predstava / performance: METAMORFOZE 1º LOV metamorphoses 1°: the hunt SREDA, 19.1. 2011, PROSTOR URBANE KULTURE KINO ŠIŠKA wednesday, 19.1. 2011, kino šiška centre for urban culture
koncept, režija, koreografija / conceived, directed and choreographed by: BARA KOLENC dramaturgija / dramaturgy: BOJANA KUNST nastopajoči / performers:: ANA HRIBAR, RADO JAUŠOVEC, MANCA KNEL HESS, VIKTOR MEGLIČ, SANDI PAVLIN, LANE STRANIČ, LEHEL ŠOLTIŠ
avtorska glasba / original music: SIROTE (MITJA CERKVENIK, MIHA COČEV, ANDREJ STUPAR) scenografija / set design: ATEJ TUTTA, ESTEVAN BRUNO, NEIL BARBISAN video / video: ATEJ TUTTA, ESTEVAN BRUNO kostumografija / costume design: MANCA KRNEL HESS svetlobna podoba / lighting design: DAVID OREŠIČ oblikovanje zvoka / sound design: JERNEJ ČERNALOGAR grafično oblikovanje / graphic design: ATEJ TUTTA, ESTEVAN BRUNO, SAŠA HESS fotografija / photos: ATEJ TUTTA, ESTEVAN BRUNO, SAŠA HESS
tekst / texts: BARA KOLENC prevod izsekov iz ovidijevih metamorfoz / translation of excerpts from ovid’s metamorphoses: BARBARA ŠEGA ČEH, KAJETAN GANTAR ostali prevodi / other translations: MAJA LOVRENOV
izvršna produkcija / executive producers: BARA KOLENC stiki z mediji / pr: MANCA KRNEL HESS, MOJCA ZUPANIČ
produkcija / production: KUD SAMOSVOJ koprodukcija / co-production: KUD POZITIV, DIJAŠKI DOM IVANA CANKARJA, CIRKUS, ZAVOD ZA POSREDNIŠTVO, ZALOŽNIŠTVO IN MARKETING V KULTURI, ZAVOD CENTER URBANE KULTURE KINO ŠIŠKA, AGENCIJA JOTA sodelovanje / cooperation: KUD HRAST, KUD KREA, ZAVOD ZA VARSTVO KULTURNE DEDIŠČINE SLOVENIJE, MINISTRSTVO ZA KULTURO RS, DRAMSKI ATELJE VESELA KORNJAČA, SCENA 34
Metamorfoze 1˚ - 5˚ Metamorphoses 1˚ - 5˚ Bara Kolenc je svoje nadaljnje ustvarjanje zasnovala kot kvinto – serijo petih predstav pod Bara Kolenc has conceived her further artistic creation as a quint – a series of five performances under skupnim imenom Metamorfoze 1˚ - 5˚, v katerih se loteva nekaterih pregibov človeškosti, ki the common title of Metamorphoses 1˚ - 5˚, in which she will examine some of the joints of humanity po njenem mnenju oblikujejo tkivo sodobne družbe in posameznika. Izhodiščni vidik avtorice that, in her opinion, form the tissue of contemporary society and the contemporary individual. The je, da se niti družbeni niti individualni konteksti ne vzpostavljajo na ravni splošnih in “objekauthor’s basic presupposition is that neither the social nor the individual contexts are established at the tivnih” racionalnih struktur ter poenotenih pomenskih kompozicij, temveč vznikajo v poljih level of the general and “objective” rational structures and unified compositions of meaning, but arise singularnosti, ki v gibanju postajanja in razlike vsak zakon soočijo z njegovo lastno transin the fields of singularities that in the movement of becoming and difference confront every law with gresijo, vsako idejo z nujnim ekscesom, ki je vnaprej vpisan vanjo, vsako zadovoljno zavestno its own transgression, every idea with the necessary excess that is a priori inscribed into it, every satisfied artikulacijo z razpoko nezavednega, ki povzroči zdrs ustoličenega pomena. conscious articulation with a gap in the unconscious causing the slip of the established meaning. V produkcijskem smislu gre za sedemletni projekt, ki zaobjema pet celovečernih predstav (v letih In view of production, it is a seven-year project encompassing five performances (2011-2016) and the 2011-2016) in sklepno postavitev/predstavitev projekta v letu 2017. concluding staging/presentation of the project in 2017. Gre za drzno zastavljen projekt z veliko in vrhunsko umetniško ter produkcijsko ekipo, z odličnimi It is a daringly conceived project with a large and first-rate artistic and production team, outstanding izvajalci, ki so se doslej v svojih performerskih deležih maksimalno izkazali, z zahtevno scenoperformers who have excelled in their performances so far, with a demanding set and a thought-through grafsko postavitvijo, s premišljenim avtorskim in dramaturškim pristopom. V celotni projekt je authorial and dramaturgical approach. The whole project includes more than 20 co-operators and each vključenih več kot dvajset sodelavcev, vsaka predstava pa je postavljena na srednje ali velike odre. performance is set on a medium-sized or large stage.
1/5
Metamorfoze 1: LOV Metamorphoses 1: THE HUNT
Predstava Metamorfoze 1°: Lov je prva v seriji petih predstav Metamorfoze 1°- 5°, ki želijo s Metamorphoses 1: The Hunt is the first in a series of five performances entitled Metamorphoses 1°- 5° pomočjo Ovidijevih Metamorfoz reflektirati nekatera temeljna vprašanja sodobnega človeka. that want to reflect on some of the fundamental questions of contemporary human beings with the help Metamorfoze, imenovane tudi »poganska Biblija«, so od svojega nastanka v Avgustovi dobi of Ovid’s Metamorphoses. Metamorphoses, also known as the “pagan Bible”, have inspired Western navdihovale zahodnoevropsko kulturo prav zaradi lucidnega prepletanja drobnih človeških European culture since the age of Augustus precisely because of the lucid intertwinement of the small osebnih lastnosti in velikih metafizičnih vprašanj, ki človeška dejanja vedno umeščajo v human personal traits and the big metaphysical questions that always place human actions in a broader širši etični in kozmološki kontekst, a obenem puščajo prosto pot partikularnosti človeškega ethical and cosmological context, but at the same time leave room for the particularity of human nature. značaja. Ovidijeve Metamorfoze v večletnem projektu Bare Kolenc služijo kot podlaga za upIn Bara Kolenc’s multiyear project, Ovid’s Metamorphoses serve as a basis for staging current political rizarjanje aktualnih političnih in etičnih tem, skozi katere je mogoče uzreti temeljna nasprotja and ethical topics, which enable an insight into the fundamental oppositions of contemporary Western sodobnega človeka, še posebej njegovega odnosa do narave, družbenih vezi in sočloveka. V human being, especially in his/her relation to nature, social bonds and fellow human being. Central središču predstav tako stojijo partikularne človeške strasti, ki zaradi sodobnega občutenja to the performance are particular human passions that, due to the contemporary feeling of political politične nemoči, razpada imaginarnih skupnosti, nemoči jezika in naraščajočih nasprotij powerlessness, the disintegration of imagined communities, the impotence of language and the growmed naravo in kulturo, prevzemajo univerzalen značaj in tako radikalno posegajo v načine ing oppositions between nature and culture, assume a universal character and thus radically intervene skupnega bivanja. Avtorico zanimajo predvsem ‘civilizirane’ politične in moralne strasti sodoin the modes of communal living. The author is interested above all in ‘civilised’ political and moral bne družbe preobilja, ki z upravljalskih odnosom do narave in družbenih vezi dobiva vedno passions of our contemporary society of overabundance that, with its management relation to nature bolj uničujoč značaj. Zato vsaka od načrtovanih predstav vstopi v širši sklop Ovidijevih Metaand social bonds, acquires an increasingly more destructive character. This is why each of the planned morfoz na podlagi aktualnega posamičnega političnega ali družbenega dogodka, ki ga avtorica performances enters a broader context of Ovid’s Metamorphoses on the basis of particular current poz značilnim vizualnim jezikom poveže z generalnimi občečloveškimi temami in globokimi litical or social events, connecting them to the universal topics of humanity and deep contradictions of protislovji sodobnega človeka. contemporary human beings.
Predstava Metamorfoze 1: Lov postavlja v središče lov, tako v strukturnem kot v vsebinskem Metamorphoses 1: The Hunt focuses on hunting, in the structural as well as the substantive sense, but smislu, širše pa zajema odnos človeka do narave, razmerje med kulturo in naturo. Lov je also captures the relation between human being and nature, culture and nature. The hunt is placed postavljen v kontekst sodobne civilizirane družbe, kjer obstaja kot zakonsko urejena praksa in the context of contemporary civilised society where it exists as a practice regulated by law within znotraj prav tako zakonsko zaščitene narave, kar pa ne pomeni, da ni več mesto silovitih legally protected nature. But this does not mean that it is no longer a locus of powerful phantasms and fantazem in želja. Baro Kolenc zanima lov kot čutno in materialno dejanje, ki govori o neladesires. Bara Kolenc is interested in hunting as an empirical and material act that speaks of an uneasy godnem in protislovnem prehajanju in urejanju meja med naravo in kulturo. Izhajajoč iz and contradictory transgression and regulation of the borders between nature and culture. Proceeding časopisne zgodbe o helikoptrski nesreči visokih političnih in humanitarnih dostojanstvenikov from a newspaper article on a helicopter accident involving high political and humanitarian dignitaries na ilegalnem lovu na zaščitene živali in zgodb iz Metamorfoz (Štiri dobe človeštva, zgodba o on an illegal hunt of protected animals and the stories from Metamorphoses (Ages of Man, Actaeon and Aktajonu in zgodba o Erisihtonu) želi predstava odpreti naš urejen, a še vedno fantazmatski the story about Erysichthon), the performance wants to examine our regulated, but still phantasmatic odnos do živali in narave, ki ga na družbeni ravni opazujemo skozi muzealizacijo narave na eni relation to animals and nature. At the social level, this is observed through the musealisation of nature, strani in barbarstvo sodobnih javnih in političnih strasti na drugi. Svetovi lovcev, politikov, on the one hand, and the barbarism of contemporary public and political passions, on the other. In this mitoloških figur, požrešnih in lačnih, divjih in reguliranih, se v tej predstavi stekajo eden v performance, the worlds of hunters, politicians and mythological figures – voracious and hungry, wild drugega skozi številne vizualne in avditivne metamorfoze. and unregulated – merge one into the other through numerous visual and auditive metamorphoses.
Umetniki Artists
O AVTORICI ABOUT THE AUTHOR Bara Kolenc (1978) je koreografinja in režiserka, ki se je v slovenskem prostoru uveljavila Bara Kolenc (1978) is a choreographer and theatre director, who has established herself in Slovenia z brezkompromisno zvestobo svojemu avtorskemu pristopu. Ta po eni strani vključuje glowith her uncompromising commitment to her authorial approach. On the one hand, this includes boko in večplastno teoretično in praktično poznavanje zgodovine in principov gledališča (ava deep and multilayered theoretical and practical knowledge of the history and the principles of torica na Oddelku za filozofijo na FF v Ljubljani pri profesorju Mladenu Dolarju pripravja theatre (she is working on her PhD thesis on contemporary theatre under the mentorship of dr. doktorat na temo sodobnega gledališča), po drugi strani pa iskreno zasledovanje notranjih Mladen Dolar at the Department of Philosophy, Faculty of Arts, University of Ljubljana), and vzgibov pri razvijanju lastnega gledališkega izraza. Svet Bare Kolenc ni enoplasten, je razson the other hand, an honest pursuit of inner impulses in developing her own theatre expression. lojen, večdimenzionalen, dinamičen, odprt, nezaključen, je vedno znova preizprašujoč se in Bara Kolenc’s world has more than one layer, it is stratified, multidimensional, dynamical, open, uničujoč lastne principe, ki se nočejo zakoličiti v vnaprej zastavljeno metodo. V svojem avtorincomplete, constantly questioning itself and destroying its principles that refuse to be fixed in an skem delu prestopa meje gledališča, saj jo zanima tako filmsko kot literarno ustvarjanje, teoa priori set method. In her work, she goes beyond the limits of theatre, for she is interested in film retsko delo, razvijanje večmedijskih projektov in odprtih projektov po principu moduliranja. as well as literary creation, theoretical work, the development of multimedia projects and open Avtorska poetika Bare Kolenc je prepoznana, opažena, teoretsko reflektirana, in sicer tako v projects according to the principle of modulation. Bara Kolenc’s authorial poetics is recognized, slovenskem prostoru kot na mednarodni ravni. Je ena od redkih ustvarjalcev mlade generacije noticed, theoretically reflected in Slovenia as well as abroad. She is one of the rare artists of the na področju sodobnega gledališča, ki razvija večje in produkcijsko zahtevnejše projekte. Je younger generation in the field of contemporary theatre who develops larger and productionally članica kolektiva Threshold. more demanding projects. She is a member of the Threshold collective.
O SOAVTORJIH ABOUT THE CO-AUTHORS Pri projektu Metamorfoze 1-5 sodeluje vrhunska umetniška ekipa soustvarjalcev in izvajalcev. Participating in the Metamorphoses 1-5 project is a first-rate artistic team of co-creators and perGre za dolgoročno in globoko umetniško sodelovanje, ki se bo razvijalo skozi vseh šest predformers. This will be a long-term and deep artistic cooperation, which will develop through all six stav do leta 2017. Jedro umetniške ekipe bo ostalo isto skozi celotni večletni projekt, medtem performances until 2017. The core of the artistic team will remain the same throughout the whole ko se bo performerska zasedba spreminjala glede na potrebe vsake od predstav. multiyear project, while the cast will change according to the requirements of each performance. Bojana Kunst (1969), ki pri projektu sodeluje kot dramaturginja, je doktorica filozofije, Bojana Kunst (1969), who works on the project as a dramaturge, has a PhD in Philosophy and mednarodno priznana gledališka teoretičarka in dramaturginja ter avtorica treh knjig. Je is an internationally acknowledged theatre theoretician and dramaturge. She has written three članica urednica Maske in revije Performance Research, voditeljica Maskinega Seminarja books. She is a member of the editorial board of Maska Journal and Performance Research joursodobnih scenskih umetnosti, voditeljica umetniških in dramaturških delavnic (Das Arts Amnal, leader of Maska’s Seminar of Contemporary Performing Arts and various artistic and dramasterdam, Tanzquartier Dunaj, Hebbel Teater Berlin idr.), in je trenutno kot gostujoča profeturgical workshops (Das Arts Amsterdam, Tanzquartier Vienna, Hebbel Teater Berlin, etc.). She sorica zaposlena na Univerzi v Hamburgu. currently works as a visiting professor at the University of Hamburg. Atej Tutta (1981) je likovni umetnik, ki je magistriral na priznani beneški akademiji AccaAtej Tutta (1981) works on the project as a visual artist (video, photography, set design, graphic demia di Belle Arti. Pri projektu sodeluje kot vizualni ustvarjalec (video, fotografija, scenodesign). Atej Tutta graduated in fine arts from the renowned Accademia di Belle Arti in Venice, grafija, grafično oblikovanje). Kot grafični oblikovalec, filmski in video ustvarjalec, fotograf where he also obtained his MA degree. As a graphic designer, filmmaker and video artist, phoin avtor vizualnih instalacij živi in dela med Benetkami, Novo Gorico in Ljubljano. Trenutno tographer and author of visual installations, he lives and works between Venice, Nova Gorica and je na Accademia di Belle Arti zaposlen kot asistent pri profesorju Gaetanu Mainentiju. Je član Ljubljana. He currently works at the Accademia di Belle Arti as assistant to Professor Gaetano kolektiva Threshold. Mainenti. He is a member of the Threshold collective. Estevan Bruno (1976) pri projektu sodeluje kot vizualni ustvarjalec (video, fotografija, sceEstevan Bruno (1976) works on the project as a visual artist (video, photography, set design, nografija, grafično oblikovanje). Je diplomant akademije Accademia di Belle Arti, fotograf in graphic design). He graduated from Accademia di Belle Arti. He is a photographer and video video ustvarjalec, prejemnik večih nagrad. Doslej se je predstavil na številnih samostojnih in artist, who has received several awards. His work has been presented at numerous independent kolektivnih razstavah v Italiji. Je član kolektiva Threshold. and group exhibitions in Italy. He is a member of the Threshold collective.
Neil Barbisan (1983) pri projektu sodeluje kot scenograf. Leta 2009 je diplomiral na akaNeil Barbisan (1983) works on the project as a set designer. In 2009, he graduated from the Acdemiji Accademia di Belle Arti v Benetkah. Je fotograf, video umetnik, ustvarjalec vizualnih cademia di Belle Arti in Venice. He is a photographer, video artist, author of visual installations instalacij in performansov ter član kolektiva Threshold. and performances and a member of the Threshold collective. David Orešič (1960) je eden najboljših oblikovalcev svetlobe pri nas. Gre za referenčnega in David Orešič (1960) is one of the best lighting designers in Slovenia. He is a referential and kvalitetnega avtorja s strokovno izobrazbo in prepoznanostjo v Sloveniji in tujini. Leta 2004 quality author with a professional education and renown in Slovenia and abroad. In 2004, he je diplomiral (Bachelor of Arts) iz oblikovanja svetlobe na Bavarski gledališki akademiji v graduated in Lighting Design from the Bavarian Theatre Academy in Munich, Germany. He is Münchnu (ZR Nemčija). Dejaven je na vseh področjih vizualizacij uprizoritvenega konteksta: active in all fields of visualisation in the following staging contexts: lighting, video, set design, svetloba, video, scenografija, tehnična produkcija, event, teater v teatru itd.. technical production, event, theatre in theatre, etc. Mitja Cerkvenik (1982), bo skupaj z zasedbo Sirote za projekt ustvaril avtorsko glasbo, ki Mitja Cerkvenik (1982) will compose original music for the project together with Sirote. The bo v predstavi Metamorfoze 1: Lov izvajana v živo. Je izjemno talentiran skladatelj mlade music will be performed live in Metamorphoses 1: The Hunt. He is an exceptionally talented generacije, ki ustvarja predvsem elektronsko glasbo. Trenutno zaključuje študij na Fakulteti za composer of the younger generation who makes especially electronic music. He is currently finračunalništvo na Univerzi v Ljubljani. ishing his studies at the Faculty of Computer and Information Science, University of Ljubljana. Jernej Černalogar še čakam!
V predstavi Metamorfoze 1: Lov nastopajo priznani igralci in plesalci. Metamorphoses 1: The Hunt features renowned actors and dancers. Sandi Pavlin (1942), upokojeni igralec Mladinskega gledališča v Ljubljani, ki je sodeloval Sandi Pavlin (1942), a famous retired actor who worked at the Mladinsko Theatre in Ljubljana z najvidnejšimi slovenskimi režiserji, pa tudi z enim najbolj priznanih evropskih režiserjev and cooperated with the most prominent Slovenian directors and also with one of the most acJanom Fabrom. claimed European directors Jan Fabre. Lane Stranič, baletna plesalka in nagrajenka Prešernovega sklada, ki je plesala v Staats-Oper Lane Stranič, ballet dancer and the recipient of the Prešeren Foundation Award, who danced at Hamburg, v Narodni Operi v Sofiji in je bila 21 let prvakinja ljubljanske Opere in baleta. the Staats-Oper Hamburg and the National Opera and Ballet in Sofia and was the prima ballerina at the Slovene National Theatre Opera and Ballet in Ljubljana for 21 years. Viktor Meglič (1982), igralec SNG Maribor, ki je sodeloval s številnimi slovenskimi režiserji Viktor Meglič (1982), actor at the Slovene National Theatre Maribor. in koreografi,
Manca Krnel Hess (1983), baletna in sodobna plesalka, ki je plesala v ljubljanski Operi in Manca Krnel Hess (1983), ballet and contemporary dance dancer who danced at the Slovene Nabaletu in v londonski Royal Opera House ter sodelovala s številnimi slovenskimi koreografi tional Theatre Opera and Ballet in Ljubljana and the Royal Opera House in London. She worked in režiserji, with numerous Slovenian choreographers and directors. Lehel Šoltiš (1981), diplomant novosadske Akademije za gledališče in film, priznani srbski Lehel Šoltiš (1981), an acknowledged Serbian and Hungarian actor, who graduated from the in madžarski igralec, Academy of Theatre and Film in Novi Sad. Ana Hribar, diplomantka dveh akademij – AGRFT v Ljubljani in plesne akademije SEAD v Ana Hribar, who graduated from the Academy of Theatre, Radio, Film and Television in LjuSalzburgu, trenutno zaposlena v gledališču GOML v Ljubljani in bljana and the Salzburg Experimental Academy of Dance and currently works at GOML Theatre for Children and Youth in Ljubljana. Rado Jaušovec (1983), plesalec in koreograf, fotograf in video ustvarjalec, član kolektiva Rado Jaušovec, (1983) a dancer and choreographer, photographer and video artist and a member Threshold. of the Threshold collective.
Viktor MegliÄ?
Ana Hribar
Sandi Pavlin
Lehel Šoltiš
Rado Jaušovec
Manca Krnel Hess
http://www.bandelli.si/gradbenistvo_marcegaglia_cevni_odri.php CEVNI ODER - CEVI IN SPOJKE Varjena cev Ø 48 mm.
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