KreaturA

Month: november, 2010

Intervju z Škrip Orkestra v New York Press-u!!!

The Worldwide Kitsch-Noir Screeching of SKRIP Orkestra

Posted By: Leslie-Stonebraker


Six women from the former Yugoslavia, lead by actress and dancer Jelena Rusjan, form the offbeat, uncompromising, childish and dark SKRIP Orkestra. Pop rock, kitsch-noir and performance art unite as this group shares stories or war, domestic violence and childhood sexual abuse through folk songs, fairy tales and unconventionally produced punk music. The girls will have their American debut at the Gerald W. Lynch Theater at John Jay College Oct. 22-24 and next week (Oct. 29 & 30) at South Oxford Space in Brooklyn.
New York Press: How did SKRIP Orkestra start?


Jelena Rusjan: I was inspired by the stories from the play Pillowman by Irish playwright Martin McDonagh. I had an idea how to use these stories, so I called the girls. They sad yes, and we started with rehearsals in July 2009. After three months, S Orkestra was born.

What drew you to this mode of performance?


Ana Franjic: A little bit of fun, a little bit of investigating. Being involved in music and theatre, we wanted to make an experiment and see what will happen if you combine these two elements together. I guess it grew larger then we expected, which is always great; when you make something and it evolves to something of it’s own, that you can’t control.
JR: Like Frankenstein.

What can an audience member expect at one of your performances?

JR: Skrip Orkestra is a musical cast unable to avoid its theatrical roots. SKRIP Orkestra is an exploration of a form of theater where the obscure forces of violence, personal responsibility and lost childhoods face the variegated aesthetics of kitch-noir.

Andreja Kopac: In that sense, our aim is not really straight-targeting or focusing on one single problem or one single matter, but is quite clear that brutal stories of Pillowman are opening themes, which are normally not spoken. Stories about silent voices that are shut down. About abused children, the most vulnerable part of society, that cannot defend themselves. About the hypocrisy of “democratic society,” killing every kind of singularity in the name of collective plurality. About the perverse logic of the massive agenda setting reality. The reason for the “state of society” today is not spoken, not discussed anymore. Everything is “the package,” while the truth is somewhere else.

How would you describe your sound?

JR & AF (alternating): We grew up on punk rock music and riot grrrl poetics. Patti Smith, Bikini Kill, The Raincoats, Le Tigre and Lydia Lunch are starting points I’d say, but also music and aesthetics of Velvet Underground, Frank Zappa, Mike Patton, Sonic Youth, Toychestra, experimental stuff like Suicide, Diamanda Galas, Atari Teenage Riot, American noise rock, DIY approach of hardcore music and also artists like Jan Saudek, Ray Caesar, Edward Gorey, Tim Burton, John Waters, Ed Wood, John Cage… everything that has a “twisted” view, basically people who have succeeded in broadening the boundaries. I think Skrip Orkestra is a weird mix of all of that. It’s hard to describe Skrip Orkestra music but…we have a couple of suggestions: Noir Kitsch audio adventure taking you to the other side of nightmares; music with a defect playing with human mistakes, children melodies disguised as uncompromising Screech punk, lounge music from hell.

What role does storytelling play in your work?

JR: Storytelling is the first part. The second part is the visual one. And then there is a third part, the music part. Skrip Okrestra is made in the way that only together—all these parts—create a special atmosphere where you have to hear and see us at the same time.

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*Izgubljena otroštva*…Škrip Orkestra na Festivalu Borštnikovo Srečanje v Mariboru

Kakor je v navadi že vrsto let, je tudi v času 45. Festivala Borštnikovo srečanje vsakodnevno izhajal Bilten, ki je ažurno in temeljito poročal o celotnem dogajanju na festivalu.
Vsebinsko Bilten bogatijo in ustvarjajo mladi avtorji, študentje ljubljanske Akademije za gledališče, radio, film in televizijo in mariborske Filozofske fakultete. Bilten z njihovo pomočjo pokriva širno polje festivalskega dogajanja, z letošnjimi spremembami pa vnašamo svežino v prav vsako celico Festivala!

Izgubljena otroštva

18. oktober 2010. Avtor: Anže Virant

Na odru spremljamo bend, ki nas skozi osem različnih pesmi in z minimalistično uporabo gledaliških sredstev popelje skozi izgubljena otroštva, nam predstavi zlorabe otrok…

Škrip orkestra je gledališka predstava. Škrip orkestra je koncert. Škrip orkestra se igra v gledališčih. Škrip orkestra se gleda v klubih. Škrip orkestra se pojavlja na glasbenih festivalih. Škrip orkestra se posluša na CD-ju. Kontradiktorno? Niti najmanj.

Škrip orkestra je avtorski prvenec igralke in plesalke Jelene Rusjan. Nastal je v koprodukciji Gledališča Glej in Mesta Žensk leta 2009 in je nekakšen antikabaret, noir-kič, ki skozi specifično estetiko, ki na trenutke spominja na Tima Burtona, podaja svoj pogled na zelo resno temo.

Na odru spremljamo bend, ki nas skozi osem različnih pesmi in z minimalistično uporabo gledaliških sredstev popelje skozi izgubljena otroštva, nam predstavi zlorabe otrok, ubijanje otrok, otroke, ki morijo in nas na koncu pusti pretresene, brez upanja. Na koncu je otrok mrtev. Predstava (oziroma koncert oziroma »performans«, no, v nadaljnjem besedilu vse to nadomešča izraz dogodek), ki svoj navdih črpa iz drame Blazinec (The Pilowman) irskega dramatika Martina McDonagha, otroških pesmi ter surovega rocka, nas ne pusti hladnega kot britev, prav nasprotno, s svojo neposrednostjo nam prikaže v družbi popolnoma zamolčan aspekt otroštva.

Že same igralke (zavoljo boljšega razumevanja jih bom imenoval tako, čeprav bi lahko bile tudi pevke ali performerke ali kaj čisto tretjega) – poleg Jelene Rusjan jedro skupine tvorita še hrvaška igralka Ana Franjić in igralka Barbara Krajnc – skupaj s še štirimi (v tokratni uprizoritvi je, očitno izjemoma, nastopil tudi igralec), nam s svojim videzom, ki je po eni strani izjemno zapeljiv, po drugi strani pa otroški in predvsem krvav (vsaka igralka izgleda, kot da je padla po stopnicah) vržejo v obraz bistvo dogodka – me bomo govorile o stvareh, ki vam niso všeč in to na način, ki vam ne bo všeč, hkrati pa vam bomo to tako servirale, da vam bo vse skupaj všeč. In res nam je bilo, vsaj sodeč po aplavzu med songi in na koncu. Že tako neprijetno tematiko dodatno okrasijo z minimalistično scenografijo in rekviziti, ki so vsi dejanske igrače igralk ter neusmiljena preobrazba igrač v inštrumente, s katerimi ustvarjajo zvočno podlago. Na nekaterih mestih se igračam pridružijo tudi dejanski instrumenti, recimo klaviature in kitari, vendar so vsi uporabljeni na nekonvencionalen način (kitara, ki jo dobesedno zlorablja grozeč zajček na baterije, ima prav lep zvok).

Končni učinek vseh elementov (kostumov, maske, rekvizitov, scenografije, spektakularnega »lightshowa«, pa seveda petja, igranja in igranja) je presunljiv. In brutalen. In ti ne pusti spati.Dobesedno. Morda za konec še manjša opazka – zakaj se predstave, ki nedvomno presegajo uveljavljeno gledališko prakso pri nas in bi kot take zaslužile več kot samo pohvalo v obliki uvrstitve na spremljevalni program Borštnikovega srečanja, nikoli ne prebijejo v tekmovalni program? Bi s tem komu stopili na žulj?

(Anže Virant)
Refleksija je bila objavljena v Biltenu FBS 3, 17. oktobra 2010.