I am a young theater director from Belgrade, Serbia. There I had run a small alternative group called Threepenny. I just moved to Budapest and gave birth to my first child. Currently, I am set to find a way of continuing my work with performing arts in this new life circumstances, mostly by using digital tools. But I believe in theater. I believe in the power of presence, now more then ever.
For me diversity is the foundation of all imagination. And society needs imagination, because it is necessary not just for arts, but also any kind of social change. Change starts by imagining something different, diverse. Encountering the Other, recognizing its difference from myself, being able to respect that difference without trying to assimilate or normalize it in any way is - or in my opinion should be - the basis of society. Over the past two years our communication was mostly bound to be online. Through excessive use of digital tools as media for purposes of both work, socialization, and entertainment I have notices that these tools, as useful as they are, have a normative tendency of flattening, making everybody and everything be/look/seem similar and everybody act/look in a similar fashion. It is the algorithmic inscription on our everyday lives and selves. Digital tools can be useful, but only when handled with caution, which is mostly absent in the way we handle them today.
I have done an excessive theoretical and artistic research on the subject of the Self in the digital as a part of my PhD and in contact with the Institute for Network Cultures, Amsterdam. I would like to offer a broad artistic community an idea of how to engage with digital technology in a meaningful way. Artists have mostly either embraced digital technology with an overwhelming enthusiasm or dismissed it altogether. My idea is to tell and show on my own example that digital criticism can and should be constructive. The question I would like to ask and give some answers to is: How to use existing digital communication tools to enhance diversity in arts? I would like to develop a performative lecture, both on- and offline, using only existing digital communication media. While engaging with audience in new and innovative ways, I would share my theoretical and practical expertise on the matter. A pilot has already been done as a part of my PhD, and an image enclosed was taken as a part of this performance.
The answer to this question come up for a shared reflection between art producers and curators Ana Veiga Riscado (PT/GE) and Wen Huang (TW), departing from each-other experiences working in the performing arts field. Together we realise that is becoming urgent to invent a new business model that would secure our activity transnationally. We shared similar interesses in what concern dance practises
In mijn recente boek 'Tienduizend Idioten' (Poëtica, schrijfproces en pedagogie van het hybride Theaterschrijven vanuit Bakhtin's 'Meerstemmigheid') laat ik zien hoe meerstemmigheid een concept kan zijn om naar theaterteksten en naar schrijven, schrijfprocessen en kunst te kijken, waardoor dramaturgie en maakstrategieën vanzelf inclusiever en diverser worden.