Dogma 20_13

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Dogma 20_13 is the title of the manifesto that was conceived and published in 2013 as part of the production Das Fest by Schauspiel Dortmund . It advocates a further development of Dogma 95 , published in 1995, using theatrical means as well as closer networking between the theater and film worlds.

background

At the beginning of 1995 the Danish directors Lars von Trier , Thomas Vinterberg and Søren Kragh-Jacobsen published their manifesto Dogma 95 in a Parisian theater , which criticized the increasing alienation of reality in cinema. With their manifesto, the directors wanted to submit to a strict "vow of chastity". For example, special effects, specially made backdrops, film music, artificial lighting or color filters were prohibited. As a distancing from the bourgeois auteur cinema , another rule ordered that the name of the director should not appear in the opening credits or in the closing credits. Three years after its publication, the first feature films in the spirit of Dogma 95 were presented at the Cannes Film Festival with great media interest: Idiots by Lars von Trier and Das Fest by Thomas Vinterberg.

In January 2013, as part of the staging of the same Dogma 95 film Das Fest , the Dortmund Schauspiel published its own manifesto. The so-called Dortmund Manifesto or Dogma 20_13 criticized the achievements of Dogma 95 and also generally declared the art form of film to be dead:

“DOGMA 95 became a brand on the market. The limitation of the means created short-term freedom, which however did not know how to counter the increasing alienation in the cinema. The goal was right, but not the means. […] DOGMA 95 was the dawn of a dead end because film conventions such as montage, mass distribution and human-operated cameras were not radically questioned. [...]

Today the film is dead. The digital media stabbed it in icy coalition with television. [...] Today the film is being resurrected in the theater. Once the film robbed the works of art of their aura, now it is time to give the film itself an aura in the here and now. The true cinema of the future and the true theater of the future are one! "

- Dortmund Manifesto : DOGMA 20_13

The manifesto was written by the dramaturge Alexander Kerlin and published on the day of the premiere of Das Fest ; the memorandum of association, signed by all cast members and those involved in the production, is still hanging in the theater foyer. The director Kay Voges , also director of the Schauspielhaus, was nominated for the production for the German Theater Prize Der Faust 2013 in the category “Best Director”.

The second production under the DOGMA 20_13 vow of chastity celebrated its premiere on September 14, 2014 in the Dortmund theater. Minority Report or Murderer of the Future based on Philip K. Dick and Steven Spielberg , directed by Klaus Gehre, was also committed to the Dortmund Manifesto.

content

The Dortmund Manifesto recognizes the artistic potential of the film exclusively as a live format, namely in the form of a stage film, i.e. as an uncut film that is produced and broadcast live in front of the audience on the stage: “We evaluate the montage in the mind of the audience higher than the manipulation by the fitter. We are against the hubris of the editors who interrupt actors and viewers in their search for knowledge and feeling! ”Films should only be shown at the moment of their creation. It is required to always show how the cinematic illusion is created. In addition, the judgmental, “ideological view of the cameraman” should be destroyed by a static or mechanical camera. The eye of the camera must never be operated by humans - instead, their subjective gaze must be eliminated and "replaced by the objectivity of a robot".

The theater professionals were inspired by the director Francis Ford Coppola , who in 2012 at a conference demanded that films in the digital age could and should be produced live. He suggested going on tour with films so that we could react better to the audience, rearranging the scenes every evening: “Technically, that's already possible. Hardly anyone in Hollywood understood that. "

As with the original Dogma 95 manifesto , the participants in a DOGMA 20_13 production also undertake to adhere to a vow of chastity with various - sometimes self-ironic - rules:

"

  1. Shooting may only take place where the audience is present.
  2. We never use pre-produced image material. All images are created right now.
  3. There must be no more cuts and no camera eyes. The actors regain power over the images that they lost to the mechanics of time immemorial.
  4. The camera eye must never be used by people. [...]
  5. The camera eye never stops moving. No way. The earth doesn't suddenly freeze either.
  6. The sets may only be moved by the actors and never create the impression of naturalism. Life is tough, the backdrops are soft. Technical manipulations of the image design [...] are absolutely prohibited.
  7. The dubbing must be done live.
  8. The music blows through backdrops and robotics, transcends them and elevates the work of art to a higher level of reality.
  9. Murders, weapons, violence and explicit sexuality are permissible if they serve to illustrate macrocosmic relationships.
  10. Children don't belong on the stage. Good acting is always child's play.
  11. Daylight may not be used.
  12. The director's name must never be forgotten. "
- Dortmund Manifesto : DOGMA 20_13

In an interview, the director Kay Voges once again specified the basic aim of his festival production, which was tied to the new dogma: “We have created a new dogma, the Dogma 20_13. With us the camera doesn't follow the actor. We have built a construction on which a camera rotates permanently in a circle. The focus is not on the freedom of the actor, but on the challenge of maintaining the illusion of the film. Through the screen we see the actors constantly chasing the camera. "

reaction

In her review of Minority Report, Cornelia Fiedler from the Süddeutsche Zeitung emphasizes the influence of Katie Mitchell's theater work , who had already tried out live film adaptations in 2008 in a request concert ( Schauspielhaus Köln ). Nevertheless, she praises the “ironically strict set of rules” of dogma as a “very own live film method”. In her review of the festival on February 28, 2013, she wrote: “Self-ironically and with obviously a lot of fun with the provocation, the team around the theater director Kay Voges reminds us that a direct, tangible live medium [like a live film] already exists. An offensive that is ultimately not aimed at film colleagues, but at the cultural-political austerity apologists in this country. "She describes the manifesto as" a rousing offensive for the theater as living art. "

“Dealing with digital content is formative for the directorship of Kay Voges. Anything that helps understanding is permitted in terms of content and form. Sometimes programming takes place on the stage in real time ( Live-Code , 2013), sometimes Hamlet lives in Voges' current production like in a surveillance state, sometimes Precogs rob us of all illusions about our future. "

- Cornelia Fiedler : With the algorithm murder

Previous Dogma 20_13 productions

  • Das Fest , 2013, Schauspiel Dortmund. Director: Kay Voges .
  • Minority Report or Murderers of the Future , 2014, Schauspiel Dortmund. Director: Klaus Gehre .
  • The possibility of an island , 2015, Schauspiel Dortmund. Director: sputnic .
  • RAMBO plusminus ZEMENT , 2016, Schauspiel Dortmund. Director: Klaus Gehre .
  • The Borderline Procession , 2016, Schauspiel Dortmund. Director: Kay Voges .
  • The Futurological Congress , 2017, Schauspiel Dortmund. Director: sputnic .

Web links

Individual evidence

  1. ^ Dogma 95 Manifesto. May 13, 1995, accessed September 26, 2014 .
  2. ↑ DOGMA_2013. Theater Dortmund. January 15, 2013, accessed September 26, 2014 .
  3. ↑ Deutscher Bühnenverein: Der Faust 2013. September 12, 2013, accessed on September 26, 2014 .
  4. ↑ Minority Report or Murderers of the Future. Retrieved September 26, 2014 .
  5. ↑ cf. DOGMA_2013. Theater Dortmund. January 15, 2013, accessed September 26, 2014 .
  6. ↑ cf. Produced By: Francis Ford Coppola Sees A “Live” Future For Film. The deadline. June 8, 2014, accessed September 26, 2014 .
  7. ↑ DOGMA_2013. Theater Dortmund. January 15, 2013, accessed September 26, 2014 .
  8. ↑ "Playing with each other like clockwork". In: Allgemeine Zeitung . September 5, 2014, accessed September 26, 2014 .
  9. ↑ Cornelia Fiedler: And soon the polonaise will be over . Süddeutsche Zeitung , February 28, 2013.
  10. ↑ Cornelia Fiedler: With algorithm murder . Süddeutsche Zeitung , September 18, 2014.