I was appointed for the second time as the Editor-in-Chief of PQ MAG, an official publication of the Prague Quadrennial 2011. The appointment was made by the Arts-Theatre Institute and Ministry of Culture of the Czech Republic.
This broadsheet-style newspaper takes a lively, engaging, pop-culture approach to covering design, performance design, architecture and space. It presents interviews with artists, program tips, photo report and much more.
I produced, edited and directed the content and planning of this daily newspaper. Its circulation reached 50,000 visitors in Prague’s city center. It was distributed at Veletržní Palace (National Gallery), Prague Crossroads (St. Anne’s Church), Piazzeta of the National Theatre, New Stage of the National Theatre and DAMU (The Theatre Faculty of the Academy of Performing Arts Prague).
2. A Composer
at the Edge of Sound
A conversation with Tod Machover, the influential composer and head of the
MIT Media Lab’s Opera of the Future Group.
//// America’s most wired composer, Tod Machover heads //// Machover says the show feature a robotic, anima-
Hyperinstruments/Media Lab’s Opera of the Future group tronic stage—the first of its kind—that gradually comes alive
at the Massachusetts Institute of Technology. He has com- as the opera’s main character. “My own personal aesthetic
posed significant works for Yo-Yo Ma, Joshua Bell, Matt is that what really matters is are the human beings — how
Haimovitz, the Ying Quartet, the Boston Pops, the Los An- human beings relate to the world,” Machover says. “Tech-
geles Philharmonic, Penn & Teller, and many others, as well nology matters, but it only matters if we can be as fully
as designed and implemented various interactive systems human as possible. The idea of the cyborg is already kind of
for performance by and . Machover has now pushed the old. Cyber evolved out at a time when people felt there’s
frontiers again and broken ground again. In Death and the a limit to human physicality, and only way to go is to create
Powers, which recently debuted at American Repertory The- a hybrid. More likely, in the future, the technology that will
atre in Cambridge, Mass., and kicked off the Chicago Opera dominate is the technology that disappears — where you do
Theater season, he has written a “Robot’s Opera.” And he not notice it. One idea for the opera is for the physical ob-
means it. jects to move, but you will not be able to see the gadgets or
//// With a libretto by Robert Pinsky, the former U. S. poet the loud speakers.”
laureate, Machover’s opera concerns a dead man who man- //// Machover understands the cyberspace is very power-
ages to perpetuate his existence beyond the decay of his ful among young people today. “The ability to connect virtu-
physical being. Simon Powers, a rich inventor, embeds him- ally and to live online is growing so fast,” Machover says.
self into the objects surrounding his family, leaving his lov- “Young people have no reason to go out anywhere anymore.
ing wife and daughter struggling to move on with their lives. They don’t want to go to the theatre to see a show, or
The opera had its world premiere last fall at Monte Carlo a movie, or go to a playground. Not only can you do anything
Opera. online, you can cut to the future. There’s fluidity online, and
//// The production surrounds the cast of seven singers you can multiply your connections to the community.”
with screens lit with bright columns of shifting colors and //// What can be done to slow down this move into virtual
a tensile, web-like musical chandelier that becomes an al- space? “We have to rebuild public experiences from the
most-human figure. There are luminous, triangle-headed ro- ground up,” Machover says. “We have to build new reasons
bots, 143 speakers scattered about the theater and dozens of for people to come together. You can no longer assume that
computers to control the lavish sound and light show. people will want to go to a normal theatre hall — we cannot
//// “The basic idea of a hyperinstrument,” Machover says, take for granted this new impulse. It has to be part of the
“is where the technology is built right into the instrument so new composition.”
that the instrument knows how it’s being played — literally
what the expression is, what the meaning is, what the di- Randy Gener
rection of the music is,” Machover says. “If a performer
pushed to a downbeat or relaxed on a phrase or brought out
a particular F-sharp, those things would be recognized and
valued by the instrument.”
PQ PORTRAITS
Tomáš Žižka
Tomáš Žižka (CZ) is a Czech multi-disciplinary artist and the Artistic Leader of the Mamapapa
theatre company. He has worked on scenography projects across the Czech Republic as well
as in Europe. His primary interest in collaboration with teams of visual artists, dancers,
musicians, and other art specialists on contemporary independent and experimental art
projects. At the PQ 2011 he works as workshop leader in Scenofest student project: Fifth Act
(June 23 & 24, 9 pm; Náprstek Museum).
PQ
Live Event in the Exposition of Korea // Black Sail, White Sail // Open Lab
Review // Mariaelena Roqué: Aurembiaix
Paul Zaloom
Paul Zaloom (USA) is a comedic puppeteer, political satirist, filmmaker, and performance artist
who lives and works in Los Angeles and tours his work all over the world. Zaloom has written,
designed and performed 12 full length solo spectacles, including Fruit of Zaloom, Sick But True,
his latest, Mother of All Enemies and, with Lynn Jeffries, The Abecedarium. Since 1992, Zaloom
has also appeared on the science educational TV show Beakman’s World as Beakman. At the
PQ 2011 he creates a toy theater spectacle about the male Caucasian human in American
exposition: The Adventures of White-Man (June 24, 12 am, 5 pm / June 26, 12 am; Veletržní
Palace, Hall A).
PQ JP.CO.DE DIARY
Krétakör: Ahoj from the front line!
With the clear sign that we had received at least a 10-member adventure, a unique cinematic experience combined with an
technical crew from Budapest, we all knew, we have turned into experiment - a live performance by our volunteers. Do not miss
the finish line of our artistic experiment here at PQ’s Intimacy the last chance: TODAY 3 PM, 6 PM, 9 PM at the Právo
and Spectacles Intersection. The last 12 days we’ve been part of Building, Na Florenci street 19.
a unique community building process. A personal and emotional Róbert Vágó Wallenstein
cultural event between 12 volunteers from 9 different countries.
It had become so intimate that one of us could not handle it
anymore, and left us. One of the most free spirited and most
creative one, Christian. We all discussed inside our community
the possible reason of his leaving. It was a mixture of shock and
a well predicted, natural cause. He chose to be part of us as long
as he felt he can be a children in our huge playground at the
ruined but mysteriously beautiful printing house. Most of us
couldn’t wait to interact with the public, to share their experience
with the PQ visitors, Christian felt different. We respect his
decision, wished him good luck on his cross-continental bicycle
tour, but with full intensity we are focusing on our duty here: to
present the achievement of our community building game. In the
middle of the week we had a rocking start! We got a 3 time-full
house premier with over 300 people. Not bad a for a community
game! Catch us, if you can on the last day of our unusual