About the use of the space and the possibilities that the space could offer

Intro – Doris

Wednesday, November 16, 2011

As a visual artist and stage designer, Doris Dziersk decided to show images of her work for people to get a better grasp of what she’s about and interested in. She starts with her visual art projects, and shows a montage of her installation Annahmestelle, wherein she redesigns a series of rooms and that the audience has to crawl through the installation and have no choice but to physically touch it as they go.

Spreezone was a project which aimed to turn Berlin into a large amusement park, and Doris did the visual design for this, which included hanging name signs across the road entrance to “ordinary” places in the location, as if to advertise that the place was actually special. Also in this amusement park, Doris made an installation where she tied a shopping cart to different posts all over Berlin, taking a mundane object and turning it into an amusement park ride.

She then showed us her stage design work with Meg Stuart and discussed the sense of collaboration that came with working with her. Meg would give Doris keywords to work with; in the case of Forgeries, Love and Other Matters, Meg told her to work with the idea of “the last people on earth in love.”

She also showed images from “Alltogether Now,” and discussed the challenges of working with the space and how expected actions do not go as planned, and from “Blessed,” which Doris initially created for a comedy that Meg was thinking of, but used ultimately in a more serious work. She also showed her sets for Do Animals Cry?, where a long nest-like tunnel lit up inside is placed across the stage.

Doris talks about a collaboration she did recently with ideas thrown together on the concept of coming home, and the writer put together all these ideas and the improvisations of the actors. This resulted in the work, Please Close The Doors When It’s Cold

Meg works with keywords most of the time, as well as single images and single words and not whole concepts. Then, Doris makes proposals and there are discussions of what the object would present.

Simon ultimately asks, What if her designs don’t work with how the artist envisioned it. Amusingly, Doris is unable to remember a time when what she created “did not work,” though when there proved to be challenges with the space they were mounting the set on, as in Alltogether Now, they simply compromise how the set is used.

 

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