MEDIATHEK

Bread, red wine and Jesus. 

The present vs the Bible.

Aufführungen:

Rosa Luxemburg strasse 24, Berlin / Germany Org.: Sophiensæle Kunstbanken, Hamar / Norway, BIT – Teatergarasjen, Teatergaten, Bergen / Norway, Teaterhuset Avantgarden, Trondheim / Norway, Dæhlenenggata, Oslo / Norway, Tou Scene, Stavanger / Norway, Limelight, Kortrijk / Belgium.

// Ensemble //

Baktruppen was an artist collective (1986–2011), founded in Bergen, Norway. The group has had a substantial impact on European live art.[1]

The performative work of Baktruppen consisted of theatre and dance performances, performance art, invisible theatre, video art, radio programs, sound art, site specific art, and politically motivated actions.

Theatre historian Knut Ove Arntzen in the book Performance Art by Baktruppen, first part (kontur 2009) explains: "Baktruppen is known for their irony and playing with avantgardistic approaches to theatre and performance art. They may even be perceived as having transgressed the avant-garde!" The name of the company means the opposite of avant-garde, something more like “rear troop,” or somebody walking behind a military advancement. Because the troupe is avant garde, the name was ironic. Baktruppen’s point was to recycle aspects of the classical avant-garde in a postmodern perspective, which indeed was their point of departure.

Baktruppen was marked by artistic research going beyond the aesthetics and towards a social space. Baktruppen questioned the idea of ritual in theatre, and introduced the ambient space with a playful and ironic approach to the postmodern. Play became a frame for communication with the audience, and a point of departure for a deconstructivist view of the world expressed through their art. Notions of "professionalism" and "dilettantism" were questioned. One of the main intentions was that people joining productions should mix their talents and skills into a non-hierarchical working process of a collective kind.

Exaggeration and confusion are aspects that characterize Baktruppen’s work. The troupe constantly positioned itself in the uncertain gap between the known and the unknown and operated with a dual awareness where they toyed with the distinctions between play/seriousness, fiction/reality, center/periphery, and different identities. One may say that Baktruppen's work reflects the carnivalesque in a postmodern form.

[efr] http://baktruppen.bek.no/