course objectives

This program (2025 January 6-31) offers a unique opportunity to delve into the complexities of theater and exhibition space, integrating sculptures and objects into performances. This month-long exploration of the narrative, performative, and choreographic dimensions of "things" focuses on five key aspects:
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  1. Narrative potential: Discover how objects can tell stories and convey meaning.
  2. Performative interaction: Explore ways to interact with sculptures in a performative context.
  3. Choreographic integration: Learn to choreograph objects.
  4. Spatial dynamics: Understand the relationship between objects, movement, and space.
  5. Materiality and symbolism: Examine the material properties and symbolic significance of objects in theater.
LEARN MORE ABOUT THE HISTORICAL CONTEXT...
The history of performance art has long been characterized by principles of ephemerality, action, gesture, and the centrality of the human body. However, in recent decades, we have witnessed a shift as artists increasingly incorporate elements of installation and object-making into their live art practice, blurring the boundaries between spaces (theater and museum), and modes of expression (performance and visual art). This phenomenon raises questions about the nature of performance, the autonomy of art objects, and the evolving relationship between audience and artwork.

The exhibition "Ne pas jouer avec des choses mortes / Not playing with dead things" (2009) sought to interrogate the status and relevance of these hybrid objects within the context of contemporary art. Do they retain their vitality and energy beyond the moment of performance? Or do they become mere relics, devoid of meaning and life?

Through an exploration of works by artists such as Guy de Cointet, Mike Kelley, Emily Mast, and Ragnar Kjartansson, this Masterclass aims to shed light on the dynamic landscape where performative art converges with visual art practices. Over four weeks, participants will embark on a journey of research, experimentation, and creation, pushing the boundaries of what is possible at the intersection of theater and exhibition spaces. They will refine the notion of "activation" by exploring the themes of immersivity, multi-sensory engagement, and interactivity.

quick facts

  • Module 3: Performance and Objects
  • Date: January 6-31, 2025​
  • Location: Budapest, Hungary
  • Language: English
  • ​Fee: 1000 €

schedule

WEEK 1: JAN. 6-10

INTRODUCTION & INSPIRATION
​Immerse yourself in "CLASH," a solo from Anna Ádám's "sorry not sorry." Join us for a week-long repertoire class blending live art and static objects. Through dance and edible objects, explore the fusion of performance and sculpture, delving into movement, objects, and improvisation.

WEEK 2: JAN. 13-17

CREATION & CHOREOGRAPHY
​In Week 2, participants embark on a creative journey, crafting new sculptures or enhancing existing objects. They explore performative, narrative, and choreographic dimensions, devising protocols and scripts to activate their pieces. This transformative process blurs the lines between sculpture and prop.

WEEK 3: JAN. 20-24

PRESENTATION
In Week 3, participants curate and choreograph a hybrid space integrating "exhibition opening" and "performance night". Sculptures and objects are activated by immersive installations and dynamic performances, fostering a multi-dimensional experience inviting audience engagement.

WEEK 4: JAN. 27-31

​PROCESSING, ARCHIVING, NETWORKING ​
This final week, conducted online with daily prompts, offers five days of guidance for self-discovery, reflection, and connection. Update your portfolio with provided photos and videos of your recent works, solidify your experiences, and expand your professional network.

selection process

Our masterclass is among the most exclusive art education programs, admitting only 4 participants per module. This ensures that we can provide highly personalized guidance and individualized attention tailored to each participant's needs. Our selection process consists of four steps:​
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  1. Online application submission: Click here
  2. ​Interview: Shortlisted candidates will have a video call with the founder of the school. This is an excellent opportunity to present yourself, your professional projects, and your career objectives.
  3. Creative Exercise: Shortlisted candidates will respond to a creative prompt in either Performance or Creative Writing. They will have one week to submit their proposition. This exercise offers a beautiful opportunity to engage with our learning materials and pedagogic tools in a hands-on experience.
  4. Final Selection: Candidates will receive a decision within 2 weeks after submission.​

meet the team

ANNA ÁDÁM

Anna Ádám, the founder and artistic director of the School of Disobedience, is passionately dedicated to reforming art education. Her vision is to create a disruptive, progressive, and transformative model that prioritizes individual development, fostering playful, joyful, and free artistic exploration. With a diverse background as a multidisciplinary artist, social entrepreneur, and community activist, Anna brings invaluable insights and innovative approaches to art-making, space-holding, and project management, challenging conventional academic and capitalist norms. Under her leadership, countless individuals have embraced their full potential by overcoming limiting beliefs and experiencing profound personal growth.

JÚLIA ESZTER GAÁL

Julia Eszter Gaál, a vibrant dancer with Gray Box and an instructor at the School of Disobedience, merges her contemporary dance background with a passion for social change. With infectious energy and creativity, she encourages students to venture outside their comfort zones and embrace fresh perspectives. Julia's commitment to cultivating a supportive and inclusive atmosphere empowers students to authentically express themselves.