do 1 okt HNT Theater aan het Spui Den Haag
T.R.A.P.S. – Johhan Rosenberg ADT SNDO
Research creates a hyper mediated identity to foreground the absence of its being. Investigating and falling into the gaps between the citational and visceral – T.R.A.P.S. gazes back to reflect its own sociality and sing forgotten melodies.
T.R.A.P.S. is a microscopic landscape for traps – areas of movement and thoughts in which we stumble upon, even though we have the best of skills and intentions. In the struggles to extricate ourselves from the areas, T.R.A.P.Seeks to discuss an absent image and trace our forgotten belongings. T.R.A.P.S. is a trapping pulse and a raw meat programmed to consume. It’s a place where drugs and identities are sold and dissolved. It’s a tongue hole, person’s dirty mouth and also a two-wheeled carriage pulled by a horse. It Travels, Restricts, Attrapts (?), Pushes and Stops our presence while we’re being tricked by our own traps.
performance, scenography Johhan Rosenberg light design Martin Kaffarnik/ Paulina Prokop advise and support Keerthi Basavarajaiah, Ana Vujanovic, Netti Nüganen and Laima Jaunzema sound Helgi Sallo, Johhan Rosenberg and Andreas Aalberg Tegnander
From high intensity into cold and flat reality. Johhan Rosenberg is an Estonian performer and choreographer with a background of music and dance studies. Attracted to places that are hidden and urgent, he works with tracing and editing the canons of realities – making sense with nonsense. In his practice, the functionalities of language and identities become embodied contexts towards the process of creating surroundings. Through raw vocabulary and playfulness, he layers body, text and sound to meet-cross in the architecture of collective consciousness. Striving to create an absorbing figure of human artefact(s), he mediates amongst selves and the public gaze – where performance becomes a technology to tear apart what is already known in order to develop new autonomies.
Johhan about T.R.A.P.S.:
“Work started out initially from an iconic Christmas movie ‘Home Alone’ – where heroic kid is setting traps and protects his territory against the robbers. How could this concept work in the theatre settings of 2020? Home becomes the stage and who are the robbers? – knock knock – who’s in the basement?. Traps are figuring and appearing through poetry, physicality, architecture and finding activation in front of the audience gaze. Revolving around notions as loneliness, territory and protection – T.R.A.P.S. finds itself between the wet walls, mediating its manners and perverted-poesy with the public.”