After years of censorship Stere Popescu, a romanian choreographer wanted to put his entire life philosophy and art in one dance piece - the hammer without a master. 45 years later we (Brynjar Bandlien, Antonja Livingstone & Florin Flueras) want to do something around this piece. First we tried to reconstruct the aesthetic of the piece based on a documenting process and interviews of the protagonists. During the process we understood clearly that is not possible to get objective information about the piece. But the way how memory function and how the protagonists "performed" the interviews brought a new dimension in the process and oriented the work in the direction of playing with the remembering behaviors and with the relation reality-fiction, present-past. Now we want to go a step further - to do the "reconstruction" also at the level of process of working, attitude and concept - to go from the level of object at the level of the intimate processes and attitudes that initiated the work, feed and made the piece possible. To have the same burning passionate approach as Stere Popescu, the same intention to integrate our understanding of art, society and human condition, the same anvergure and courage to question and work with the big themes and concepts like love, affectivity, art, sexuality, time, society, transcendence and death.
The main strategy is to work at all this layers; content, material and context, horizontally and in parallel.

Intentions:
-to not be focused just to do a piece but also to document the process of working (we've started a blog in which we mix our working process with that of Stere in 1965 ciocanul.blogspot.com).
-to do a real time documentation of a fictional present past
-to dislocate the present and the past (to document the past like is happen in the present, and the present like is history)
-to see how the history is in a way repeating, how is actualizing in the present
-to deconstruct the way how history function in order to create an identity (especially national)
-to play with personal identity to take them identity and to give them ours - not only on stage to extend this switch also online and maybe in real life. (as a result we can have a dead romanian choreographer from 60's who share his working process on twitter and facebook. twitter.com/sterepopescu)
-instead of reconstructing to see which is the contemporary equivalent for what they did then (how we can create a scandal now?)
-to use the hammer without a master as a pretext to go beyond ours deepest life philosophies using past aesthetics and big themes - like in the old times of art.