{"id":3006,"date":"2004-09-27T19:50:00","date_gmt":"2004-09-27T17:50:00","guid":{"rendered":"https:\/\/blog.uclm.es\/archivoartea\/?p=3006"},"modified":"2025-09-27T19:58:40","modified_gmt":"2025-09-27T17:58:40","slug":"deleted-messages","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/archivoartea\/2004\/09\/27\/deleted-messages\/","title":{"rendered":"Deleted Messages"},"content":{"rendered":"\n

BADco. 2004<\/h4>\n\n\n\n

Director: Goran Sergej Prista\u0161
Coreograf\u00eda e int\u00e9rpretes: Pravdan Devlahovi\u0107, Darija Do\u017edor, Ana Kreitmeyer, Tomislav Medak, Nikolina Prista\u0161, Goran Sergej Prista\u0161
Dramaturgia: Ivana Ivkovi\u0107
Colaboradores: Helge Hinteregger (m\u00fasica), Marko San\u010danin (escena), Silvio Vuji\u010di\u0107 (vestuario)
Software: Daniel Fischer’s Warsaw Pakt
Coproducci\u00f3n: Intercult – Project SEAS: A Baltic-Adriatic Arts Adventure 2003-2005<\/p>\n\n\n\n

Duraci\u00f3n: 60 min<\/p>\n\n\n\n

Deleted Messages <\/em>es una performance para seis int\u00e9rpretes y un vigilante. Como en cuarentena, el n\u00famero de espectadores permitido para entrar var\u00eda de acuerdo al tama\u00f1o de la sala \u2013una persona por cada tres metros cuadrados de suelo\u2013. A medida que la performance avanza, el espacio se transforma \u2013el suelo se hace trizas, las vallas aparecen tiradas y las sillas movidas por razones de conveniencia. Los int\u00e9rpretes interact\u00faan con la audiencia multitudinaria siguiendo las reglas de un juego \u201csocio-evolutivo\u201d de intercambio o de supervivencia de los cinco elementos coreogr\u00e1ficos que cada int\u00e9rprete tiene en un momento dado. Una pantalla de v\u00eddeo aborda el tema de la epidemia y la cuarentena y otra pantalla transmite en tiempo real el movimiento de la multitud. La audiencia es invitada a participar, no mediante una intervenci\u00f3n dif\u00edcil sino m\u00e1s bien mediante cambios suaves de movimiento y desplazamientos de los puntos de acci\u00f3n y de expresi\u00f3n en el amplio espacio. El espacio de actuaci\u00f3n no ofrece reglas estrictas para el p\u00fablico, sino que todas las reglas de conducta son auto-interpretadas: sentarse, caminar, sacar una fotograf\u00eda con el tel\u00e9fono m\u00f3vil, acercarse a uno de los artistas en movimiento o ver las acciones propias reflejadas en los desplazamientos de la performance.<\/p>\n\n\n\n

Rese\u00f1as<\/strong><\/p>\n\n\n\n

\u201cIs this possible to review at all? With my presence, I constitute a part of Deleted Messages. The Croatian performing collective BADco. from Zagreb loosens the boundaries not only between spectator and dancer, but lets our search for the self-deleting performance become \u201cthe performance\u201d. About ourselves in the meeting with others. Deleted Messages reflects on crowd behaviour, system and adaptation, invisible borders and communication both physical and digital\/virtual.
[\u2026] The ensemble manages skilfully to balance this sensitive state so that we relax, smile, make eye contact. The strange becomes familiar and just when the process matures, the performance is over.
The room is left full of warmth, but also of thoughts about how we adapt. The basis for BADco.\u2019s work is both theoretical and conceptual; about art and democracy, about borders and the subtle codes we send and receive. But what makes Deleted Messages a somewhat utopian experience is the feeling of living here and now. Take responsibility.\u00bb
Anna \u00c5ngstr\u00f6m, Svenska Dagbladet<\/em><\/strong><\/p>\n\n\n\n

An intriguing solution of the director \u2013 to involve the audience into the area of performance imperceptibly \u2013 became a test not only to the spectators, but also to the authors. The project, its main aim \u2013 to delete the limits of narrative or subject theme \u2013 finally \u201cdeletes\u201d the essence of the performance: abolishes clear positions of separation between actors and viewers. This conscious confusion of the roles reflects the nowadays situation of contemporary performing and visual arts, denying the existence of only one truth.
Goda Giedraityte, Klaipeda
<\/strong><\/em>
One of the most impressive projects of the \u201cSEAS\u201d \u2013 the performance \u201cDeleted Messages\u201d by the Croatian group \u201cBADco.\u201d \u2013 has completely changed the attitude towards traditional theatre. The dance performance has deleted not only the subjects or the parts of the speech, but also the limits between the actor and the spectator. There is no stage, no \u201cwall\u201d between the artists and the audience in the performance of the Croatians. In the white space that is always supervised by video camera, the dancers and the spectators have surrendered to each other\u2019s provocations and have all together created a performance
Rima Celiauskaite, Vakaru ekspresas <\/strong><\/em><\/p>\n\n\n\n

Artists from Croatia simply stunned with their performance \u201cDeleted Messages\u201d that refused the traditional stage. Instead both the dancers and the spectators acting and provoking each other in a white space became main participants of the performance.
Rima Celiauskaite, Aukse Boguzaite, Vakaru ekspresas<\/strong><\/em><\/p>\n\n\n\n

\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n\n\n\n
\"\"<\/figure>\n<\/figure>\n","protected":false},"excerpt":{"rendered":"

BADco. 2004<\/p>\n","protected":false},"author":285,"featured_media":3010,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-3006","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-obra"],"_links":{"self":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/3006","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/users\/285"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/comments?post=3006"}],"version-history":[{"count":1,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/3006\/revisions"}],"predecessor-version":[{"id":3015,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/3006\/revisions\/3015"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media\/3010"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media?parent=3006"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/categories?post=3006"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/tags?post=3006"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}