(╯°□°)╯︵ ┻━┻ screamage

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About

We live in a mediatized world of wild conspiracy theories, impending ecological crises, pernicious narrations, where ironic + nihilistic viral #influenza pictures are concurrently cropping up on innumerable devices. A toxic cloud of digital images is drifting from the monitors in parallel to the degradation of the physical environment.

?How does pixelated information get caught in the network of an organic body? What kind of stage (a)effects does a work generate with incompatible Internet content? What in the web of images is actually t r U E?

In response to the oculocentric organisation of the world, the hybrid stage production adds materiality to pasty digital images and processes them ¯\_( physically )_/¯. It combines movement, video, the production with objects and sound, translating *through irony* the logic of the Internet into a physical space……………... The relationship between the body and images spreads open the virtual spaces of intermediacy; /between the organic /imaginary and digital /among memetic trash /between the atmosphere /affect and sensation //at the intersection of experience, apparition, premonition, and fact. Between the past, the manifold presents and – not virtual, but tangible – > future.

Website (╯°□°)╯︵ ┻━┻ screamage >>
Website Jan Rozman >>

Technical rider >>

Collaborators

Artistic Director, Stage Director & Choreographer: Jan Rozman
Performed by: Peter Frankl and Jan Rozman
Set design: Dan Pikalo
Video: Miha Možina
Music: Blaž Gracar
Graphic design: Sara Bezovšek
Costume design: Kiss the Future
Lighting design and Technical Director: Janko Oven
Dramaturg: Maša Radi Buh
Assistant Director and stage assistance: Bor Ravbar
Executive Producers: Sabrina Železnik, Luka T. Zagoričnik
Technical assistance: Luka Prinčič, Damjan Delak
Photo documentation: Marijo Župan

Support

Production: Emanat
Co-production: Cankarjev dom
Co-production residence: O Espaço do Tempo (Portugal), DUM - Društvo umetnikov / Association of Artists (Ljubljana)
Financial support: City of Ljubljana, Ministry of Culture RS

Awards

The performance inhabits the stage space with a multitude of images, sounds, bodies, objects, reflective and projection surfaces and skillfully moves them between the physical and the virtual. The created cosmos seems like the cry of the web, which grows into our "real" bodies and between them, and does not relativize fleeting and volatile impulses and information, but rather materializes them as an important echo in the new, modern digital-real world. In this imaginative manifestation for and about life in the age of the Internet, even hard-to-capture impressions and feelings get their sensual image, so that we can talk about them at all. This evocative image asks questions for real, but at the same time with just the right amount of wit and playful "cheekiness". - Nika Arhar, Martina Peštaj in Blanka Gombač
13.4.2023, Golden Wand Award of quality performances for children and youth (Zlata paličica)

Rewievs

The performance reflects the feeling of modern internet culture, filled with conspiracy theories, fake news and constant spam and advertisements, and at the same time the authors of the play avoid the classical mimetic approach to theatrical language extremely well and introduce an anxious atmosphere, a paranoid feeling and their own (il)logic into the space , which begs the question, what is left real in this world?
21.4.2023, Sigledal Kritika, Krik slik, Ana Lorger

Jan Rozman's latest performance Screamage is consistently post-internet in the aspects that parts of the performance at some point turn out to be quotations of more or less iconic images from the internet and popular culture, internet characters and memes that have become part of the collective visual memory. /.../ The performance makes use of well-established procedures of intermediality, which are intrinsic to the visual image: on the one hand, the juxtaposition of image and text, and on the other hand, the production of an illusion, which works in such a way as to reveal its own production, but allows the viewer to immerse.
Neodvisni, Postinternetna intermedialnost, Kaja Kraner