Evaluation of 'The last theatre show ever' = [Lathsh(n)ev]

Rebelling against norms-relative values, forms, contents and behavior associated with conventional theatre, the essential focus of the [Lathshnev] workshop was an experiment in building an open multi-actor communication environment by setting up a chain of (re-)actions between present and remote (non-)human 'actors' referring to the 'Open Form' method, which was formulated in 1959 by Oskar Nikolai Hansen.
The symbol of the 'open windows' is meant to connect the 'inside' & 'outside', being technology inspired but nature driven, opposing the art of a dominant object in space and space locked into an object. According to those concepts and tendencies there were a few (re-)active set ups (with space/time holes as their key elements) built up/emerged during 7 days at i-camp:
1) Wind/Human movement > Light > Sound > Water: The essential structural idea behind this chain - the 'inside-show' driven by wind- or human movements which are captured outside of the theatre building, to be analyzed algorithmically and sent over a network to trigger: #an opacity and color of the LEDs-light according to the outside activity, #to generate the sound source modulating vibrations on the water-surface, #in their turn triggering some visual effects projected inside of the building (as a 'back to nature' element) and #modulating/triggering further related content. That way the synchronized chain of digital 'actors' and 'actions' was driven by some natural elements from the 'outside', what could be an example of how the whole 'inside'-environment of a modern theatre can be structured as an 'Open form' and be 'outside'-driven.
The daring idea behind this chain of technological re-actions, stimulated by nature, was our resistance to 'staging', acting and representing. By triggering an anti-action and trying to freeze every moment, when something eccentric happens in the show. The system lives its own life when no human outside is detected and nature is still. As soon as people started to 'act' or wind to blow over the canvas, the system gets paralyzed and the show is freezing. (Michal Kindernay: 'As an effort of reinterpretation of the time, movements and acting in its fundamental the recordings without movements and/or without sound can be actually a projection of second side of consequences and classical status of an actor or actions on stage in general. It's not only reaction to action or negation to reaction, but all these combinations can trigger small other events and creating new structures, have impact on writing and on using of all other inputs/outputs. *Metamorphoses Converting of roles of an actor or machine or sound into completely different and new figure/entity. What is there, and what is not. Maybe we would find doors to another side of the time of the play, plot & space. Evocation of new values. Location of new spirits in the body of an actor or machine in time. Extraction from the capsule of the dogmatic approach in acting, moving and sonifying. ... so thanks Fatima, spaces which are not seen and /or spaces where any kind of alive or artificial or dead actors are not seen etc etc...') The spectators were provoked to move and communicate asking 'what is actually happening in the theatre, when nothing is happening', while they become actors themselves, triggering the system to freeze the show.
2) Virtual theatre: On-line communications at various platforms as well as a streaming from inside the theater-box ->to the outside world during all 7-days of the show-labor..
3) The Skype feed-back 'under stage': The simple structural and technical idea behind this set up is to get sonified and unified by feed back of the 'communicating' computers, connected into a network via skype's call mode' within the room, outside of the building and anywhere in the world. Computers which are in the same mode and the same room/space were getting into feed-backed re-action over their (built-in or external) speakers and microphones creating a spatial field which was provoking an interesting unifying affect, involving sounds and voices of people behind their monitors and around into spatial, chaotic sound-performance and time/space hole, where everyone hear it differently because of time-delays, different time zones ans kinds of environment, speakers, microphones etc. All that was reflecting the idea of the theatre being invented as a means of communication and being further seen as the means of various ways of multiple communication - not only face-to-face, but also remote via growing possibilities of different real-time technologies allowing immediate involvement and an endless feedback.
Considering today-theatre to be an environment for merging different disciplines, minds and ways of working together, the inventions of the transitions/connections between those became essential for us along with critical attitude and resistance to conventional and closed forms, characterized by: #Space and time limits, #separations of space and functions, #dividing appearance and reality by staging, screening, representing.
While focusing more on inventing transitions between human and nonhuman 'actors' we tried to make the system communicate by its own and let it be driven from the 'outside of the window'.
The [Lathshnev] week was challenging for everybody (who took part in it) in many ways: #We tried to invent and build the structure from zero and within one week, #facing in parallel all differences between our attitudes, skills and ways of working/communicating, #finding yourself in our own limits, personally and artistically and #trying to overcome those 'here and now'. That's why this durational attempt to re-think/consider many issues and their exposure on the territory of the theater, turned to be the main and the 'Last theater show ever' itself.