Gibanica 2013
Izbrane predstave za 6. festival Gibanica – sodobna plesna platforma
Gibanica, ki od leta 2003 bienalno streže z naborom najboljših sodobno-plesnih izdelkov domačih producentov, bo med 21. in 23. februarjem 2013 v prestolnici zasedla Staro mestno elektrarno – Elektro Ljubljana, Cankarjev dom, Plesni teater Ljubljana ter Španske borce.
Tričlanska žirija v sestavi: Mateja Bučar, Pia Brezavšček in Klaus Ludwig je izmed 41 prispelih prijav izbrala 8 predstav v glavni program ter 3 predstave v dodatnega.
Zgoščen prikaz plesne ustvarjalnosti na Slovenskem, ki ga ponuja Gibanica, bo tudi tokrat dragocena informacija tako za vabljene tuje selektorje kot za domače občinstvo.
Utemeljitev komisije:
“Letošnja komisija se je odločila, da bo podprla glede na prispele prijave, dela, ki na ekspliciten način razmišljajo o gibu in formi ter se z njimi v delih tudi ukvarjajo in, ki hkrati v tem nakazujejo neko svojo smer, kar se nam zdi pomembno za razvoj sodobnega plesa pri nas.
Predstave, ki smo jih prepoznali kot takšne vsaj v nekaterih segmentih, smo izbrali v tokratni glavni program, ki kaže na neko konceptualno celoto. Poleg tega je komisija predlagala nekaj del, ki izkazujejo svojo kvalitativno raven zaradi zelo različnih momentov ali konstant v njihovem delu (kar predstavlja drugačen pogled s strani komisije) v dodatni program.«
Uradni program
Drugi sočasno
Matija Ferlin
Dvojnik
Snježana Premuš
are made of this / soiztega
Dragana Afirević
Balet upora
Leja Jurišić in Petra Veber
Zelo okusen zalogaj
Cristina Planas Leitão, Jasmina Križaj
Zven telesne tišine
Kaja Lorenci in Ivan Mijačević
Transland
Magdalena Reiter
Neavtorizirano
Kolektiv Federacija
Dodatni program
OTTETTO (8 nihajev za njegovo visokost)
Iztok Kovač
Eden
Mala Kline
Sramota
Maja Delak
MAIN PROGRAMME
The Other at The Same Time
Production: Emanat
Concept, choreography, direction & costumography: Matija Ferlin
Creators & performers: Liz Kinoshita, Roberta Milevoj, Claudia Fancello, Tomislav
Feller, Matija Ferlin
Text: Jasna Žmak
Reading: Ana Buljan, Marko Cindrić
Consulting: Goran Ferčec
Scenography: Mauricio Ferlin
Music: Colin Stetson (Constellation Records)
Co-production: Istrsko narodno gledališče, Pulj, Cankarjev dom, Ljubljana
Experimental project The Other At The Same Time is a continuation of a movement system research that Matija Ferlin started in performance Nastup/Onformance, his first choreography for a group piece. He further developed his research in the project Samice/Lonely women, his first text based performance as a director. With the further development of a dance system, built on the creation of body, devoided of all concepts
of prior dance knowledge; and following his interest in the relationship between the movement and the language, the author in his new creation, emerging at the crossroad between dramatic and dance expression, wishes to wrap up his experiences and knowledge, obtained through his previous artistic projects. Therefor The Other At The Same Time is a specific working process (part of which took place while camping in countryside of south Istria), in which three Croatian dancers and two Canadian dancers are united with a larger group of permanent Ferlin’s collaborators. Decision of departing in this atypical working environment, was motivated by desire to create a small working community, that would be focused only on itself. Also, because the performance itself, it deals with the questions of community – re-questioning the conditions and qualities of social behavior of specific social groups. Those questions are delivered through physical and not textual aspect of the performance. The materials of the performance have been thus partly generated from the real situations that has happened during
the camping – the co-living of the individuals forming a group that works on a performance.
ishing to research the narrative potential of an abstract movement, devoided of any descriptive or gestural qualities and face it with a very concrete dramatic text as a conveyor of meaning, the idea of the project is to move the borders of the expected creation and perception of a theatrical event, through the creation of physical body expressions that text doesn’t support in a way, we are used to in the context of a classical dramatic theater.
The Double
Production: Zavod Federacija Ljubljana
Concept & dierction: Snježana Premuš
Performers: Tina Valentan / Katja Legin (alternacija)
Video & scenogaphy: Luka Umek
Sound design: Boštjan Perovšek
Light design: Luka Šimenc
Costumes: Barbara Kapelj Osredkar
Co-production: Zavod EN-KNAP
This project is continuation of a research in the field of body-picture-sound interaction and originates in the year 2000 when the series of performances named Amplified body (production Dance Theatre Ljubljana) started. The latest research entitled The Double has started in September 2011 in the Residency commissioned by Proekt Fabrika in Moscow and has further developed in Španski borci in Ljubljana.
The specific quality of this project is interactive dialogs that, as creation and communication method, enable intimate fusion of all media present. Although one performer is on the stage, this performance is in a fact quartette: motion-sound-picture-light.
are made of this / soiztega
Production: Plesni Teater Ljubljana
Concept: Dragana Afirević
Creators & performers: Dragana Alfirević, Ma’ayan Danoch, Esta Matković, Ivan
Mijačević
Sound: Ivan Mijačević
Visual identity: Dragana Alfirević
Co-production: Jardin d’Europe, Nomad Dance Academy, STATION service for
contemporary dance Belgrade
are made of this is a performance based on the research of the space between us and others, on exploring love as precondition of any relation with others, and our autonomy within these relations. The performance deals with the subjective understanding of the reality and actions that we take to change it, and the impossibility of objectiveness. What happens when our subjective understandings communicate?
- Leja Jurišić: Ballet Of Revolt; photo by David Lotric
Ballet of Revolt
Production: Pekinpah – Kink Kong
Concept: Leja Jurišić & Petra Veber
Choreography & performed by: Leja Jurišić
Space, light & costume design: Petra Veber
Costume design assistant: Amanda Kapić
Music: George Antheil’s Ballet Mécanique (1924): Reconstruction and composition:
Maurice Peress, Nimbus Records (1992)
Technical Director: Borut Cajnko
Sound Director: Luka Curk
Executive producer: Žiga Predan
Co-production: Tanzquartier Wien, Hellerau Europäisches Zentrum der Künste
Dresden, Dansens Hus Stockholm
Art has always been a response to the return or repressed unconscious elements at individual and social level. Every crisis should be a reminder to us of the importance of thinking about the future. A crisis almost always results from earlier failures to deal with an emerging problem or to anticipate a likely eventuality. In retrospect, we often recognize that the crisis in history was perfectly preventable, but we have to show it again and again and again!
The Very Delicious Piece
Production: Plesna izba Maribor in cooperation with CJ (Cristina P. Leitao, Jasmina
Križaj)
Concept & performers: Cristina Planas Leitão, Jasmina Križaj
Light design & music selection: Cristina Planas Leitão, Jasmina Krizaj
Dramaturgy consultants: Robert Steijn, Igor Dobričić
Singing instructor: Simon Wehrli
“Just standing, waiting, since always and till always (forever) being there. Sweaty, vibrating, lightheaded, stiff legged, an agitated and addicted body waiting for you. Finally I can declare myself to you. Finally I can surrender myself to you. Finally I can be pathetic. Finally I can be a drama queen. Finally I can be banal. But finally I can go beyond myself and take you with me. You are the impure and only essence of my ritual.”
The Very Delicious Piece is first and foremost a search for the long lost essentially, intensity and insistency. It is a limbo meeting between entertainment, a personal experience in two and how our own vibrant transformation reaches a still audience.
Shaking is the physical expression of love – a default state. Banality is common to all… The music is an external layer of memorable “rituals”. Two glowing bodies radiating 360º. Vibrating.
This is not a love story!
Awaiting Resonance
Production: Zavod Federacija Ljubljana
Concept & idea: Kaja Lorenci
Authors and performers: Kaja Lorenci in Ivan Mijačević
Sound design & costumography: Kaja Lorenci in Ivan Mijačević
Light design: Jernej Lorenci
Co-production: Plestni Teater Ljubljana
The dance performance Awaiting Resonance by the dancers Kaja and Ivan is about the dance and for the dance; about searching for dance, and for what makes it appear. It is a dance performance about the unborn dance.
The two dancers wait for the perfect moment, in which both bodies simultaneously enter into the dance zone. They try to create the perfect moment by waiting and listening, by echoing (in the other), by sounding (in the other). Kaja with her dance body and Ivan with his dance body continuously return into what is before dance. They search for what makes it appear, they try again, they hold, they repeat, they pause, and – curse: execration of dance is a word, a talk, a thought of the word and the meaning of the talk that abolishes the thought and the meaning of what is dance.
Transland
Production: Staragara
Choreography: Magdalena Reiter
Performers: Katja Legin, Magdalena Reiter
Dramaturgy: Andreja Kopač
Costumography: Alan Hranitelj
Music: The Stroj, Iannis Xenakis
“It’s not just about convention imposed by the surroundings but about the encounter between human beings in its entire randomness, immediacy, ferocity, how out of this accidental connections a Form is born – and often the most unexpected and absurd one. ” – Witold Gombrowicz
Transland are areas in which two bodies inhabit a variety of shapes. Despite being aware of the multifarious appearances they remain unadapted. Possibilities of authenticity open in this kind of process. All the same it is followed by an awareness of the convention, Form – a form of visibility for the Other.
It is about a relationship within the body and an attitude towards metamporhosis which life inflicts onto the body. Here is the body with a tic, an error which the performance is enhancing. It may initially seem that the impulse of cyclicality is just a disturbance, but no, this time the “error” goes until the end.
Untill the end.
Unauthorized
Producer: Federacija
Authors and performers: Federacija Collective
The project’s concept is based on the situations of everyday life observed through the exploration of the behavior patterns, communication and role reversal. A relevant aspect is bringing art to the broader community through a collective experience and consequently the authorship issue.
Unauthorized special feature is a collective experience achieved by the role reversal, for example: a passerby = a performer, a performer = a spectator, a photographer = a performer etc. Indeed, the layering of views or perspectives results in the establishment of distances that again and again comment an everyday event. Consequently this becomes an artwork generated from a collective experience. Thus we might say that we all create an unauthorized artwork.
ADDITIONAL PROGRAMME
OTTETTO (8 Swings for His Highness)
Production: EN-KNAP
Concept, choreography: Iztok Kovač
Created and performed by – EnKnapGroup:
Music: Igor Stravinsky, Octet, 1923
Conductor: Živa Ploj Peršuh
Musicans – Festine Ensemble:
Compositional Additions: Gregor Pompe
Visuals: Komposter
Light Design: Jaka Šimenc
Set Design: Jaka Šimenc, Komposter, Iztok Kovač
Costume Design: Valter Kobal
Costume Sower: Katarina Škaper
Musical Consultant: Gregor Pompe
Composition Allegro con moto: Komposter
Text Selection: Mirta Zajc, Iztok Kovač
Narration: Luke Thomas Dunne (Slovene and English), Faris Endris Rahoma
(German), Žiga Golob (Slovene), Marko Simšič (English), Nada Vodušek (Slovene)
Text for Evening Programme: Mojca Kumerdej, Gregor Pompe, Mirta Zajc
Technical Assistance: Luka Curk, Omar Ismail
Rehearsal Director: Tanja Skok
Public Relations: Marija Zidar
Design: nejaaka
Executive Producer: Karmen Keržar
The ’dance concert’ OTTETTO (8 Swings for His Highness) is built around Octet, a 16-minute musical delicacy by Igor Stravinsky from 1923, a purely structural composition void of any narrative meanings, which the composer himself called “dry, cold and transparent, like an ’extra dry’ champagne”.
OTTETTO by Iztok Kovač choreographically decomposes, analyses and then reconstructs and visualises this exceptional musical work.
Eden
Production: Pekinpah / Kink Kong, E.P.I. center
Concept, creation & performed by: Mala Kline
Space, light & costume design: Petra Veber
Music: Alen and Nenad Sinkauz (East Rodeo)
Sound: Sašo Kalan and Luka Ropret
Assistance and coaching: Lucija Barišić and Adriana Josipović
Advising: Andrea Božić
Costume design assistant: Amanda Kapić
Technical director: Luka Curk
Executive producer: Žiga Predan
Co-production: DasArts Amsterdam, Kino Šiška, Student Center Zagreb – Culture of
Change – Theater &TD, EN-KNAP / Španski borci
Partners: Narodni dom Maribor, SON:DA
EDEN juxtaposes two worlds that are simultaneously present in the meeting between a performer and an audience. The here and now of the theatrical meeting collides with the realm of images that hover in the spaces within, outside and in-between the bodies. Working with these images through a figure of a clown, EDEN collides opposites and stages paradoxes playfully and with a sense of humor. EDEN is not a blissful state of rest. EDEN is a place of healing with a razorblade.
Shame
Production: Emanat
Concept and choreography: Maja Delak
Creators & performers: Loup Abramovici, Ingrid Berger Myhre, Maja Delak, Katja
Kosi, Luka Prinčič, Maja Smrekar, Irena Tomažin
Video, sound and, programming: Luka Prinčič
Video and scenography: Maja Smrekar
Costumes by: Ajda Tomazin
Light design: Urška Vohar
Texts: Loup Abramovici, Ingrid Berger Myhre, Katja Kosi, Irena Tomažin
Quoted texts: Lev N. Tolstoj, Mady Schutzman, Leo Lionni, Michio Kushi
How to stage something as performative as shame? How to speak about that which eludes words?
How to be communicative without shaming?
Shame speaks through many languages. The bodies, the sounds, the music, images, and words speak out at the same time. What they want to tell lies in the overlaps and gaps between individual languages. They speak about the subjects on stage and the subjects in front of it in a way that like the subjects evades an unambiguous signification: with stillness, delays, interruptions, twists, hesitations, duplications, echoes. We are never entirely or only here, we are always also somewhere else – where we can for a moment believe that we are someone else or dream to be. Sometimes we even act as us. We witness our own objectification when the body, controlled by its own subjection to the gaze, has to respond with that which deprives it of its voice. (Tea Hvala)
[izvor informacije Gibanica 2013]
