Hrv En
Marjana KrajaÄ?
WORK EVERY DAY http://sodaberg.hr/?p=153
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Hrv WORK EVERY DAY* vas u nekoliko kadrova vodi kroz intrige rada tijela. Dokumentarizam plesnog rada proizvodi kao višak slojeve fikcije koji su uvijek na pragu uspostavljanja naracije. Prièa izostaje, ali ostaju sjeæanja na film kojeg niste gledali. WORK EVERY DAY za ishodište preuzima nekoliko kadrova filma nepoznata naslova i autora pronaðena pri renovaciji jednog arhitektonskog biroa u Londonu prije nekoliko godina. Traka je bila poprilièno ošteæena, no restauracijom se uspjelo saèuvati 13 minuta filma. Iz dva eksterijerna kadra zakljuèeno je da je film sniman poèetkom osamdesetih u Londonu. Jedan od ta dva kadra kao i jedan interijerni kadar privilegiran su resurs u raspravama u filmskim krugovima o rekonstrukciji narativa i autorske poetike redatelja ili redateljice. WORK EVERY DAY
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Prvi kadar u trajanju od nepune tri minute prati zbivanja na jednom londonskom križanju. Promet vozila je vrlo rijedak i na poèetku se èini da kamera nemotivirano bilježi kretanje ljudi. Ipak, uskoro postane jasnije da dvoje prolaznika ima naglašeniji status od ostalih. Muškarac i žena se pojave u kadru svatko po dva puta. Njihovo pojavljivanje obilježeno je anticipacijom mjesta na kojem æe se pojaviti. Kamera koja se cijelo vrijeme lagano kreæe zaustavi se i nekoliko sekunda “èeka” da osoba uðe u kadar. Nakon što izaðe kamera još nekoliko sekundi miruje te zatim nastavlja s polaganim kretanjem. Postupno križanje postaje prazno, a prolaznici sve rjeði. Nakon što se potpuno ispraznilo, kamera se zaustavi i petnaest sekundi se fokusira na semafor koji ne radi. Drugi kadar u trajanju od dvije minute prati veèeru èetvero ljudi za stolom. Kadar je statièan – dvoje ljudi se vidi s leða, jednoj ženi vidi se lice, a èetvrtoj se osobi u nekoliko navrata vidi ruka dok poseže za hranom. Razgovor je u potpunosti vezan uz hranu, osim reèenice na samom kraju koju izgovara žena kojoj se vidi lice: “Danas sam dvaput izbjegla sukob. Jednom je bio blizu, a drugi put ne toliko.” WORK EVERY DAY sredstvima plesnog rada pokušava rekonstruirati režime pažnje iz nesaèuvanih dijelova filma.
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En WORK EVERY DAY* leads you, in several frames, through the intrigues of the working bodies. The documentary mode of work produces a surplus, that is, layers of fiction which are always on the edge of narration. The story is missing, but the memories of a movie you haven’t watched remain. WORK EVERY DAY takes as its point of departure a number of shots from a film of unknown title and author which was found by chance during the renovation of an architecture studio in London a few years ago.* The film was seriously damaged, but restauration succeeded in preserving 13 minutes of material. From two exterior shots it was concluded that the film was shot in London in the early eighties. One of those two exteriors and another interior shot provide the privileged resource for discussions centred around attempts to reconstruct the narrative structure as well as the unknown author’s poetics. 10 WORK EVERY DAY
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The first shot, lasting a little under three minutes, documents the activities of a London crossroad. The density of vehicle traffic is very low and in the beginning it seems as if the camera is randomly documenting the movement of pedestrians. Yet, quickly it becomes clearer that two passers-by have a more pronounced status than the others. A man and a woman each appear twice. Their appearance is marked by anticipatory focus on the place of their appearance. The camera, otherwise constantly in slow movement, stops and “waits” a few seconds for the person to enter the shot. After the person leaves the shot, the camera holds still for another few seconds before resuming its slow movement. Gradually, passers-by become rarer and the crossroad emptier. When it is completely empty, the camera stops again and focuses on a disfunct traffic light for 15 seconds. The second shot, two minutes long, involves a table at which four people are having dinner. The shot is static. Two people are turned with their backs towards the camera, a woman’s face can be observed, while the fourth person’s hand and arm enter the shot several times to reach for food. The conversation evolves entirely around food, except for a sentence at the very end, spoken by the woman whose face is visible: “Today I avoided conflict twice. One time it was close, the other one less so.” WORK EVERY DAY attempts to reconstruct the attention regimes of the missing parts of the film by means of dance-work.
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• Zahvaljujemo na nizu stvari / Many thanks to: Jasni Žmak, Petri Zanki, Marku Boldinu, D. B. Indošu, Ivi Korenèiæ, Corinni Friese i Andrei Hagedorn, Ludgeru Orloku, Hani Jušiæ, Mati Kapoviæu, Vladi Buliæu, Nikolini Marmiliæ, Johanni Timm, EkS-sceni te Berlinskoj medijateci za ples i kazalište. Realizirano uz podršku Gradskog ureda za kulturu Grada Zagreba i Ministarstva kulture RH. Project is funded by City Office for Culture Zagreb and Ministry of Culture of Republic Croatia. • Koreografija i koncept / Choreography and concept: Marjana Krajaè • Izvode / Peformed and created by: Amelia Uzategui Bonilla, Bettina Bölkow, Elisa Fernández Arteta, Chloé Serres • Dramaturgija / Dramaturgy: Wiebke Hensle i Marko Kostaniæ • Fotografije / Photos: Sergio-Falconi Parker, Iva Korenèiæ • Oblikovanje prostora / Stage design: Gordan Karabogdan • Oblikovanje svjetla / Light design: Bojan Gagiæ • Asistent na projektu / Assistant: Leonardo Krakiæ • Prijevod / Translation: Stipe Æurkoviæ • Produkcija / Production: Sodaberg
Realizirano uz podršku Hrvatskog instituta za pokret i ples, Zagrebaèkog plesnog centra i Tanzfabrik Berlin. Realizirano u sklopu projekta EL 2010: TRANSFER. Hosted and supported by Croatian Institute for Movement and Dance, Zagreb Dance Center and Tanzfabrik Berlin. Realized within the project EL 2010: TRANSFER.
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www.sodaberg.hr
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