It was standing on the red bricks in the vineyards of Mačji hrib in Istra region, Slovenia. It became a part of a circus train that drove through the Truške village. With the same train it travelled to asylum centre in Ljubljana. Children there were ladling soapsuds for a giant bubbles out of it. In short, the toilet began to live.
Stalo je na rdečih opekah med vinogradi na Mačjem hribu v Istri. Postalo je del cirkuškega vlaka, ki je peljal skozi Truške. Z istim vlakom je odpotovalo v ljubljanski azilni dom. Tamkajšnji otroci so iz njega zajemali milnico za ogromne mehurčke. Skratka, stranišče je zaživelo.
After international circus exchange program it became a passenger on our back seats. The show was being developed on the way. People from Ardeche, Basque coast, Oviedo and Segovia were watching it. Labels in one or another language took place on the toilet.
Po mednarodni cirkuški izmenjavi je postalo sopotnik na najinih zadnjih sedežih. Predstava je spotoma dobivala novo podobo. Stranišče so si ogledovali ljudje v Ardechu v Franciji ter na baskovski obali, v Oviedu in Segovii v Španiji. Na kotličku so se zvrstile nalepke v takšnem ali drugačnem jeziku.
Our show was different in many aspects compared to the street events we passed by. I got the impression that most street artists use speakers and loud music, transport their equipment on handcarts, show their tricks because of the tricks itselves and ask for the money with the hat and in the audience’s language.
Najina predstava je bila v mnogočem drugačna od množice uličnih dogodkov, ki sva jih videla na poti. Vtis je, da večina uličnih umetnikov uporablja zvočnike z glasno glasbo, tovori svojo opremo na vozičkih, pokaže niz trikov zaradi trikov samih in ob klobuku nagovori občinstvo v njihovem jeziku. Zato sva imela precej težav.
We didn’t use music, only our voices. We transported our requisites on the backpacks gasping. We packed the tricks in a story with a beginning and an end, that’s why spectators who joined in the middle of the show followed hardly. We spoke to the audience in English and Spanish, but instead of a hat used a toilet.
Nisva uporabljala glasbe, le svoje glasove. Rekvizite sva sopihajoč tovorila na nahrbtnikih. Trike sva zapakirala v zgodbo z začekom in koncem, zato gledalci, ki pridejo sredi predstave, težje sledijo. Nagovorila sva jih v angleščini ali španščini, namesto klobuka sva uporabila straniščno školjko.
Performing on the street means a serious work. Choosing a place for it is a real struggle in some cities and good spots are always occupied.
Nastopanje na ulici pomeni resno delo. Pri izbiri prostora za nastop poteka v nekaterih mestih prava borba, dobra prizorišča so stalno zasedena.
A special challenge is building the audience. It can last and turn into un unusual pre-story. It is necesarry to keep and increase the tension during the show otherwise people simply leave.
Poseben izziv predstavlja zbiranje občinstva. Lahko traja in postane nenavadna predzgodba. Skozi predstavo je potrebno napetost ves čas ohranjati in stopnjevati, če ne, ljudje preprosto gredo.
I think our way of travelling didn’t enable us the right space and time to practise and polish the show. When we developed something new we tried it on the street right away not excercising before. Every time we performed we made a different ending slowly turning it in the form of ‘grand finale’.
Mislim, da nama najin način potovanja ni omogočal prostora in dovolj časa za vajo ter piljenje predstave. Takoj ko sva nekaj razvila, sva preizkusila na ulici, ne da bi prej zares utrdila. Vsaka uprizoritev je imela drugačen konec, ki je počasi dobival obliko ‘grand finale.’
I have a feeling most of the people get attracted by shiny technical skills. Until you are juggling people applause. When the toilet turns into a rescue boat and it’s cover into a paddle with no coast on the horizon, spectators have to use their imagination, but it looks like mental activity is too demanding. It is much easiser to play loud music and make a series of tricks than telling a silent story in the middle of city sounds. Attention of people is gone fast.
Občutek imam, da večino ljudi pritegne le množica atrakcij. Dokler žongliraš, ploskajo. Ko stranišče postane rešilni čoln in pokrov veslo, obale pa ni na obzorju, mora gledalec uporabiti domišljijo, a miselna aktivnost se zdi prezahtevna. Mnogo lažje je nažigati glasbo in izvajati trik za trikom, kot ob zvokih mesta razpredati nemo zgodbo. Pozornost ljudi hitro odtava.
It is totally diferent when you don’t need to build an audience, e.g. on the festivals, or when the performance is arranged, e.g. in the bar. Audience is expecting you from the beginning and with their responses the magical theater atmosphere can be built soon.
Popolnoma drugače je nastopati, ko občinstva ni potrebno zbirati, npr. na festivalu, ali pa ko je nastop dogovorjen, npr. v baru. Občinstvo je zbrano od začetka in pričakuje predstavo, s svojo odzivnostjo pa hitro pripomore k vzpostavitvi čarobnega gledališkega vzdušja.
The challenge that remains is how to bring something original to the people not following the pattern of the other street artists. What is the meaning of an investition in the expensive sound equipment? How to arrange a place to practise while travelling? How much time is worth to persist and act although the costumes are completely wet with sweat? I wish we find answers to these questions during our creative work at the art residence in Morocco.
Ostaja izziv, kako ljudem na ulici približati nekaj izvirnega in ne slediti vzorcu ostalih umetnikov. Kakšen pomen ima investicija v drago zvočno opremo? Kako si na poti zagotoviti prostor za vajo? Koliko časa vztrajati in igrati, ko so vendar kostumi že čez in čez mokri od znoja? Želim si, da v času umetniške rezidence v Maroku z ustvarjalnim delom odgovoriva tudi na ta vprašanja.
The toilet is staying at the spot with a great view under the snowy Sierra Nevada mountains in the company of forgotten things. It is time for us to start a different show. A new continent brings new people and new inspiration.
Stranišče ostaja na razglednem mestu pod zasneženimi vrhovi Sierre Nevade v družbi pozabljenih reči. Čas je, da začneva z drugačno predstavo. Nova celina prinaša nove ljudi in nov navdih.
Thank you, toliet, for all experiences in the street performing. Among other things we learned you can earn more money ending the show without audience than when bowing to the mass of people. Little delights and disappointments were part of our common way.
Hvala straniščni školjki za pridobljene izkušnje z uličnim nastopanjem. Med drugim sva izkusila, da lahko zaslužiš več kljub temu, da se nimaš na koncu nikomur prikloniti, kot pa če te spremlja masa ljudi. Majhna veselja in razočaranja so bila del naše skupne poti.
Text: Uroš
Photo: Eva, Uroš, Solene, Jaione & Cirkokrog