\\ TAAT wins Dioraphte Prize with KHOR II on Festival Cement

\\ The basic concept for KHOR II is a theatre installation that is presented to an audience in a (semi)public space as a Do-It-Yourself kit. A diverse group of people can put the installation together themselves. By doing so they slowly discover the theatricality of both the process of building the construction and of the different scenes provided by the installation.

\\ As the world we live in is becoming increasingly more virtual, TAAT aims to make a statement about the importance of the here and now experience and the interaction between flesh and blood people within a physical space. Referring to the Buddhist idea ‘samsara’ (‘continuous flow’ or the endless cycle of birth and death), the physical movement and mental process of turning the (prayer) wheel is used to create an experience of perpetual movement and ongoing change.

\\ KHOR II appears as out of nothing on i.e. a town square. A strange box turns out to be an unexpected gift for the people, who are invited to open it and to put together themselves this contraption. With joined effort and with the help of simple instructions, provided by the mysterious kit itself, they build their version of a temporary theatre installation. During this building process they slowly discover the theatricality of the installation, both in its architecture and in different text based scenes that are part of it. Once finished, they can play with the installation but at the same time have the responsibility to take care of it.

\\ The aspect of ‘turning’, or the cyclic or circular movement, is used to create both a physical and a dramatic dialogue between the domains of inside and outside, personal and public, impression and expression. The act of turning the wheels as well as going through the installation and around it will keep the initial energy of the building process alive and therefor a constant flow of creation and recreation. With the idea of the Do-it-yourself kit TAAT aims to research how the process of instruction based constructing can turn into a theatrical act or a dramatic ritual with its own ‘rules’, which can be applied, altered and complemented by the participants within that process, as well as the effect of this on the ‘play’ itself.

 

 

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