06 Aug Q+D Artist Feature: Marynia Fekecz
Thank you again to everyone who has streamed the Quick + Dirty!! The festival is love to stream PWYC until August 15th. Until then, we’d love to introduce you to the lead artists who have taken huge risks and made this festival come to life. Next up: Marynia Fekecz
Describe the challenge of transferring your research to the film.
Challenges arise from day to day, from minute to minute. Since I have never had a situation in my professional career as a performer that I had to transfer the performance from the stage to the computer screen, it is quite an interesting and intriguing challenge for me as a creator. The first thought that appeared in my research was how can I translate emotions from the stage to the screen, so that the recipient will be interested in the entire course of the recorded performance. This is a question that is difficult to answer because it is difficult to see before the material is recorded and edited. These are another two things which are a huge challenge for me. – collecting material and editing. How a camera works, everyone knows the basics, but when we start putting together the scenes for a performance, it is no longer a simple, ordinary thing, but an interesting challenge. Searching for appropriate frames, places where I want to record individual scenes. And this process is quite intriguing to be exploring and finding new things. The biggest challenge is to create from this material a film that will make sense aesthetically, visually and with a story that has a beginning and an end. As you can see the challenges are many, but they are intriguing and developing me as an artist, I am also very happy to be part of this project.
Share something that has surprised you so far.
In this process of learning new techniques for working with the camera and editing, I was most surprised with the understanding of “what the camera sees” and how to work with the camera. With the help of mentors Linnea Swan, Jacob Niedzwiecki and Sasha Ivanochko I discovered how much the camera can show, even if you think you can hide something. Nothing will hide from the lens. Some small accident when recording, which may be an unexpected sound or a non-prepared space (you forget to clean up the mess in the room before recording), may force you to record the same shot several times. I also certainly learned to think about and prepare the shots for a camera thoroughly and carefully check before recording that everything is in place.
What have you noticed about considering choreography for the live versus film platforms?
I noticed that this is not an easy task, transferring the performance from live to the screen. When you work on a performance in the studio, you do research, physically check what works, what doesn’t work – and then you only get one chance to get it right when performing live. For film, you can record a thousand minutes of material and choose the best fragments, but the movie is not live material, it does not change during playing. It is one creation that was created from recording material and editing. The live performance is a living structure, even if you have it heavily rehearsed and remembered it is still liquid, because one day you have such a mood and another day you have a different one. As a living being every day, even if you are in the studio and are in the process of finding the right movement or connection between the scenes, it still depends on your mood and the physical and mental situation to create on that day. Hence, between creating in the room and creating at home on camera is a huge difference for me. If you do not want to show something on the camera, you always have that chance while the live performance does not have this option.
And, finally, share your thoughts on what it is to be an artist working and creating during a time of social unrest?
Being an immigrant artist, living and creating in a country I moved to five years ago is quite challenging. I am a person who is open by nature and likes to be with people. People give me energy and strength to create, to live and be. In these circumstances where I can’t see people and cannot leave the country, it is quite an uncomfortable situation for me. Seeing globally what is happening in the artistic world I am not optimistic about how the future will look. It is quite difficult for me to create and be an artist during this pandemic and the hatred of people because they have a different sexual orientation or skin color. As a worldly person, I have trouble understanding this mindset. It is still important that every voice has its say. Especially now when we live with so many restrictions and imposed norms. I will say what I think and hope that my voice will be heard.