WHAT A CLASSIC IS AND HOW IT PERFORMS IN (our) TIME.
Paul McCarthy, Rocky, 1976
Friday, 30. October 2015, 8pm
“What a classic is and how it performs in (our) time. Paul McCarthy, Rocky, 1976” is a long title for a short piece that wants to raise questions on how time affects performances and how the concept of classic could be applied to a structurally ephemeral form of art. The word classic has several meanings, it can refer to the antiquity, to romantic music or to contemporary cinema, but it always refers to a common patrimony, a sort of public space of culture. What happens to a performance in the moment it becomes a classic? How does it affects our relation to it?
Facing the reasons of reproducing old performances, the piece re-enacts Paul McCarthy’s video Rocky. Originally, the video was a provocative parody of the idea of man proposed by the homonymous film, as also an answer to the performance scene of its time, mainly focused in staging reality (a real shot, a real danger, etc...). Through the use of a mask and the introduction of fake blood, the video integrates fiction in the act of staging reality: the reality of a man physically struggling in faking a fight. Over time Rocky has become a milestone of Mccarthy’s career and a classic of video art.
What a classic is and how it performs in (our) time. Paul McCarthy, Rocky, 1976 is both an academic work as well as a rough, provocative performance. On one hand, the work is a ruder, straighter, more aggressive version of the original video thanks to its “live” quality. On the other hand it will loose its original spontaneity, by being a rigorous 1:1 copy of the original choreography.
Direction: Andrea Spreafico
With: Sergiu Matis and Andrea Spreafico
Movement notation and direction: Caroline Eckly
Development advisers : Anne-Cécile Sibué-Birkeland (Cassiopee Office), Cameron MacLeod, Peter Wendl
Photography of Giuseppina Cassetta by Luca Di Giorgio.
Distribution Manager: Gulli Kristina Sekse
Co-Production: BIT Teatergarasjen (Bergen), 4+4 Days in Motion (Prague)
Supported by Norwegian Art Council, Bergen Kommune
Spreafico/Eckly is a performance company based on the collaboration between Caroline Eckly and Andrea Spreafico. The company produces work that merges the languages of its hybrid professional background (she as dancer, he as concept artist and historian of philosophy). The work focuses both on the conceptual and the physical know how. Referring to a strongly trained common taste they try to structure and give form to conceptual problems that are relevant in the contemporary debate. The ambition underpinning the company hybrid identity is to overcome any genre definition by letting the concept of each individual piece define the most relevant/efficient media and the best collaborators for its expression.
Sergiu Matis started his professional career as a dancer at Tanztheater Nürnberg where, amongst others, he worked with Daniela Kurz, Stijn Celis, Jo Strømgren, Rodolfo Leoni, Rui Horta, Andre Gingras, Jorma Elo. Since 2008 Sergiu Matis lives in Berlin, working with Colette Sadler, Yossi Berg, Philip Bergmann, Daniel Kok, Jeeae Lim, and joined the company Sasha Waltz & Guests from 2008 till today. In February 2014 he graduated an MA in Solo/Dance/ Authorship (SODA) at the HZT Berlin and was awarded with the Studienstiftung des Deutschen Volkes and the Life Long Burning Grant. His choreographic work includes: Human Nature (2001), 89.Grenzenlos (2005), Ending-dong (2008), doom room (2011), Duet (2011), Keep It Real (2013), Fake It (2014), Petrushka (2014) and Explicit Content (2015).