Works

Life Streaming

A performative installation about the ambivalent attitude to developing countries and disaster zones. In an internet café, each spectator is in live contact via a computer with a performer 8,000 kilometres away. The performers are in Sri Lanka, on the beach struck by the tsunami in 2004, the natural disaster yielding the greatest financial support ever. In a personal and private chat, the performer and visitor enter into conversation about the different ways people deal with loss.

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That chat, which initially appears to be an attempt to get closer to the spectator, gradually appears to be a way to expose our empathic system. Together with the (Western) visitor, the performer in Sri Lanka explore different levels and degradations of empathy.

Through spatial interventions, the chat changes into a physical experience. After a while, the scents and sounds of Sri Lanka appear in the container the visitors are in. When the performers enter the sea, a large body of water flows into the internet café container where the visitors are sitting.

Video

Life Streaming (2010)

Press

"Dries Verhoeven knows, in an exceptional way, to involve the spectator in the play."

‘Chatten met een vreemde over verlies’ ('Chatting with a stranger about loss'), Kester Freriks (12-08-2010)read the review (in Dutch)

"Subtly provocative...Dutch director and artist Dries Verhoeven is a visionary athlete who has taken an extraordinary imaginative leap."

‘The Comedy of Errors; Salome; Lift: Life Streaming’, Kate Kellaway in The Observer (04-07-2010)read the review (in English)

"Your suspicion is very cleverly aroused, instead of your understanding. Brechtian alienation, instead of a ‘unique coalescence’."

Wouter Hillaert op www.commotie.nuread the review (in Dutch)

Background

articles

Andrew Woods wrote an article about Life streaming in the context of joint authorship which on the online platform Metamodernism. In his articleCommon Authorship: Towards an Authority of Art’ the author states: “Life Streaming can be seen as motor of subjective transformation insofar as it participates in the production of a global vision through networked interaction…through a multiplicity of different cultural, social, geographical and personal layers”.

read the article (in English)

‘Nomadic creation’, that is what Nienke Scholts calls the practises of a number of creators who do not seek out the unknown ‘to abolish the differences but to highlight them and ultimately provide the European public with an insight into them’. Using the practical example, Life Streaming, for which she did the dramaturgy, she wrote the essay ‘Bewegend denken’’ (Thinking in motion) for Etcetera #125.

read the essay (in Dutch)

Credits

direction Dries Verhoeven

direction assistent Caroline Farke and Jake Oorloff

assistent designer Pascal Leboucq

dramaturgy Nienke Scholts

technicians Jeffrey Kranen and Silk BV

software Ingredient Media

photography Tim Mitchell

actors Sasith Kulathunga, Anushad Tharunayana, Dineth Chathuranga, Gerard Lucky, Yasal Ruhunuge, L. H. Athila Ruwan Amarasiri, G.W. Jayantha, Nuwan Silva, Chaminda, Salmon, Upul, Susantha, Chaminda, Rohitha, Dilani, Nimal, Prasad Pereira, Wimal Ranathunga, Imaad Majeed, Surin Merinnage, H. P. Hansika Priyadarshani, Ruhani Perera, Jake Oorlof, Tracy Jayasinghe, Michael Mendis, Ridma Kasun, Anjalie Pieres, Yashoda Suriyapperuma, Sadern Alwis, Kumudithe Perera, Natalie Soysa, Theena Kumaragurunathan, Kasun Dissanayake, Buddima de Mel, Nuwan, Shamira Dissanayake, Waseem Haseem and Zul Karnain

co-commissioned by Uz Arts, Huis and Festival a/d Werf, LIFT Festival London and Schauspielhaus Bochum