Terén is a dramaturgical, production and distribution platform without its own ensemble or a permanent venue, producing unique theatrical and crossboundary year-round projects. It has been created alongside renowned repertory theatres – the Goose on a String Theatre and HaDivadlo – as the third theatre of the Brno municipal organization, the Centre of Experimental Theatre.
Terén’s core program will create its own stagings of various production difficulty levels, instead of having its own ensemble, will be provided by guest authors, theatre groups and art collectives.
Terén works with the city environment of Brno conceptually as a complex creative space. It puts on its productions at theatre venues and in the specific spaces of the urban landscape.
Terén is building an aesthetic diversity instead of relying on a singular aesthetic. It investigates the borders in which contemporary theatre moves and what tools it can choose to communicate.
Terén creates a space for the conception of staging projects, overlapping into musical and dramatic forms, performative concerts, performances, happenings, events, public space interventions, and other formats of artistic communication in which people meet to lead a lively dialogue.
Terén initiates creative meetings of performance artists with artists from different fields.
Terén cooperates with non-artistic initiatives and institutions such as academic and scientific institutes, environmental and ecological movements, non-profit organizations and others.
Terén is the meeting ground for official and underground culture, for state-funded and independent scenes, for professional and beginning artists.
Terén produces its own staging projects which will be shown at local venues in Brno and then distributed
outside of Brno.
Terén explores contemporary forms of performing arts – it is a space for experiments, research and education, meetings with theatre professionals, lectures, discussions, and workshops.
Terén is searching for a new vitality of author-audience relationships; its mission is the permanent redefinition of the purpose and position of theatre and performing arts in society.
Terén’s program is looking for a response from different spectators and communities, even outside theatre. Terén secures the conditions for the creation of daring art projects, which would otherwise have trouble getting through in the market-oriented cultural environment.
The platform’s activity will commence with a week-long program bearing the title Terrain Work which will take place from 1 to 6 October 2019.
The mission of Terén is to create a long-term base for the creation of ambitious, unique works of performing arts. We mainly focus on the matters of dramaturgy and production. We aspire to create a space which is equally accessible to local, visiting, and foreign creators. Terén is not shaped to be in opposition to the conventional drama aesthetics, to serve as a space for minor theatre genres, nor to act as exclusive support to new creators. The collective embraces all formats and approaches. Terén represents a complex endeavour to change the trajectories and vectors controlling the way we think about performing arts in the context of multigenre and anti-genre discourses. We are intrigued by the possibilities of probing into seemingly well-explored areas of art – opera, drama, children’s plays etc.
Terén is created as a brand new platform complementary to the function of Husa na provázku theatre, HaDivadlo theatre, and the general cultural context of Brno. Its approach is based on the fundamental search for identity of works and institutions of performing arts, providing a supportive environment for their production. The intention behind the activities of Terén is to develop the possible forms of dialogue between the creators and the public. In doing so, the collective examines their own role as an initiator of such communication. Terén focuses on the broader context of positive and negative limitations, and other formative conditions for the creation of works of performing arts, such as – stable members of drama group, permanent facilities, need for a continuous staging reconstruction, a standardised preparation time, and others. Terén aims to redefine these conditions and develop diverse creative approaches in terms of flexible duration of preparation, co-authorial involvement of various communities in the projects, dehierarchised model of work, and the use of specific urban sites.
The focal point of Terén’s programme is the presentation of original projects of various levels of production which are prepared by guest authors, theatre groups, and art collectives instead of its own theatre society. In these drama and interdisciplinary projects, the collective wants to combine two basic types of collaboration – residence (longer preparation time, focused group work, play repetitions and guest appearances) and project (one-time interventions, events, spontaneous shows which can take on the form of artistic performances, music events etc.). An important part of Terén’s programme will also be dedicated to presenting guest play productions and other works of art expressed through an inspiring language of performativity.
We are interested in building an identity of a performing arts environment which deviates from the conventional unity, stability, and repetition. In other words, an identity which is defined by the absence of permanent facilities, theatre group, and even a unified creative profile. An identity which provides space for diverse artistic means of creation. We are interested in the very limits of contemporary theatre and performance. We try to see them in a broader context, that is – not just as aestheticised and carefully orchestrated human expressions. For our dramaturgy, we do not need theatre facilities nor theatrological terminology. We focus on the development of a specific medium/art form, and we are searching for ways to maximise, upset, and realign its potential. The fact that our work hovers above definite media categories and genres, and that we want to present it in different modes of speed, duration, artistic format, and imprint on the social and artistic structures of Brno and other cities means one thing only – there is just one kind of performativity which can be presented just as well in theatre halls as in painting, electronic or classical music, or on the corner in front of a butcher’s shop at three o’clock PM. Performativity is not a stronghold of theatre. It is much broader and it influences us in complex ways.
The main purpose of Terén activities is to build a structure for the creation of works which are backed up by confident authorial self-expression with no regard to artistic reputation. Terén is here to support original works that generate their own purposes for existence and are not perpetuated by inertia. Terén wants to continuously disrupt the aesthetic and ideological monoculture, the safety of opinions, and isolation of social classes and communities.
In practice, the name Terén refers to our understanding of local scene not in terms of one specific building, but in the context of intentional work with the urban space. As an idea, the name Terén indicates the difficulty of movement on a rough, unstable, structured but chaotic surface. It does not offer smooth and predictable dramaturgy. It provides dramaturgy full of tectonic faults, meanders, and barriers – dramaturgy on the level of carefully composed series of plays, projects, and events, looking for other perspectives, roles, and experiences of the audience. We are intrigued to probe the changeable and moving landscape with detours into the blind alleys waiting to be explored. Risk and hazard are a part of Terén’s profile. We view Terén as space in which new organisms are born.
Terén starts up with a week-long cycle titled Terrain Work. This cycle will present most of the directions of Terén’s activities characterized by stepping out from theatre practice into the field of performance, music, exhibitions, and searching for interdisciplinary and anti-genre intersections and boundaries of these areas. In the opening week, Terén will present a series of experimental, improvised, noise, but also strictly minimalistic and delicate concerts (Elia Moretti, Martin Janíček, Roman Radkovič Collective, IQ+1, Otomo Yoshihide), as well as a showcase of Argentinian collective T R R U E N O representing the contemporary club music scene. In collaboration with the Moravian Autumn festival, Terén will present a world premiere of a stage version of the radio composition Oidipus by Bohuslav Martinů now directed by Mark Ther. The opening cycle will also host one of the most influential creators of post-drama and technological theatre with cinematic overlaps – Gob Squad collective with their performance directly confronting the environment of Brno city. The week will finish with theatre and music programme Teréňák hosting drama and art workshops for the whole family.