D I E G O   A G U L L Ó

P E T E R   S T A M E R

T H E   W A I T I N G   R O O M

the waiting room

A sober waiting room with rows of empty chairs. A reception desk with forms, applications, questionnaires. You take a seat. You wait until your name is being called. You go to a room, you knock on the door, you hear a voice from the inside, you open the door, and then…

The Waiting Room opens spaces for encounters between strangers and plays with the rules of social meetings and everyday behaviour, with intimacy and participation. 

It's a game, after all. Isn't it?

The Waiting Room, initiated in 2010 together with Dmitry Paranyushkin, is a long-term site-specific project taking its starting point from edifices that organize the being together of humans in a specific way. Previous editions of the project have been devised for deserted office spaces, run down residential buildings, or former factories. 

This version for Notafe Festival, jointly developed and performed by participants of Agullo’s and Stamer's workshop, takes place in the Viljandi Waldorf School.

the waiting room

PETER STAMER is a Berlin and Vienna-based theatre maker in the context of contemporary performing arts. Next to his works on stage, he is exploring conditions for discursive and physical empowerment within given social and narrative apparatuses. In other words: he likes creating performative playgrounds together with other people and players in order to engage in and learn from the game of everyday behaviour.

DIEGO AGULLÓ is an independent researcher and a dilettante artist intervening mainly in the field of contemporary dance and performance investigating the affinity between Body and Event. His practice operates in the intersection between education and art, dilettantism and professionalism and it covers different media such as dance, performance, essay writing, publishing books, video art, laboratories for research, the organization of participatory events. Diego is the editor of the Circadian press where he has published Dangerous Dances (2015) in which he analyzes the intimate affinity between dance, the problem, the devil and ballistics, and Betraying Ambition (2017) where he displays a critique to the ideological implications of ambition in the art world.

find more

the waiting room