top of page

Day 2: Finals | Performative Experiments by our first-year students

Welcome to the final performances/performative experiments of our first-year students! Day 2: performances by Maya Nitzan, Thomas Diafas and E.Christodoulou

Day 2: Finals | Performative Experiments by our first-year students
Day 2: Finals | Performative Experiments by our first-year students

Time & Location

05 Jul 2022, 18:00 – 20:15

ArtEZ, Studio 4 & Zaal 2, Onderlangs 9, 6812 CE Arnhem, Netherlands

About the Event

Α DAY IN THE LIFE OF MILA HARPER BLUM by Maya Nitzan

12:00- 20:00 | Studio 4

Α DAY IN THE LIFE OF MILA HARPER BLUM

On the second floor of Marten van Rossemstraat 23 in the city of Arnhem lives Mila Harper Blum, who is generously willing to open her door for us. On the 5th of July, we will arrive at her apartment with our camera crew to document a day in the life of this extraordinary woman. You are invited to watch our live stream or to join us on-site and visit Mila in person. She will be delighted to have you!

To watch Mila on live stream, go to: https://www.twitch.tv/milaharperblum

*The live stream will be projected at Studio 4 from 12:00 to 20:00.

To schedule a visit with Mila, go to: https://doodle.com/meeting/participate/id/e76yGjQd

**Please make sure to read the meeting details carefully.

-------------------------------------------------------------------------------

"A Day in the Life of Mila Harper Blum" is a performative event developed as part of artistic research that explores the tension between fiction and reality. By observing and imitating other bodies from reality and situating the imitation act within a pseudo-reality setup, the research seeks to immerse the performer's body into another body. Subsequently, the threshold that seems to separate the self from the other is crossed, and the borders between what is real and not begin to blur. In doing so, the research questions how representation can move beyond a mere description of the world toward a process of transformative becoming, asking not only what the representational act means but what it can do.

For building the character of Mila, the research focused on the embodiment of the aging body and involved a mutual engagement with the elderly in nursing homes across the Netherlands.

Internal supervisor: Mariella Greil

External mentor: Guy Biran

Dramatological assistance: Doron Gallia-Kind

Cameraman: David Bienvenue

Special thanks to the lovely tenants from WelThuis De Thuynen and Drie Gasthuizen Groep who simply touched my heart.

________________________

But don’t worry I will always love you and this will make my reality less painful. (Concert for performers, a guitar and a voice) by Thomas Diafas

18:45 | Studio 1

Diafas invites the participants to experience together the trajectory of a series of self-care exercises, encountering the needs of their body and soul. Parting from theories and literature related to the medieval ideas of the body and the “Courtly Love”, proposes Eros as an act of self-love.

He names his practice “Performing the Real” willing to create a new conversation between performance art and everyday life, questioning their relationship in a personal and political level.

Performance | Participants: Thomas Diafas, Mireia Varón Gallofre, Hanble Iqbal Naeem, Stefanie Janssen, Steef Kersbergen, Pia Macerol, Patrick Wiel

____________________

It’s a supercritical voice by E. Christodoulou

19:30 | Zaal 2

The voice leaks information. The moment a person opens their mouth and starts producing sounds by speaking, singing, crying, humming or screaming, their status as a subject, their gender/sex, body, age is exposed. Mysteriously enough, the vibrations coming out from the vocal folds are not solely oscillating air molecules, but rather reflect an individual's identity. What if we ever imagine the materiality of the embodied voice to be situated in such an environment that promotes transformation, multiplicity, and generation of new possibilities? it’s a supercritical voice is a mixed-media lecture-performance that explores the gendering of the voice. The performer revisits memories and scenes from past experiences, and uses the voice as an instrument to investigate how voice production/reception is a meaning-making practice.

*dedicated to my dearest friend Maria Trichia. It is with her that I never stop re-imagining the body and the self.

Performing on video: Sevi Orgianeli, Ioanna Koumentakou

Light & Sound Technician: Ryan O’Shea

Share This Event

bottom of page