4 Launch Acts | March 27-April 9 | Berlin & Cyprus

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No Collective/Already Not Yet is putting on a series of 4 Acts to launch our new periodical MATTERS OF ACT and a new philosophical Question-and-Answer-and-Picture book ARE WE HERE YET? written by a four-and-a-half-year-old.

Deviating from the usual (boring) meet-the-author, appreciate-her-reading type of book release gatherings, these Acts will stage literal theatrics that reflect and deflect the myriad exploration into “matters of act” engaged in our new journal. Together they grapple with the core problematics of literature and theatre: the enactment of text and the consequent fracturing of time.

The first Act at  Grüntaler9 takes the form of a Panel Discussion about ARE WE HERE YET? and MATTERS OF ACT with You Nakai, Lindsey Drury, Johanna Gilje, Teena Lange, Natália da Silva Perez, & Joël Verwimp, and moderated by two Already Not Yet authors: a very impatient six-year-old Aevi, and a very patient sexagenarian Roland Albrecht from the Museum der Unerhoerten Dinge. Conversation will center on the problems of “Act” (both as action and pretense) and “Past Future Perfect” (the featured topic of the next issue).

The second Act will be an After-The-Fact Rehearsal of the first act at the same venue with the same members (absentees replaced by effigies–stuffed animals, LEGO figures, etc), which aims to achieve through contrivance and pretense what the first Act realized so naturally.

The third Act will reinstate these anti-causal proceedings into a genuinely classical context, by staging a revelatory Denouement at the Ancient Greek Theater of Kourion in Cyprus on April Fool’s day.

The final Act will return to Berlin for a much needed Q&A Session (or the efforts thereof) at the Museum der Unerhoerten Dinge (Museum of Unheard (of) Things), led by the author of the speculative Question-and-Answer book ARE WE HERE YET? The then-four/now-six-years-old Aevi, who is currently learning to read, will attempt to read his own book for the first time in public.

Entrance is free to all 4 Acts. Limited copies of MATTERS OF ACT, ARE WE HERE YET? and other Already Not Yet books will be sold at a special discount price at each Act.

March 27 (Monday) 7:30 PM
ACT 1: PANEL DISCUSSION (on MATTERS OF ACT + ARE WE HERE YET?)
moderated by Aevi & Roland Albrecht
with Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury, You Nakai
grüntaler 9
Grüntaler Straße 9 13357 Berlin
[This Act is reservation-only and limited space is already starting to fill up so please reserve your spot by emailing: info@alreadynotyet.org]

March 31 (Friday) 7:30 PM
ACT 2: AFTER-THE-FACT REHEARSAL (of ACT 1)
moderated by Aevi & Roland Albrecht
with Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury, You Nakai (absentees replaced with effigies)
grüntaler 9
Grüntaler Straße 9 13357 Berlin

April 1 (Saturday) 3 PM
ACT 3: DENOUEMENT (for ACTS 1 and 2)
with Lindsey Drury, You Nakai, Aevi, etc
Kourion Ancient Greek Theatre
9 Km west of Episkopi village, Lemesos-Limassol, 4620 Cyprus

April 9 (Sunday) 3 PM
ACT 4: Q & A SESSION (on ARE WE HERE YET?)
with Aevi & Roland Albrecht, and others
Museum der unerhörten Dinge
Crellestraße 5, 10827 Berlin

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Der in New York ansässige Verlag ALREADY NOT YET (alreadynotyet.org), geleitet von Mitgliedern des No Collective (nocollective.com), präsentiert eine Reihe an „Acts“, um ihre neue Zeitschrift MATTERS OF ACT sowie ein neues philosophisches Frage-und-Antwort-und-Bilderbuch ARE WE HERE YET?, geschrieben von einem vier-und-ein-halb-jährigen Autor zu bewerben.

Abweichend von dem gewöhnlichen Triff-den-Autor- und Hör-dir-die-Lesung-an-Stil werden die Acts wörtlichen Theatraliken auf die Bühne bringen, welche die unzähligen Erkundungen in MATTERS OF ACT (Angelegenheiten der Akt) reflektieren und bespielen werden, mit welchen sich die neue Zeitschrift auseinandersetzt. Dabei entfalten sie Kernfragen des Literarischen und des Theatralen: Die Inszenierung eines Textes und das konsequente Aufbrechen der Zeit.

Der erste Akt im grüntaler 9 (Nur mit Reservierung) hat die Form einer Podiumsdiskussion über ARE WE HERE YET? und MATTERS OF ACT mit Johanna Gilje, Teena Lange, Jöel Verwimp, Natália da Silva Perez, Lindsey Drury & You Nakai, moderiert von zwei Already Not Yet Autoren: einem sehr ungeduldigen sechsjährigen Aevi und einem sehr geduldigen sechzigjährigen Roland Albrecht (Museum der unerhörten Dinge). Übersetzung von Alexander Booth. Die Diskussion beschäftigt sich mit den Fragen von „Act“ (sowohl als Aktion und Schein) und „Past Future Perfect“ (das Thema der nächsten Ausgabe).

Der zweite Akt wird ein nach-den-Fakten „rehearsal“ des ersten Aktes am selben Ort mit den gleichen Teilnehmern sein (die Abwesende durch Puppen ersetzt), welcher durch Erfindungen und Schein zu erreichen sucht, was der erste Akt so natürlich realisierte.

Der dritte Akt wird diese anti-kausalen Vorgänge in einen klassischen Kontext einflechten, indem er dessen Auflösung in dem antiken griechischen Theater von Kourion auf Zypern am ersten April (Aprilscherztag) auf der Bühne präsentiert.

Der letzte Akt wird für eine vermutlich sehr notwendige Frage-und-Antwort Runde in das Museum der unerhörten Dinge nach Berlin zurückkehren, präsentiert von dem Autor des philosophische Frage-und-Antwort Buch ARE WE HERE YET? Der damals-vier-/jetzt-sechs-jährige Autor, der gerade dabei ist, Lesen zu lernen, wird versuchen, aus seinem eigenen Buch vorzulesen zum ersten Mal vor Publikum.

Alle 4 Akte sind kostenlos. Eine limitierte Selektion der Bücher MATTERS OF ACT, ARE WE HERE YET? und weitere Already Not Yet Bücher werden zu Sonderpreisen während jedes einzelnen Akts verkauft.

“Music and Its Double: The Immaculate (And Not-So-Immaculate) Conceptions of No Collective” | TDR (61-1, Spring 2017), MIT Press

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The new issue of  TDR (MIT Press) has a fairly complex review/analysis of Immaculate Conception we staged last year with ensemble mise-en. Written by Cody Eikman, the piece is entitled “Music and Its Double,” and in addition to precisely articulating the mechanism of the work, it also launches a necessary critique of the relationship between experimental music and the so-called new music (namely the exploitation of the former by the latter). This is the second review of Immaculate Conception following “Double Act” in The Brooklyn Rail last year (http://brooklynrail.org/2016/09/music/immaculate-conception-by-no-collective), and mostly we are very happy abou the fact that there are appropriately two double reviews for our doppengänger piece. Thank you very much to everyone who spent time on this concert in one way or another (especially Dee Ali, our rehearsal director).

The video of the entire piece is here:
http://nocollective.com/i.html

“The problem of the double has explicitly haunted music since John Cage declared music to be part of theatre. In Immaculate Conception, No Collective explored this doubling by creating a doppelgänger ensemble that acted as a copy of the musicians of the group ensemble mise-en. This tactic foregrounded the theatrical dimensions of music, while the context surrounding the performance itself highlighted the problematic entanglement of original and double (between “experimental” and “contemporary”) in the social sphere of new music.”

“‘Contemporary music’ and ‘experimental music’ form an uneasy double in the world of new music today. The tendency is for the former to capitalize on the latter, while discrediting it as derivative (and therefore free) resource. Ensemble mise-en does not ‘examine’ as much as ‘exploit’ the ‘unusual corners of the composition world.’ But the perception of an apparent hierarchy between the polished and professional music and its unusual and amateurish double must be reversed. In most cases, the repertoire of a ‘contemporary music’ ensemble comprises none other than the ‘experimental music’ of yesteryear — ridiculed in the past, but accepted and institutionalized over time. Until the moment of acceptance from its double, experimental music remains a peripheral origin of what is generally regarded as ‘contemporary’ in music. That the refined copy can retroactively author the primitive original is no secret in the social sphere of new music. The fear of double persists therein.”

http://www.mitpressjournals.org/doi/abs/10.1162/DRAM_a_00628#.WM7ZWnQrKRs

Review of “Concertos” | TDR (61-1 Spring, 2017), MIT Press

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The new TDR issue contains a belated book review of Concertos (+ other books from the Emergency Playscript series) we published from Ugly Ducking Press 6 years ago back in 2011 (http://www.uglyducklingpresse.org/catalog/browse/item/?pubID=140). We have our reservations about the review (it contains several factual errors), although some parts of it sound nice and it sure is great to have, finally, a review for that complex playscript we put so much energy into.

“The No Collective piece, Concertos, was first performed in Tokyo in 2008, by the Japanese participants of that prominent international collective — founded by the artist You Nakai — who have presented work at the borders of music composition and performance art at such venues as Tokyo’s Museum of Modern Art. Concertos was then reworked as a transcript by other members of the Collective. The performance piece appears to have an ongoing existence in the Collective’s repertoire, extending beyond the published volume of 2011, and has been performed with variations on at least four occasions, most recently in 2012. The original performance, consisting of 3 “movements,” each 18 minutes in duration, entailed animal as well as human participants, including interventions by a dog and a bird (the dog having been obtained from a “rental pet shop” [15], and the pigeon caught with a net, according to the transcript). The account of the performance on the Collective’s website records: “Feedback is produced between the contact microphone attached to the pigeon and the mobile speaker attached to the dog” (http://nocollective.com/c1.html).

The published volume of Concertos experiments with the duplicities and multiplicities of transcription [...]. Concertos works both as a performance record, in its transcription of the participants discussing their memories of the performance, and also as an imaginative reflection on the performance itself: “People say ears don’t have lids, unlike eyes. But ears will open and close selectively, unlike eyes which seem incapable of selection” (9). The Collective’s participants appear keen to reinforce the elements of malfunction and disarray integral to their performance, recasting its ending as an extended suspension: “Then, after packing all the equipments, drinking, lamenting everything that went wrong, you have an INTERMISSION of eighteen months” (33).”

“A Double Act: Immaculate Conception by No Collective” | Brooklyn Rail

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A very nice review of Immaculate Conception we did earlier this year with ensemble mise-en has been published on Brooklyn Rail. It’s entitled “A Double Act” and was written by Cody Eichman. It contextualizes our efforts in the history of theatre and its discontents, including John Cage’s adoption of the term which placed it in a dialectical tension with the domain of “music.”

It starts like this: “I once heard a performance-studies scholar explain the difference between performance art and theater as that between presentation and representation. She was wrong. For the essence of theater lies not in representation, but in the duality between presentation and representation, as well as in the indeterminacy infiltrating this dichotomy. A play takes place in between action and act—and, as Gregory Bateson observed, the line separating one from the other always remains vague. Theater plays with this double identity (performance art often pretends it doesn’t exist).”

http://brooklynrail.org/2016/09/music/immaculate-conception-by-no-collective

Museum of Unheard of Things Publication Event | November 18 | Grüntaler 9

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Already Not Yet/No Collective are organizing a book publication event for our new release Museum of Unheard (of) Things [ANY 02] in Berlin this Wednesday, November 18, from 7pm at the Grüntaler 9 Gallery. We wish to convey the idiosyncratic character of the museum through unheard readings, non-simultaneous interpretations, and occasional servings of literary recipes. Performers include No Collective (You Nakai, et al.), Roland Albrecht, Alexander Booth, Lindsey Drury, Tomomi Adachi, Johanna Gilje, Thea Farhadian, Dafne Narvaez, among other “things.”

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https://www.facebook.com/events/1511052502553764/

“More than Meets the Ear: An Account of the Shared (Ac)counts of Cage and Stravinsky” | Kay Festa | TDR (59-2, Summer 2015), MIT Press

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Another publication related to Vesna’s Fall: “More than Meets the Ear: An Account of the Shared (Ac)counts of Cage and Stravinsky” written by Kay Festa has been published in TDR (MIT Press). This paper is based on a collective research we did on Stravinsky and Nijinsky when making our dance piece. On the surface it investigates two topics of concern for the modernist dance-music nexus:

(1) The secret connection between Cage and Stravinsky. Despite Cage’s pronounced preference for Schoenberg over Stravinsky, the procedure the latter used to create RoS in 1913 was surprisingly similar to the method of rhythmic structure Cage would develop thirty years later. Both were based on the act of “counting” structures devoid of content, a similarity derived from the two composers’ concern to account for dance.

(2) The not-so-secret repression of dance (choreographers) by music (composers). The standard discourse of modernism, fabricated mostly through the eloquence of composers like Stravinsky or Cage, has tended to silence the decisive role dance/choreography played in its formulation. There is thus a conflict between the composers’ system of counts and their accounts.

But actually the paper wants to be a sort of disguised credo for what we did in Vesna’s Fall.

http://www.mitpressjournals.org/doi/abs/10.1162/DRAM_a_00451#.WM7cinQrKRt

“Exchange Mechanism” by Cody Eikman | The Performance Club

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A pertinent and pertinently weird review of Vesna’s Fall at the Queens Museum written by Cody Eikman has been published at Claudia La Rocco’s Performance Club > Exchange Mechanism by Cody Eikman
It’s an acrobatic but very precise articulation of what happened inside the performance—what one saw and heard, and (perhaps more importantly) did not see or hear. Since we deliberately made the piece so that not much could be discerned by just looking at it from a distance, we’re really glad that someone analyzed its peculiar manner of operation in this detail. On Immaculate Conception, private exchange in/of bodies, and being eaten by the performance.
Thanks to David Ian Griess and Kota Yamazaki for the photographs. More writings on that piece are to come. Yay.

House Music | June 12 | CARPA4, Helsinki

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No Collective is presenting HOUSE MUSIC, in collaboration with Lindsey Drury and Johanna Gilje, at the fourth Colloquium on Artistic Research in Performing Arts (On “The Non-Human and the Inhuman in Performing -Arts-Bodies, Organisms and Objects in Conflict”) held at the Theatre Academy of the University of the Arts, in Helsinki. The performance will start at 11:15AM, and last about an hour. This will be the second performance of the piece we presented last year in Berlin, and we’re also expected to say something smart-ish about the piece before or after or during the piece. So if you are anywhere near it would be great to see you there.

House Music
by No Collective and Lindsey Drury
June 12, 2015, 11:15-12:15
Theatre Academy of the University of the Arts, Helsinki
[Part of Colloquium on Artistic Research in Performing Arts 4]
Performed by Johanna Gilje, Lindsey Drury, Kay Festa, and You Nakai

Vesna’s Fall | April 26 | Queens Museum

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No Collective and Lindsey Drury, along with dancers Kaia Gilje, Paige Fredlund, Molly Schaffner, Laura Bartczak, and Katelyn Hales, are going to present the final version of Vesna’s Fall at the Queens Museum on April 26, 2015. The performance starts from 4pm, but there is also going to be a workshop for a limited number of people from 2 to 3:30pm. We’ve always thought that those remnant towers from the NY World’s Fair 50 years ago look like massive versions of the contraptions the dancers wear, and so I wanted to somehow have people+contraptions jump from the top and dance while falling down (which partially accounts for the ‘Fall’ in the title). That was impossible to do, but the Queens Museum is right nearby, so the location is perfect, and so is the space. We’ve presented the piece several times last year, but we are going to recreate most things from scratch, so it is going to be very different and much better.

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Vesna’s Fall
by No Collective and Lindsey Drury

April 26, 2015, 4-5pm
Queens Museum

http://www.queensmuseum.org/events/dance-workshop-performance-vesnas-fall

It is always difficult to know the dancer from the dance. By physically separating the two, Vesna’s Fall seeks to reinvent the problem. Each dancer wears a 14-foot movable curtained room that isolates her, extends her body, amplifies her movement, and blocks her view. Unable to see one another, the dancers attempt to coordinate the work using whatever means available, starting with their voices. Each audience member can choose what to see and from where. But watching one dancer always precludes seeing everybody and everything else. In this way, the work seeks to reveal the underlying condition of bodies that cuts across the division between performers and viewers, impeding them both from seeing the whole.

Performed by Lindsey Drury, Paige Fredlund, Kaia Gilje, Molly Schaffner, and perhaps You Nakai. Assisted by Laura Bartczak and Katelyn Hales.

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WORKSHOP taught by Paige Fredlund with Kaia Gilje and Lindsey Drury, prior to performance from 2-3:30pm

*registration required https://www.eventbrite.com/e/sacrificial-practice-counting-while-dancing-while-being-counted-for-dancing-tickets-16389168444

Max Number of Participants: 20.

Workshop is free but registration required through the above eventbrite page or by emailing: lindsey@drearysomebody.com

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This performance is made possible by the Queens Council on the Arts with public funds from the New York City Department of Cultural Affairs in partnership with the City Council.

House Music: Two Stories | December 15 | Kurturraum (Neukölln, Berlin)

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We are showing a new version of HOUSE MUSIC, made in collaboration with the choreographer Lindsey Drury, and performed by Johanna Gilje, Keith Hennessy, IthaK Katartika, You Nakai, Meg Stuart, Sasha Waltz (and probably one flamenco dancer and one tap dancer), on Monday, December 15 from 8:30pm at the Kulturraum on Mainzer Straße 7. We hope whoever is in Berlin can come!

House Music: Two Stories 
Constructed by No Collective and Lindsey Drury

One need not be a chamber to be haunted;
One need not be a house;
The brain has corridors surpassing
Material place.
– Emily Dickinson

(Keith Hennessy, together with Meg Stuart and Sasha Waltz, were conceived during the 2014 IMAR summer residency in Connecticut)