“ALL WE NEED ARE MORE PEOPLE WHO ARE PREOCCUPIED WITH THE IMPOSSIBLE”?-Theodore Roethke.
ARTISTIC – CULTURAL – PROGRESSIVE – INDEPENDENT
*We believe art, parallel to love, is the supreme human expression.?*We believe creativity is an essential necessity, just like individual freedom is a basic condition to the permanence of civilized humanity.
*We believe progress of culture in general can only be secured by particular actions of creative individuals who are free to act, and therefore not restricted politically or institutionally.?*We believe in no dividing lines between what is natural and what is human.?*We believe in no fixed definitions: to question all things is natural and therefore true. Creativity is conditioned by fluctuations of all meanings, parallel to development of perception.
Therefore we bring Sugarfactory to life. Look! There it is! ?(But when we stare directly at it in order to describe it we realize we can comprehend it but its essence is elusive and therefore it escapes any verbal description. So we can only say what it is like)
It is like a MOVEMENT. CHANGE. DIFFERENCE
It is like an OPEN DOOR. PATH TO A HIGHER GROUND.
It is like an ONGOING CELEBRATION. An ART CARNIVAL. INDOOR STREET PARTY.
It is like a LABORATORY. TEST TUBE. TRIAL BY EXPERIMENT.
It is like ALCHEMIST¥S WORK. LEAD INTO GOLD.
It is like REFINING OF SOUL. ANIMA AND ANIMUS. THE SUBCONSCIOUS.
In 1929 André Breton wrote in the Surrealist Manifesto: ì
The mind which plunges into Surrealism relives with glowing excitement the best part of its childhood. For such a mind, it is similar to the certainty with which a person who is drowning reviews once more, in the space of less than a second, all the insurmountable moments of his life. . . . From childhood memories, and from a few others, there emanates a sentiment of being un-integrated, and then later of having gone astray, which I hold to be the most fertile that exists. It is perhaps childhood that comes closest to one’s “real life”. . . ?We say: the mind that plunges into Nachttheater Sugar Factory experiences destruction, decomposition, reconstruction, and finally rebirth of the real meaning of ìtheaterî. Our task is to assure that this (alchemical) process, comparable to Bretonís postulate, is equally thrilling and fertile.
MAKE YOUR LIFE WORTH YOUR OWN THEATER!
theatre or theàtre [ th -t r ] n. ?(From an online dictionary)
1. A building, room, or outdoor structure for the presentation of plays, films, or other dramatic performances.
2. A room with tiers of seats used for lectures or demonstrations: an operating theatre at a medical school.
3. a. Dramatic literature or its performance; drama: the theatre of Shakespeare and Marlowe. b. The milieu of actors and playwrights.
4. a. The quality or effectiveness of a theatrical production: good theatre; awful theatre. b. Dramatic material or the use of such material: “His summation was a great piece of courtroom theatre” (Ron Rosenbaum).
5. The audience assembled for a dramatic performance.
6. A place that is the setting for dramatic events.?7. A large geographic area in which military operations are coordinated: the European theatre during World War II.
[Middle English theatre, from Old French, from Latin the trum, from Greek the tron, from the sthai, to watch, from the , a viewing.]
Word History: Theories about the development of the theatre in the West generally begin with Greek drama; this is etymologically appropriate as well as historically correct, since the words theory and theatre are related through their Greek sources. The Greek ancestor of theatre is the tron, “a place for seeing, especially for dramatic representation, theatre.” The tron is derived from the verb the sthai, “to gaze at, contemplate, view as spectators, especially in the theatre,” from the , “a viewing.” The Greek ancestor of theory is the ri , which meant among other things “the sending of the roi (state ambassadors sent to consult oracles or attend games),” “the act of being a spectator at the theatre or games,” “viewing,” “contemplation by the mind,” and “theory or speculation.” The source of the ri is the ros, “an envoy sent to consult an oracle, spectator,” a compound of the , “viewing,” and -oros, “seeing.” It is thus fitting to elaborate theories about culture while seeing a play in a theatre.
Theater of the absurd: a form of drama that emphasizes the absurdity of human existence by employing disjointed, repetitious, and meaningless dialogue, purposeless and confusing situations, and plots that lack realistic or logical development.
WHAT ARE THE AIMS OF NACHTTHEATER SUGAR FACTORY
To stimulate integration and advancement within three main forms of cultural expression (theatre, art, music):
1. To attract progressive and innovative theatre-makers and to provide them with an unconstrained and thoroughly professional, theatrical environment
2. To present visual artists and their work in a multi-disciplinary setting and to communicate art in an environment other than gallery or museum
3. To support progress in music, to inspire the artist in a musician and to free music from commercialism and categorizing
4. To shape a public consisting of individuals who are creatively motivated, who like to be stimulated intellectually and who are responsive to beauty
To give rise to a progressive socio-cultural location where the above mentioned aims will materialize.
Jacek Rajevski 2005