In August 2018 Petra Foranyova was selected to be part of a Summer Residency at CeRCCa to develop her project The manifest of Possibilities.
The Manifest of Possibilities is the third part of the free Futuristic trilogy. It follows the previous works by Petra Fornay thematically and formally: Subjective Future (premiered in May 2017) and The End The End (premiered in May 2018). The theme of all works is the future viewed in different ways. While in Subjective Future she deals with subjective ideas about the future (dealing with the position of an independent artist in terms of sociology, demography, ecology), in the performance The End The End she is focused in the border points: the end of artistic career, the end of physical life, the end of social life, the end of a relationship. The Manifesto of Possibilities does not examine what could come after the “end” in metaphysical terms. It will deal with the question if there is a possibility to have the end of the art as the mean to express personal opinions. Can choreography be independent of man? Is the choreography of the future the choreography of things (as outlined by some works by Danish artist Mette Ingvartsen)? The development of contemporary choreographic thinking is heavily influenced by several principles – the postmodern principle of coincidence exploited in M. Cunningham’s work, as well as the analysis of the conditions of Rudolf Laban. For example, labanotation can be used vice versa as a way of generating movement and different interpretations of choreography (LabanWriter is an application used for motion recording and analysis, for example, at Ohio University in the US)? How will the generated choreography be transferred to human / stuff?
The second area of research and subsequent production preparation is the subject of “control” and “decision-making.” “Control” is used mainly in two meanings – controlling the activity or controlling someone (self). Decision-making as a conscious activity presupposes control if we want to avoid coincidence. Examining the relationship of control, decision making and coincidence will be a complementary topic for the above-discussed primary theme. I am planning to elaborate both of these topics not as an abstract set, but to transfer them to a particular world of performing arts, rather to ask people and offer images than overwhelming them with a theoretical excursion – even though the basis for the creation is purely theoretical.
The project is kindly funded by: