{"id":13524,"title":"Als u precies doet wat wij zeggen (of niet zo precies) dan maakt u zelf het stuk / If you do exactly (or not exactly) what we tell you to do, you create your own performance","dimensions":"","date_begin":"1978-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":18,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":99,"permalink":"if-you-do-exactly-or-not-so-exactly-what-we-tell-you-to-do-you-make-your-own-performance","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/187/medium_500/1978_Als_u_precies_doet__Performance_Art_Festival_Brx.JPG?1458218044","cached_actor_names":"Hugo Roelandt","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"category":{"en":"Performance","nl":"Performance","fr":"Performance"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/187/large/1978_Als_u_precies_doet__Performance_Art_Festival_Brx.JPG?1458218044","poster_credits":"(c) Estate Hugo Roelandt","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(26,24,18);\"\u003eIn collaboration with Marc Holthof, Luc Steels, Marc Verreckt and Paul Geladi\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;'International Performance Festival', Beursschouwburg, Brussels, October 1977\u003c/strong\u003e\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cstrong\u003e\"\u003c/strong\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003eREFUSING TO PERFORM: the public creates its own piece according to (or not according to) the rules set out by the performer.\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e\"\u003c/strong\u003e\u003c/span\u003e - Hugo Roelandt\u0026nbsp;\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eIf you do exactly (or not exactly) what we tell you to do, you’ll create your own\u0026nbsp;performance had its premiere on the closing day of the Performance Art\u0026nbsp;Festival\u0026nbsp;curated by Roger D’Hondt at the Beursschouwburg, Brussels, on\u0026nbsp;Sunday 15 October 1978. Hugo Roelandt described how the performance was\u0026nbsp;set up and\u0026nbsp;his intentions behind it in an interview: ‘Already at the entrance\u0026nbsp;I want to stimulate to audience so that it does not become a passive theatre\u0026nbsp;audience.’\u0026nbsp;At the\u0026nbsp;Beursschouwburg it went like this: the visitor receives a telex\u0026nbsp;tape; s/he puts it in a telex machine and the instructions are printed out. In\u0026nbsp;the meantime eight\u0026nbsp;musicians are pulled up with pulleys by Roelandt. They\u0026nbsp;float above the theatre stage. A spot is focused on each of them. From the\u0026nbsp;instructions the visitor knows that a musician starts to play when the beam\u0026nbsp;of light directed at him is blocked. The music stops when the visitor no longer\u0026nbsp;blocks the light.\u0026nbsp;Roelandt: ‘It’s like putting\u0026nbsp;a washing machine on and off. The music\u0026nbsp;piece is not created by me, nor by the musicians, it is the audience which\u0026nbsp;gets a chance to play. Making\u0026nbsp;arrangements, playing together, a dialogue\u0026nbsp;between the visitors, is possible. Obviously that won’t work immediately.\u0026nbsp;That’s impossible in a culture where\u0026nbsp;people are living not with, but next to\u0026nbsp;each other. If they get the chance to do it differently, that won’t immediately\u0026nbsp;result in a symphonic piece. But if all\u0026nbsp;concerts were like this, the public\u0026nbsp;would be playing the most wonderful pieces after a year or so. In theatre,\u0026nbsp;film, television, advertising, politics… all we ever have\u0026nbsp;to do is listen and shut\u0026nbsp;up. We always have to shut up. (…) Too many people shut up. They are so\u0026nbsp;overwhelmed they no longer dare to speak up.’\u0026nbsp;The performance ended when one of the musicians dropped his guitar\u0026nbsp;on the floor. ‘Then all lights are turned on and everything returns to normal.’\u003cbr\u003e– Interview with Hugo Roelandt by Pol Moyaert in Vooruit, 3 October 1978\u003c/p\u003e\u003cp\u003e(Abstracts from\u0026nbsp;\u003ci\u003eHugo Roelandt: Let's Expand The Sky\u003c/i\u003e, red. Mark Holthof, Occasional Papers, London, 2016)\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003e\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(26,24,18);\"\u003eIn samenwerking met Marc Holthof, Luc Steels, Marc Verreckt en Paul Geladi\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;'International Performance Festival', Beursschouwburg, Brussel, Oktober 1977\u003c/strong\u003e\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cstrong\u003e\"\u003c/strong\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003eREFUSING TO PERFORM: the public creates its own piece according to (or not according to) the rules set out by the performer.\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e\"\u003c/strong\u003e\u003c/span\u003e - Hugo Roelandt\u0026nbsp;\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eAls u precies doet wat wij zeggen (of niet zo precies), dan maakt u zelf het stuk\u0026nbsp;gaat in première op de slotdag van het Performance Art Festival (curator: Roger\u0026nbsp;D’Hondt) in de Beursschouwburg in Brussel op zondag 15 oktober 1978. Hugo\u0026nbsp;Roelandt beschrijft hoe de performance werd opgevat en wat zijn bedoelingen\u0026nbsp;ermee zijn in een interview in Vooruit: ‘Reeds aan de ingang wil ik het publiek\u0026nbsp;interesseren, zodanig dat het geen theaterpubliek meer is dat in zijn zetel\u0026nbsp;gaat\u0026nbsp;zitten en afwacht wat er gebeurt.’\u0026nbsp;In de Beurs zal dat zo gaan: de bezoeker stopt een ponsbandje in een telex\u0026nbsp;en daar ratelen een aantal instructies uit.\u0026nbsp;Ondertussen trekt Hugo Roelandt via\u0026nbsp;katrollen een stuk of acht muzikanten omhoog. Die zweven dus boven de scène.\u0026nbsp;Op ieder van hen is een schijnwerper gericht. Uit de instructies weet de bezoeker\u0026nbsp;dat de muzikant begint te spelen als de lichtbundel door iemand uit het publiek\u0026nbsp;onderbroken wordt. De muziek stopt als\u0026nbsp;men niet langer de straal blokkeert.\u0026nbsp;Roelandt: ‘Zoals men een wasmachine aan en afzet. Het muziekstuk\u0026nbsp;wordt dus niet door mij gecreëerd en evenmin door de\u0026nbsp;muzikanten, maar het is\u0026nbsp;het publiek dat de kans krijgt om te spelen. Er zijn afspraken gemaakt, er kan\u0026nbsp;samenspel ontstaan. Een dialoog tussen de bezoekers. Natuurlijk zal dat niet de\u0026nbsp;eerste keer lukken. In een cultuur waar de mensen naast elkaar leven kan dat\u0026nbsp;niet, hè. Als ze nu een keer de kans krijgen om het anders te\u0026nbsp;doen zal daar niet\u0026nbsp;direct een symfonie uitkomen. Maar indien alle concerten zo zouden zijn, dan\u0026nbsp;zouden er na een jaar de prachtigste stukken gespeeld worden\u0026nbsp;door het publiek.\u0026nbsp;Nu is het in theater, film, televisie, publiciteit, onderwijs, politiek… niets anders\u0026nbsp;dan: luisteren en zwijgen. Ge moet altijd zwijgen (…) Te veel\u0026nbsp;mensen zwijgen. Ze\u0026nbsp;worden op al die terreinen zo overrompeld dat ze er niet meer aan denken iets te\u0026nbsp;zeggen.’\u0026nbsp;De performance van Roelandt zal ten einde zijn\u0026nbsp;wanneer één van de\u0026nbsp;muzikanten met een enorme knal zijn gitaar naar beneden zal laten donderen.\u0026nbsp;‘Dan gaan alle lampen branden […] en wordt er gewoon licht gecreëerd.’\u003cbr\u003e– Interview met Pol Moyaert in Vooruit, 3 oktober 1978\u003c/p\u003e\u003cp\u003e(Uittreksels uit\u0026nbsp;\u003ci\u003eHugo Roelandt: Let's Expand The Sky\u003c/i\u003e, red. Marc Holthof, Occasional Papers, Londen, 2016)\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003e\u003cspan style=\"background-color:rgb(255,255,255);color:rgb(26,24,18);\"\u003eEn collaboration avec Marc Holthof, Luc Steels, Marc Verreckt et Paul Geladi\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e• \u0026nbsp;'International Performance Festival', Beursschouwburg, Brussels, October 1977\u003c/strong\u003e\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\u003cstrong\u003e\"\u003c/strong\u003e\u003cspan style=\"color:hsl(119,57%,31%);\"\u003e\u003ci\u003e\u003cstrong\u003eREFUSING TO PERFORM: the public creates its own piece according to (or not according to) the rules set out by the performer.\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e\"\u003c/strong\u003e\u003c/span\u003e - Hugo Roelandt\u0026nbsp;\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eIf you do exactly (or not exactly) what we tell you to do, you’ll create your own\u0026nbsp;performance had its premiere on the closing day of the Performance Art\u0026nbsp;Festival\u0026nbsp;curated by Roger D’Hondt at the Beursschouwburg, Brussels, on\u0026nbsp;Sunday 15 October 1978. Hugo Roelandt described how the performance was\u0026nbsp;set up and\u0026nbsp;his intentions behind it in an interview: ‘Already at the entrance\u0026nbsp;I want to stimulate to audience so that it does not become a passive theatre\u0026nbsp;audience.’\u0026nbsp;At the\u0026nbsp;Beursschouwburg it went like this: the visitor receives a telex\u0026nbsp;tape; s/he puts it in a telex machine and the instructions are printed out. In\u0026nbsp;the meantime eight\u0026nbsp;musicians are pulled up with pulleys by Roelandt. They\u0026nbsp;float above the theatre stage. A spot is focused on each of them. From the\u0026nbsp;instructions the visitor knows that a musician starts to play when the beam\u0026nbsp;of light directed at him is blocked. The music stops when the visitor no longer\u0026nbsp;blocks the light.\u0026nbsp;Roelandt: ‘It’s like putting\u0026nbsp;a washing machine on and off. The music\u0026nbsp;piece is not created by me, nor by the musicians, it is the audience which\u0026nbsp;gets a chance to play. Making\u0026nbsp;arrangements, playing together, a dialogue\u0026nbsp;between the visitors, is possible. Obviously that won’t work immediately.\u0026nbsp;That’s impossible in a culture where\u0026nbsp;people are living not with, but next to\u0026nbsp;each other. If they get the chance to do it differently, that won’t immediately\u0026nbsp;result in a symphonic piece. But if all\u0026nbsp;concerts were like this, the public\u0026nbsp;would be playing the most wonderful pieces after a year or so. In theatre,\u0026nbsp;film, television, advertising, politics… all we ever have\u0026nbsp;to do is listen and shut\u0026nbsp;up. We always have to shut up. (…) Too many people shut up. They are so\u0026nbsp;overwhelmed they no longer dare to speak up.’\u0026nbsp;The performance ended when one of the musicians dropped his guitar\u0026nbsp;on the floor. ‘Then all lights are turned on and everything returns to normal.’\u003cbr\u003e– Interview with Hugo Roelandt by Pol Moyaert in Vooruit, 3 October 1978\u003c/p\u003e\u003cp\u003e(Abstracts from\u0026nbsp;\u003ci\u003eHugo Roelandt: Let's Expand The Sky\u003c/i\u003e, red. Mark Holthof, Occasional Papers, London, 2016)\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":1660,"name":"Hugo Roelandt"}]}