Hae

REV DIV LUV

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16 fragments, a la: Why flesh Why Standing Why Wednesday at noon Love is always when is always You is always always always Always Always

Inquiries on vision(s) – show–ings
P(arts), and w(holes). Yes.
It will start, and then it will end.
And in-between, we’ll attend to its dying.
But that doesn’t mean we won’t have fun!
Ain’t gonna be possible to see it all… (There’s a big pillar.)
But maybe that’s the point. And the risk!
Vision(s), don’t necessarily rely upon seeing.
“The successful negotiation of holes […]
Is dependent on maintaining
A healthy respect
For what cannot be seen.” – William Pope.L
But still! there are options – choices.
Ways to collaborate with one’s own seeing.
Maybe the space behind the eyelids,
Is just as important here….
“The foundational paradoxes of the anchoritic lifestyle […]
The anchoress was simultaneously dead and alive;
The cell was both secular and sacred;
The life was both mundane and glorious.”
– Michelle M. Sauer

Notes about the costume design:
The starting point for the costume design of the work is the costume designer’s personal dream experiences and the internal logic of dreams. The costumes incorporate both the concrete visual language and textures of dreams, as well as their illogical logic. Additionally, the costume design is partly influenced by Siru Kosonen’s artistic work in the piece ’Glass Eyes’.

Working group

  • Choreography: Kadence Neill (TK, artistic thesis)
  • Performers: Nella Matleena, Elias Berglund, Valtteri Juvonen, Miska Palsio, Monia Penttinen, Anniina Dyster, Katri Käpynen, Paria Mohajerani, Altinay Kapsiz, Samu Kotilainen, Inka Auvinen, Li Krook
  • Lighting design: Katinka Ebbe (Vma)
  • Dramaturgy: Barabas Szigeti (CDPR)
  • Scenography: Anni Hernetkoski (LAV)
  • Costume design: Satu Muurinen (Aalto ARTS, artistic thesis)
  • Sound design: Ilja Pippa (Äma, artistic thesis)
  • Producers: Elena Kirdaite and Amanda Larsson Rabian

Services for Artistic Activities at Theatre Academy

  • Stage manager: Marja Zilcher
  • Lighting support: Anna Rouhu
  • Sound support: Heikki Laakso
  • Costume support: Havina Jäntti
  • Props: Tarja Hägg
  • AV support: Jyrki Oksaharju
  • Ticket sales: Rosa Sedita
  • Evening programme: Jaana Forsström
  • Producer: Nina Numminen

Supporting teachers

  • Jana Unmussig (Choreography)
  • Kasperi Laine (Sound Design)
  • Siru Kosonen (Costume Design)

Thank yous

  • Jana Unmussig
  • Kirsi Monni
  • Guy Cools
  • Maria Saivosalmi
  • Pomme, Tarkan
  • Julian of Norwich
  • Isabel Lewis
  • Pavol Liška

Performance schedule

  • Fri 23.5.2025 at 19:00
  • Sat 24.5.2025 at 17:00
  • Mon 26.5.2025 at 19:00
  • Fri 30.5.2025 at 19:00
  • Sat 31.5.2025 at 18:00
  • Mon 2.6.2025 at 19:00

Performance venue

Theatre Academy, Studio 4, Haapaniemenkatu 6

Duration

75 min

Notes about the performance

The piece involves partial nudity, loud sounds, blinking lights and the use of fake blood.

Artistic thesis learning outcomes

MA in Choreography artistic thesis learning outcomes:
The student demonstrates how they can create, make and process a choreographic work that reflects their integrity and distinctive voice as an artist. The student demonstrates rigorous understanding and ability to actualise the intricate connection between the chosen conceptual framework and the material compositional arc of the choreographic work. By successfully completing the artistic process with the workgroup and within the framework of production conditions, the student demonstrates professional cooperation and organisational skills.

MA in Sound Design artistic thesis learning outcomes:
Student will be able to communicate their own vision through independent artistic work and/or creative collaboration. They have a good command of the work process in their chosen field of design and are able to solve associated challenges. They know how to document their creative work, taking into account both the process and the end result.