KASPAR

Kiasma Theatre, Contemporary Art Museum, Helsinki 2002

The performance of Kaspar at Kiasma Theatre searched for and dealt with the conditions of language and communication skills. Kaspar was not a description of an event; it was an event itself. The performance commented and processed the tension between individual and community; expressing this through movement, speech, special sound effects, and reflected video and still pictures.

As a name Kaspar can be associated with a popular German clown, as well as the sensational foundling child from 18th century Germany. The character called Kaspar a marionette, who tries to put the surroundings he is in, in an understandable order.

Alongside Kaspar, another essential element in the performance is the ‘world of whisperers’, which is watching and counselling Kaspar’s growth, until Kaspar is cloned into five characters. In some moments ‘the world of whispers’ takes a physical form: it is a man with huge authority, providing Kaspar a counter force.

In the Kaspar production’s visual design the Kiasma theatre’s character as a high-tech stage was emphasized. The play made use of the offered possibility for chroma key video technique. As a result, some of the scenes on stage were sampled against a new background in the edit room and projected on the stage. In the visualization of the play the theatrical act as a performance was underlined and the stage was emphasized as a real site that was part of a building. Therefore the stage was highlighted as especially a technical machine. There was no set design on it, only objects from Kiasma that the actors had made use of.

Duration of the performance was approximately one and half hours.