Amanda Tilia Hamelle

The Carrier Room, Copenhagen

  1. The Carrier Room, Copenhagen
  2. Different alphabets, introduction to interdisciplinary artistic work
  3. Alexandria Nova, Reykjavik
  4. The Annual Symposium of Artistic Theatre Geniuses, Helsinki
  5. ActInArt Academy bootcamp 5.0!, Tallin
  6. Alexandria Nova/Theater Treffen, Berlin

 

  1. The Carrier Room, Copenhagen
    Tommy wrote a book about Lisa. Nobody liked it. Tommy then wrote a screenplay about himself and made a movie with his best friend Greg. At first no one liked the movie, but then some liked it, and some more, and they formed a tribe. The tribe were gatherers who met regularly to perform mysterious rituals with plastic spoons. Greg wrote a book about the film. Everyone enjoyed it. James Franco liked it too. So Franco made a movie about Greg’s book about Tommy’s movie. Some liked the movie, some thought it was mediocre. Heiki saw it, thought it was okay, but decided to make a show – about Lisa.Hope you like it.
    “THE (carrier) ROOM” is a study of the world’s worst film: the cult classic “The Room” by Tommy Wiseau. Inspired by Ursula Le Guin and her text “The Carrier Bag Theory of Fiction”, we take a closer look at the film’s values ​​and qualities with a feminine look.We start with the film’s living room scenes and play the performance in parallel with the film in “real-time”. the main character, we are left with a female anti-hero. She is reminiscent of Nora in a Doll’s House. Or Hedda Gabler. In any case, there is something “Ibsensk” about it.

    By playing a version that tries to give a deeper impression of Lisa as a character, in parallel with the original film being shown on screen and projection, questions are asked about which parameters constitute – and who defines – quality as a phenomenon. This is elaborated by experimental sequences that violate both film and theater conventions when the characters in the film are not present in the living room.

  2. Different alphabets, introduction to interdisciplinary artistic work
    We call it art. But what do we do when we create something?
    When a dancer, actor, musician, writer, filmmaker or visual artist says they are creating something, are they talking about the same thing? Presumably the answer is both yes and no. In our artistic work, we are often curious about how other art forms work. It may seem like every art form has its own language and alphabet – but what things do we share and what do we have in common?
    In a study of different creative processes, we will search for common language across the arts. What can we learn from each other’s methods and the ways in which we approach our own art form?
    The module is an elective offered by all art schools jointly. The subject constitutes a basic introduction to working interdisciplinary – with an exploratory, exploratory and experimental approach. Let’s see what we can do together – across borders.
  3. Alexandria Nova, Reykjavik
    Performing arts as a space for social action – Sarah Woods
    In a time of complex change, inequality and isolation, we‘ll explore how the work we make can help create the world we need, asking:
    How can our theatres be a space for new stories – and new storytellers?
    How can they be a place for difficult conversations – and how do we hold them?
    We‘ll learn about protest and write our own protest song with composer Boff Whalley, of the band Chumbawumba; we‘ll journey through Reykjavik in the footsteps of the radical English writer and designer William Morris; we‘ll change theatre – and we‘ll change the world.

  4. The Annual Symposium of Artistic Theatre Geniuses, Helsinki
    Behind every great event there is a story! The story of this Symposium goes like this:
    At first they wanted to go international. “They” means KOM-teatteri and Viirus, who are the initiating theatres behind this event. They wanted to sell sell shows to international curators and just… go international! To festivals! Go big! So we applied for money to organise a showcase for Finnish group theatres. And we got the money.
    But why did we want to go international? Actually? To be honest we didn’t have a clue. But we got the money. So, what to do?
    Before the pandemic we visited many European festivals and met people and realised two things: At first, the international theatre business does not work (anymore) so that curators see the show and just buy it. And also we realised that that’s not maybe what we want.
    More than dreaming of performing live at international theatre festivals we enjoyed the meetings, discussion, the feeling of being in contact with those who do the same as we do but maybe with different approaches, under different circumstances, in different contexts, with different artistic ideas, and results. And through those kinds of meetings there might – just might – come out something more lasting, deeper and more creative than just another visit to a festival. (Though of course we still want to go to festivals, for god’s sake. But that’s not the point here.)Also before the pandemic the feeling – at least ours – has been that Finland has been quite distant from what happens in Europe, especially in Nordic and Baltics. We are geographically very near to both but mental and informational distance feels more distant. During the pandemic this feeling has just got stronger. (On the other hand during the pandemic it has been a lot easier to connect to theatres abroad but let’s not talk about streaming now!)
    We want to get closer. We want to know what happens in the Nordic and Baltics. We also want you to know what happens here in Finland. During this Symposium we will show you the performances that are currently played in our theatres. We, the so-called T4-theatres (Ryhmäteatteri, Q-teatteri, KOM-teatteri and Teater Viirus) are all Helsinki-based ensemble theatres. We have quite similar structure both in production and programming. Also, we want our guests to meet a selection of Finnish freelance theatre artists. Therefore, this is not a showcase. We aren’t selling anything. We’re not buying anything. We want to meet, we want to be in contact. We want you to also meet each other. We want to party. We want to discuss. We want something deeper and more long term than would possibly happen in a “normal” showcase. That’s why we organise this symposium. And then see what happens.
    If we come up with a super big co-operation or a bunch of Finnish theatre makers start to go international after this or from now on the amount of international directors doubles in Finland, that’s great. Or maybe there will be an influx by Danish theatre professionals of Poland, who knows! And if nothing happens, that’s fine too. The main thing is to meet, here and now.
  5. ActInArt Academy bootcamp 5.0!, Tallin
  6. Alexandria Nova/Theater Treffen, Berlin

Copyright 2022 – Amanda Tilia Hamelle –

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