NOTATING TUNINGS AND EMERGING: With the performance Eden, Mala Kline started her research of how to include the method of active imagination, as taught by Catherine Shainberg's School of Images, in the creative procedures and composition strategies of stage performance. In her recent projects Genesis, Bodhi, and Songlines, she has further developed this method of writing by moving away from mere representation and identification – instead of bringing onto the stage imagery arrived at through dreaming, she has been focusing on embodying its intentionality or force through an abstract choreographic structure. She is interested in how to encourage dreaming and imagination in the viewer and how to constitute or open up the performance space as a space of encountering different worlds, a space of continuous relational in-between-ness, and as a space where worlds and realities are being opened up. She is currently working on a new solo piece Song, in which she embraces these questions in a relational network weaved out of imagination/dreaming, the Kabbalistic diagram of the Tree of life, and the Song of Songs. This scheme seems highly complex; however, intuitively, the confluence is attainable: emergence of potentiality and new worlds through dreaming, tuning in, contemplation, and accepting experience.
Our discussion will attempt to address these notions and elaborate on what happens when they converge and materialise. We will also speak about ethics, which can be seen as the principal motivational axis of Mala Kline's research practice.
Mala Kline is a performer, choreographer, and writer. Her artistic and theoretical work is embedded in the practices of dreaming. In her author-based choreographic work as well as in her writing, she uses Saphire™ imagery and dream work to facilitate individual and communal dreaming and to create singular worlds generated through the language of dreaming. She is also a certified practitioner of Saphire™, teaching internationally in different educational, research, and production settings. She holds an MA in theatre and a PhD in philosophy. Her book The Inoperative Theatres: Contemporary Performing Arts Between Ethics and Politics is coming out in 2017. Currently, she is undertaking her post-doctoral research on alternative concepts and uses of time at the Faculty of Arts and Philosophy (UG) and within S:PAM Research Centre in Gent.
Nika Arhar is a freelance critic and writer in the area of performing arts and moderator of expert meetings and discussions in this field. Her contributions are published in daily newspapers (MMC RTV Slovenia, Delo) and expert publications (Maska, Dialogi, Slovenian Theatre Yearbook, etc.). Lately, she has been focusing increasingly on theatre for the young: firstly, as member of the programme and organisation board of the Cultural Bazaar 2015 and 2016 for the area of theatre, and currently, as selector of the expert committee for the Golden Stick 2017, festival of children's and young people's theatre. She is a member of the Association of Theatre Critics and Researchers Slovenia.
- , Pritličje, Ljubljana, SI