Presentation 2

TEATERMASKINEN (THE THEATRE MACHINE)
Another way to produce stage art.
Another way to spread culture /stage art to new groups.
What entitles our professions was one of the questions we asked
ourselves before we decided to found Teatermaskinen.
Who do we reach and what is our value in the development of the society.
What powers decides our conditions as freelancers.
Can we make something more something better.
To be submitted to a cultural field which in large parts is built on
entertainment and in that way of course also star quality
was not the productive environment that we whished to work in.
Therefore, we decided to join in a new kind of production company.
Our experience from earlier works was that the institutions mostly work
within a consensus which puts more and larger groups outside the cultural life.
In our production company we cannot see our existence as artists as obvious
we must take our political and cultural responsibility seriously
and work in the outskirts of consensus with Teatermaskinens operation.
(we must not forget that "fame is not the same thing as effect")
Our experiences told us that this business is a rather small homogeneous family
and as we know ones artistic voice comes from a symbiotic relationship to one´s
family and one´s friends. The confirmation from the group most close to you is
always the most determining. We shall be the black sheep that threatens the
homogeneity in the group. It must be a productive stand. We move to the
countryside, tour over the whole country and confronts another reality.

The mind = The new Swedish theatre that grew forth in the end of the 90's had
an intellectual approach that assumed that medias standardised description of
reality was enough reference to create a mirror of the present.(soap theatre)
On the other hand, the traditional scenes kept themselves with a society
consciousness that based itself upon an utopian attitude: We must teach the
fallen ones to live together in our illuminated room. Then there won´t be no more
darkness. This was the idea they worked according to. They mirrored themselves
away from the problems.These two narcissistical outlooks did not coincide with
our post-modern attitude.
We decided that the complications could be a given strategy for us. If we have the
answer to the question, we don't need to do scenic art. We must work in process,
or not. (We must not delineate research and the historical experience and believe
that the neo European world order is forever prevailing and has all solutions for
the future). We must be an active part of a diverse society that respects and
listens to many different voices and bodies.

BODY = Because our cultural ideals are bound of a middleclass/ upper-class idea,
theatre is played mainly from the chest and upwards. We must try to find a more
expressive physic that becomes more present in the room for other classes. The
body is one of the most important battlefields for the consumption society.
This story must obviously mark our expressions. We must research to create an
alternative to the scenic art that is presented today. We must dare to ask the
questions that consensus fears, then we can reach a new audience.
We must dare to trust the audience's need to talk about the silenced stories.
We must work antithetically to counteract a more and more thinning consensus.
This was some of the grounds for us to form Teatermaskinen.
This nihilistic attitude has so far been very productive:
To leave the naturalistical form and the 70's self-fulfilling theatre behind us feels
like a possible kick-off. To confront Artaud and Brecht with the 21st century
cleaning politics feels creative and not old.

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Phone: +46-222 - 13161 | Mobile: +46-70 - 6811481
Teatermaskinen Skrappbo skola S- 73091 Riddarhyttan Sweden

Phone: +46-222 - 13161 | Mobile: +46-70 - 6811481 Teatermaskinen Skrappbo skola S- 73091 Riddarhyttan Sweden

Phone: +46-222 - 13161 | Mobile: +46-70 - 6811481
Teatermaskinen Skrappbo skola S- 73091 Riddarhyttan Sweden