround us as raw, as not living – but that’s not true.

Therefore, one question is also how to get the tendency to try to elevate the matter into the living space. I think about the body as an object that we – and I say it as a metaphor – “decrease” somehow. Because it’s not supposed to be an offensive towards the body in my case to become an object. It just allows yourself to see the body more as a part of the surrounding.

In the moment, we see bodies more as a thing: Either we take away the subject, we allow ourselves to interact with this body differently. A human has certain ethical barriers which are in many cases limiting us. If we allow ourselves to cross these limits – which we think shouldn’t be crossed – this could be one way to liberate oneself. I speak about my work in general, not necessarily about “Church of Non-Divine”, but it’s all interlaced with each other. I want people to connect – to extend with their body – with the body of the performer. Therefore I think one of the strategies is to create this place of understanding of what the work is like on a physical level and that hopefully it can be somehow transmitted to this notion of understanding how much effort you need to move and to comprehend the usefulness of the body’s mechanism.”

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Hier könnt ihr Impressionen in Video-Form genießen und euch über den Newcomer Karol Tyminski informieren!

 

Alle Fotos von Katarzyna Szugajew

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Die Tanzfabrik erwartet euch zu weiteren Performances, Lectures und Talks in den Uferstudios – schaut doch mal ins Programm!

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Mit besten Grüßen,

die Tanzfabrik Berlin

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