01 02 03 04 05
de facto
suradnici / collaborators
projekti / projects
de facto does eu
iz kritika / from the media
MI SMO
de facto je umjetnička organizacija koju su 2008. osnovali zagrebački plesni i kazališni umjetnici: Barbara Matijević i Saša Božić. Osim djelovanja kao platforma za razvoj radova B. Matijević i S. Božića, de facto potiče suradnju i koprodukciju radova međunarodnih umjetnika koji dijele slične interese na području izvedbenih umjetnosti, djelujući na tankoj granici između kazališta, plesa i performansa, preispitujući poroznost njihovih okvira i konstituciju izvođača unutar disparatnih modusa izvođačkih režima.
WE ARE
de facto is an arts organisation established in 2008. by Zagreb (Croatia) based dance and theatre artists: Barbara Matijević i Saša Božić. Apart from being a platform for the development of their respective works, de facto has engaged in collaborating and co-producing the works of international artists who share similar interests in the field of performing arts – working on a thin line between theatre, dance and performance, examining the porosity of their frames, and the position of the performer within the disparate modes of performing regimes.
• • •
1er Strategeme, Pariz Art radionica Lazareti, Dubrovnik / Art workshop Lazareti, Dubrovnik Barutana, Osijek / Barutana, Osijek Bitef Teatar, Beograd / Bitef Theatre, Belgrade Campo, Gent / Campo, Gent Collectif Loge 22, Lyon Danscentrumjette, Bruxelles EkS-scena, Zagreb / EkS-scene, Zagreb Eurokaz, Zagreb / Eurokaz, Zagreb Festival plesa i neverbalnog kazališta, Savičenta / Dance and Nonverbal Theater festival, Savicenta Francuski institut, Zagreb / French institute, Zagreb Galerija Klovićevi dvori, Zagreb / Gallery Klovicevi dvori, Zagreb Gradsko kazalište Trešnja, Zagreb / Municipal theatre Trešnja, Zagreb Hebbel am Ufer, Berlin Kaaitheater, Bruxelles / Kaaitheater, Bruxelles Les laboratoires d’aubervilliers, Paris
•
Aleksandra Janeva Imfeld
•
Damir Šimunović
•
Ana Mrak
•
Giuseppe Chico
•
Anja Suša
•
Isabelle Schad
•
Bruno Pocheron
•
Julien Monty
•
Dalija Aćin
•
Ksenija Zec
•
Damir Klemenić
•
Leja Jurisić
fotografija / photos by:
•
Sonja Žugić
•
•
Wolfgang Kolb
• • • • • • • • • • • •
sura- c dni b o ci •
Damir Žižić
• • • • • • • • • • •
MONOPLAY – Festival sola, Zadar / MONOPLAY - Zadar Dance Solo Festival, Zadar Muzej suvremene umjetnosti, Zagreb / Museum of Contemporary Art, Zagreb PACT Zollverein, Essen Pekinpah Kink Kong, Ljubljana STANICA, Belgrade/ Dance Station, Belgrade Studio za suvremeni ples, Zagreb / STUDIO - contemporary dance company, Zagreb Kultura promjene - Teatar &TD, Zagreb / Culture of change &TD Theatre, Zagreb Theaterhaus Gessneralle, Zurich Tjedan suvremenog plesa, Zagreb / Contemporary Dance Week, Zagreb WAM! festival, Faenza Zagrebačko kazalište mladih, Zagreb / Zagreb Youth Theatre, Zagreb Zagrebački Plesni Centar , Zagreb / Zagreb Dance Center , Zagreb
colla borators •
•
Maja Mirković
•
Mirela Videk
•
Marie Goudot
•
Petra Hrašćanec
•
Marko Jastrevski
•
Silvio Vovk
•
Matej Kejžar
•
Simone Aughterloney
•
Michael Pomero
•
Slaven Tolj
•
Milan Marković
•
Zdravka Ivandija
•
Giuseppe Chico
•
Olivier Heinry
•
Julien Correc
•
Danko Stjepanović
pro p jek ti t / /
I AM 1984 GARBAGE TRACK EPIC - 2009 Pre TIJELO / BODY - 2 2010 010 For FANTOM 201
SVJETLA / AT ONC PHANTOM 2012 OF THE MAJA I JA MAJA / MA LLIGHT IGHT - AND ME A 2011 2 011 MAJA - 201
pro jec ts /
SWEET - 2008 DREAM KS - 2009ARE MA
edviđanja / recasting O PRIJATELJSTVU 11 / ON FRIENDSHIP
2010 BOYS CE DON’T 2
CRY I 2012 AJA AND LOVE WILL TEAR 12 US APART - 2011 NOSFERATU - 2011
I AM 1984 o & Barbara
ppe Chic uthors: Giuse
Autori / A
Performer: vođačica /
Iz
tijević
Barbara Ma
ratagème cto & 1er st
ion : de fa ija / Product
Produkc
duction : ija / Co-pro
Koprodukc
Premijera /
a
greb, Croati
ZeKaeM, Za
, Croatia
eM, Zagreb
008, ZeKa re: march 2
Premié
Matijević
2008 I AM 1984 koristi kazališno postavljeno predavanje (istraživanje postojećih odnosa između predavača i publike) kako bi se uspostavila kompleksna razmjena informacija. Verbalni tok informacija omogućen je grafičkim/slikovnim informacijama koje vrlo brzo počinju funkcionirati kao zamršeni sklop označitelja za aktivaciju različitih kognitivnih procesa u umovima gledatelja, podražujući njihovo znanje iz povijesti, popularne kulture, umjetnosti, znanosti, video-igara, filma, itd. S vremenom, ovaj tok postaje vježba procesiranja informacija. .
I AM 1984 uses a theatrical set up of a lecture (exploring the ready-made relationship between the lecturer and the audience) to establish a complex exchange of information. The verbal flow of information is apparently facilitated by the graphic/pictorial ones, which soon starts to function as an intricate set of signifiers that activate different cognitive processes in the mind of the spectators, reaching out into their knowledge of history, popular culture, art, science, video games, film, etc., eventually becoming an exercise in information processing.
TRACKS Autori
ć
ara Matijevi
hico & Barb
iuseppe C / Authors: G
er: Barbara
/ Perform Izvođačica
Matijević
ožić
tion: Saša B
tic collabora
ja / Artis ička suradn
Umjetn
el Coursin
o and Manu
Zvuk /
ppe Chic Sound: Giuse
Šimunović
tant: Damir
und assis nt zvuka / So
Asiste
o
e & De Fact
r Stratagèm
uction: 1e kcija / Prod
Produ
u
a / Co-prod
Koprodukcij
op Lazareti
rt Worksh z Festival, A
b, Euroka
ry Art Zagre
Contempora help of the
seum of
russels, Mu
heater / B ction: Kaait
Cit
ure
istry of Cult
roatian Min
and the C y of Zagreb
2009
TRACKS, drugi dio trilogije: Teorija performansa budućnosti ili Jedini način spasa od masakra jest taj da mu postanemo autori?, temelji se na dramaturgiji rezonanci i specificnih frekvencija, kako bi mogla pristupiti neuobicajenim prostorima, povijesnim, mentalnim i imaginarnim konstrukcijama.
with the
e
TRACKS, second part of a trilogy called: About the theory of a performance to come or the only way to avoid the massacre is to become its authors?, is based on a dramaturgy of resonances and specific frequencies, in order to give access to particular spaces, to historical, mental and imaginary architectures..
SWEET DREAMS ARE MAD Koreografija
ny),
rlin, Germa
e Schad (Be
hy: Isabell / Coreograp
rland),
ürich, Switze
rloney (Z one Aughte
Sim
ija
Dramaturg
rformed by:
Izvode / Pe
Rubio,
artinez, Lola
rantxa M Nic Lloyd, A
na Wright
odianka, Fio
, Thomas W belle Schad
Isa
Produkcija
, Croatia)
žić (Zagreb
y: Saša Bo / Dramaturg
/
ad
Isabelle Sch
ughterlony,
: Simone A Production
ubrovnik,
p Lazareti (D
rt worksho roduction: A
a / Co-p
Koprodukcij
entrale
ds), Dampfz
Nederlan mpo (Gent,
Croatia), Ca
rland),
(Bern, Switze
uctiehuis énève, Prod
G
Rotterdam
rland), HAU
ürich, Switze
nerallee (Z terhaus Gess rein (Essen,
CT Zollve ermany), PA
(Berlin, G
se
(Rotterdam
), Thea
Schouwburg
2009
e
e-Festival d
tia), La Bâti
greb, Croa de facto (Za
Germany)
S DE U ovom radu, nastalom kao plod suradnje Simone Aughterlany i Isabelle Schad, autorice predlažu konceptualizaciju kazališta istovremeno kao mjesta snivanja ali i dijela sna samog. U njihovom konstantno evoluirajućem postavu, tijelo posjeduje sposobnost mijenjanja statusa. Registar tijela koje sudjeluje u izvedbi mijenja se od svakodnevnog i poznatog do stranog ili privlačnog tijela, od kazališnog tijela do crtanog lika, od refleksivnog tijela do odsutnog.
In this collaborative work Simone Aughterlony and Isabelle Schad propose the theatre as being at once the space of dreaming and part of the dream itself. In their everevolving setting the body is capable of shifting status. The register of the performing body shifts from the quotidian and familiar to defamiliar or becoming body, from the theatrical body to the cartoon figure, the reflective body to the absent.
GARBAG EPIC Autori
ša Božić / Authors: Sa rformed by:
Izvode / Pe
and Marko
ki, Bosiljka rko Jastrevs
Ma
unović
d: Damir Šim
Zvuk / Soun
o and &TD ion: de fact
uct
a / Co-prod
Koprodukcij Croatia) of
Jastrevski
ry
Contempora
Eurokaz Art Zagreb,
Lazare
lture
inistry of Cu
Croatian M
2009
greb,
Theatre (Za
Festival, Art e
greb and th
e City of Za
elp of th ti with the h
žuran
Vujović Ma
Workshop
GE
Projekt Garbage epic započeo je kao istraživanje Marka Jastrevskog u sklopu projekta Nomad Dance Academy. Garbage epic zamišljen je kao umirujuća, polagana komedija zavođenja koja je u isto vrijeme prožeta melankolijom. Rad istražuje dva tipa kretanja: jedno koje počiva na reprezentaciji figurativne i skulpturalne geste i drugo temeljeno na ideji komičnog tijela. The project Garbage epic has been started as a research of Marko Jastrevski in the frame of Nomad Dance Academy. Garbage epic is framed as a smooth and slow comedy of seduction which is at the same time pervaded with melancholy. The performance is exploring two types of movement: one which relies on the representation of figurative and sculptural gestures and another which is based on the idea of comical body.
TIJELO / BODY nija Zec
graphy: Kse
/ Choreo Koreografija ija Dramaturg
ć
y: Saša Boži
/ Dramaturg
ormed b
Igraju / Perf
k(SSP),
SP), Ana Mra
šćanec (S y: Petra Hra n Šivak
enić, Draže
Damir Klem
usic: Damir
Glazba / M
Šimunović vka Ivandija
stumes: Zdra
Kostimi / Co
ik
dravko Stoln
ht design: Z
Svjetlo / Lig
2010 Tijelom o tijelu je plesno edukativni projekt za djecu najmlađeg uzrasta, koji počiva na upoznavanju djece sa idejom i osjetilima tijela. S obzirom da najmlađa djeca ne posjeduju jasnu ideju o vlastitoj tjelesnosti, percepciji i dosezima tijela, rađa se prostor za kreativno istraživanje tijela kao objekta i prostora imaginacije, sa svim njegovim osobinama: koža, mišići, organi, osjetila.
Tijelom o tijelu (The Body about the Body) is a danceeducational project for small children, which relies on the concept of introducing children to the idea and senses of the human body. Considering that small children do not possess a clear image about their own corporality, perception and physical capabilities, it was logical to establish a space for the creative research of the body as an object and venue of imagination, with all its traits: skin, muscles, organs, senses.
O PRIJAT / ON FRIE ć
or: Saša Boži
Autor / Auth
U suradnji s
izvođačima
Jastre
nija Zec
borator: Kse
ent colla okret / Movm
p
es: Zdravka
stum Kostimi / Co
tla / Light kovanje svje
Obli
usic: Damir
Glazba / M
Ivandija n
no Pochero
design: Bru
Šimunović
2010
TD
o i Teatar &
ion: de fact
Coproduct rodukcija /
Kop
vk
ek, Silvio Vo
c, Mirela Vid
rašćane vski, Petra H
Suradnik za
rs: Marko
h performe
ration wit / In collabo
TELJSTVU ENDSHIP
Projekt je kazališni esej na temu enigme prijateljstva, koji raspravlja odnos kazališnog i filmskog medija. Kao početna točka istraživanja služi tretman filmskih autora naspram zadane teme: istospolnog prijateljstva. Bergmanov film Persona minimalistička je studija misterije ženskog prijateljstva, dok Federico Felini u svojoj maestralnoj obnovi antičkog Rima u Satyricon, pristupa muško-muškom prijateljstvu u namjerno fragmentiranim slikama eksplozivnog semanticiteta. Rad nastavlja istraživanje i kreaciju hibridnih formi, koje idu izvan granica kazališnih ili plesnih predstava. Redateljski postupak ukazuje na razliku gledateljeve percepcije u kazalištu i na filmu, baveći se fokusom i onim što se vidi (prikazuje), nadaje gledateljevom pogledu, baveći se pitanjima transpozicije medijski posredovanih realnosti, narativnih paradigmi i strategija generiranih u okolišima različitih umjetničkih izraza: kazališta i filma. The project is a theatrical essay on the Enigma of friendship, which at the same time discusses the relationship between theatre and film media. As a starting point of the research serves the way film directors treated the given topic: the same-sex friendship. Bergman’s film Persona is a minimalist study of the mysteries of female friendship, while Federico Fellini in his majestic revival of the Ancient Rome in Satyricon approaches male-male friendship in deliberately fragmented images of explosive semantics. The work continues the exploration and creation of hybrid forms that go beyond boundaries of theatre or dance performances. The director’s approach indicates the difference between viewer’s perception in theatre and on film, dealing with the focus and with what is seen (shown), adds to viewer’s perception dealing with questions of transposition of media-mediated realities, narrative paradigms and strategies generated in environments of various artistic expressions: theatre and film.
PREDVIĐ FORECAS Autori
maturgy turgije / Dra
ma
Asistent dra
vić
rbara Matije
Chico et Ba
iuseppe / Authors: G
ša Božić
assistant: Sa
ra Matijević
d by: Barba
orme Izvodi / Perf Produ
O (Milan)
ssels); UOV
heatre (Bru ction: Kaait
a / Coprodu
Koprodukcij
cto
e and De fa
r Stratagèm
uction: 1e kcija / Prod
2011 Forecasting (Predviđanja) za svoju početnu točku uzima onaj nedefinirani period koji slijedi nakon sadašnjosti – budućnost. Pritom uvažava da je jedno od najistaknutijih obilježja potrošačkog društva, društva medija, „društva spektakla“, kapitalizma na izdisaju – kako god da se trenutačno naziva – gubitak osjećaja za Povijest. No, kao što je povijest u vječnoj opasnosti da je se osvoji – isto vrijedi i za budućnost.
ĐANJA / STING Forecasting takes as its starting point that indefinite time period after the present - the future. And acknowledges that one of the most prominent features of the consumerist society, the media society, the « Society of the Spectacle », the late capitalism – whatever might be its name at the moment – is its loss of the sense of History. But just as the past is never safe from conquerors, - the same holds true for the future.
FANTOM SVJETLA PHANTO OF THE L munović
n i Damir Ši
o Pochero uthors: Brun
Autori / A
Produkcija
/ Produced
by: de facto
: SC-Kultura stproduced
ija / Po
Postprodukc
by: Fr
Ministry of
H / French uzetništva R
od
tva, rada i p
o gospodars
Ministarstv
istry
Culture; Min
2011
y, Labour of Economo
;
tvo kulture
b; Ministars
itut, Zagre ancuski inst
/ Supported
Uz potopru
eatar &TD
promjene-T
greb;
Institute Za eurship
& Entrepren
M / OM LIGHT
Smještena u foayer Teatra &TD instalacija kao referenca na predstavu ‘Nosferatu’ Saše Božića, prikazuje dva filma Nosferatu u verzijama vrlo niske rezolucije slike i kvalitete zvuka. Izbor čine poznati naslovi ‘Nosferatu - Eine Symphony des Grauens’ (Murnau, 1922), ‘Nosferatu Phantom der Nacht’ (Herzog, 1979). Filmovi (8×6 pixela) će biti projicirani na zidu sačinjenom od 48 plastičnih kutija marke ‘Ikea’, stražnje osvijetljenom svjetlosnom kompozicijom kojoj je pridružen prostorni soundtrack niske zvučne kvalitete. This installation displays in the foyer of ITD a very low resolution and low fidelity version of the 3 Nosferatu movies used as reference for Sasa Bozic’s performance ‘Nosferatu’, namely: Nosferatu - Eine Symphony des Grauens (Murnau 1922), Nosferatu - Phantom der Nacht (Herzog, 1979) and Shadow of the Vampyre (Merhige, 2000). A wall of 48 Ikea plastic boxes backlit by a matrix of light, associated to a spatialised low.fi soundtrack, will be used to display the movies in a 8 pixels x 6 pixels resolution.
NOSFERA ć
or: Saša Boži
Autor / Auth
U suradnji s
/ In co
izvođačima
strevski
ić, Marko Ja
en Damir Klem Ob
unović
: Damir Šim
nd design zvuka / Sou
y: Zdravka
enograph umes and sc
ena / Cost
Kostimi i sc
Asistentica
ron
runo Poche
ht design: B
jetla / Lig likovanje sv
Oblikovanje
anec,
rašć ers: Petra H
ith perform operation w
fkinje
kostimogra
f costume / Assistant o
Ivandija na Paulić
designer: A
rtolin r: Štefica Ba
/ Produce roducentica
P
Produkcija
oje
: Dario & Hrv
ajn / Design
Grafički diz
/ Product
2011
TD
e i Teatar &
lab collectiv
o, dance_ ion: de fact
ATU
Projekt “Nosferatu” razvija seriju plesnih i kazališnih eseja, diptiha na temu konstitucije izvođača i korištenja njegovog tijela kao oruđa razumijevanja izvedbe, za svoje polazište uzimajući roman Umjetnica tijela, Dona Delilla, te ciklus filmova o Nosferatu. “Nosferatu” nastavlja istraživanje i kreaciju hibridnih formi, koje idu izvan granica kazališnih ili plesnih predstava. Dok “Umjetnica tijela” u fokus stavlja virtuoznost u kojem opsesivno bavljenje tjelesnošću postaje umjetničkim činom, “Nosferatu” postavlja zaborav tijela, njegov eksces u točku lomljenja društvenih i kazališnih konvencija.
Radi se o dva formalno disparatna rada:
“Umjetnica tijela” po svom žanru je novomedijski kazališni-esej za plesačicu i glumca temeljen na adaptaciji istoimenog romana DonDeLila, suvremenog američkog romanopisca, kritičara dvoznačnosti američke društvene i medijske svakodnevice. Rasprava određenih problema koje povlači roman: težina istinske komunikacije između ljudskih bića i esencijalno egocentrična priroda umjetnosti prenešena je u pitanje tijela, vlasništva nad tijelom alii tijelo kao umjetnički čin ili izlagački objekt, kroz tehnike koje istovremeno obgrljuju, subvertiraju, ismijavaju, prizivaju pažnju I zabavljaju se realnim I zastrašujućim silama koje formiraju naše iskustvo svakodnevnoga. Nosferatu je solo za plesača, posveta filmovima Wernera Herzoga i njegovom junaku Klausu Kinskom. prenoseći fragmente Herzogova filma na izvođevo tijelo u ideji tjelesnih kopija i ready madeova.
The project “Nosferatu” develops a series of dance and theatrical essays/ diptychs focusing on performers constitution and the use of his body as a tool of understanding the performance itself. Inspired by literary work Body artist by Don Delilo and film classics about Nosferatu. “Nosferatu” continues to explore and to create new hybrid forms crossing theatre and dance performance boundaries.“Body artist” focuses on virtuosity in which the obsessive engagement of the physical becomes artistic act, “Nosferatu” establishes the forgetfulness of the body , its excess, in the point of breaking the social and theatrical conventions.
We are dealing with two disparate works:
“Body artist” in its genre is a new media theatre essay for a female dancer and an actor, based on the adaptation of a novel by Don DeLillo, contemporary American novelist, one of the central figures of American literary postmodernism, the ambiguity of American social critics and media everyday. This is a discussion about certain problems that are present in the literary work: the burden of true communication between human beings and the essentially egocentric nature of art is transferred to the question of the body, ownerships over the body, but also the view of someone else’s body as an artistic act, or exhibition object with the help of techniques that at the same time embrace, subvert, laugh, recall attention and have fun with the real and frightening forces which form our experience of everyday life. “Nosferatu” is a solo for a male actor dedication to Werner Herzog’s , and his hero Klaus Kinski, films and it transfers the fragments of Herzog’s movie on to performers body in the idea of physical and acting copies and ready mades.
Projekt je dijelom realiziran na umjetniÄ?koj rezidenciji u Art Radionici Lazareti, Dubrovnik, uz podrĹĄku Platforme mladih koreografa, Zagreb te Ministarstva kulture RH i Gradskog ureda za kulturu, obrazovanje i sport grada Zagreba.
The project was partly developed on a residency in Art Workshop Lazareti Dubrovnik and by the support of Young choreographers platform, Zagreb, Ministry of Culture and Zagreb City office for culture, education and sports.
LOVE WI TEAR US APART oncept: Saša
Koncept / C
Božić
Koreografija
phy: Saša / Choreogra
ec
tra Hrašćan
rmed by: Pe
erfo Izvedba / P e
Izbor glazb
ction: Saša / Music sele
ca / Producenti Fotografije
lin
efica Barto
Producer: Št
deo: Danko
y: de facto
Produced b
/ Uz potporu
H
a kulture R
Ministarstv
y/ Suported b
Ministry of
2011
culture
c
a Hrašćane
Božić i Petr
oto and vi i video / Ph
/ Produkcija
c
a Hrašćane
Božić i Petr
Stjepanović
ILL
Love will tear us apart, prvi dio trilogije o odnosu suvremenog plesa i specifičnog žanra pop-glazbe, solo je kreiran za izvođačicu Petru Hrašćanec. Sam rad žanrovski vrluda između rock-koncerta, ispovjedne forme i apstraktnog plesa. Pitanje vlasništva nad izvedbom isprva stavljeno u apstraktni plesni okvir bavljenja tijelom i politikom pogleda, ekstremno se proširuje u širi umjetnički i socijalni okvir. Ljubav iz naslova prenešena je u ljubav spram plesa,čina plesa samog, dok rad raspravlja razliku između plesa i njegove realizacije kao društvenog događanja kroz konstituciju pojma izvođačice same. Izvođačica Petra Hrašćanec izvodi plesne numere, odabrane ljubavne pjesme, dok u pauzama saznajemo naoko efemerne detalje o nastanku same produkcije, raspličući suptilnu mrežu odnosa moći koja definira čin izvedbe. Gledatelj je pozvan da aktivno preuzme odgovornost u lancu hijerarhije izvođačkog čina. e and true love is a
trophy
Love will tear us apart, first part of a trilogy dedicated to realtionship between contemporary dance and a specifical genre of pop music, is a solo created for performer Petra Hrašćanec. The work itself fuses several genres and is somewhere between a rock concert, confession and abstract dance. The question of ownership over the performance at first was positioned within an abstract dance frame dealing only with the body and the politics of observation, extremely expanding into a broader arts and social context. Love in the title relates to love for dance, the act of dance itself, while the work debates the difference between dance and its realization as a social event through the constitution and definition of the performer herself. Performer Petra Hrašćanec executes dance numbers, chosen love songs, while in the intermission we are to learn about seemingly ephemeral details about the origins of this production, weaving a fine net of relationships between powers which define the act of performance. The audience is invited to actively take on the responsibility about the sequences in the hierarchy of the act of performing.
I still owe money to the money to the money I owe I never thought about love when I thought about home :: But love, love will tear us apart again. Love, love will tear us apart again. :: Thought there was love in everything and everyone You’re so naive! :: I don’t understand How love in silence becomes reprimand :: All these poses oh how can you blame me Life is a game and true love is a trophy
BOYS DON’T CR oncept: Saša
Koncept / C
Koreografija
/
Božić
ša Božić
rašćanec i Sa
hy: Petra H Choreograp
erf
Izvedba / P
o Jastrevski
anec, Mark
etra Hrašć ormance: P
va Imfeld)
andra Jane
Aleks (Ana Mrak /
n: de facto
usic selectio
e/M Izbor glazb da Tonska obra ca / Producenti Produkcija
vić
mir Šimuno
/ Sound: Da
lin
efica Barto
Producer: Št
n: de facto
/ Productio
2012
RY
Predstava Boys don’t cry drugi je dio trilogije posvećene odnosu plesa i specifičnog žanra pop glazbe. Predstava „Boys don’t cry“ nastavak je istraživanja iz 2011. godine koje je rezultiralo predstavom „Love will tear us apart“, solom za plesačicu Petru Hrašćanec.“ Love will tear us apart“ stavlja pitanje vlasništva nad izvedbom isprva u apstraktni plesni okvir bavljenja tijelom i politikom pogleda, a potom i u širi umjetnički i socijalni okvir. Odabrane glazbene numere rezultiraju izvedbenim iskazima koji u sebi tretiraju riječ ljubav, kao ljubav prema činu izvedbe u svoj njegovoj mnogostrukosti. „Boys don’t cry“ sužava svoj glazbeni okvir, istražuje se naslijeđe ženskih kantautorica iz razdoblja 60-ih godina prošlog stoljeća (Joan Baez, Marianne Faithfull, Judy Collins…) te s njima povezana pitanja ženskog identiteta na sceni i skrivenih političkih poruka koje takva glazba, i ples na nju, posjeduje. Ženski identitet u predstavi razložen je na glas i pogled, a vlasništvo nad njim raspravlja se kroz fikcionalnu biografiju plesačice Petre Hrašćanec, koja je na sceni uprizorena u formi dueta. Procedura prati plesnu proceduru projekta „Love will tear us apart“: plesači izvode plesne numere, odabrane pop pjesme, dok u pauzama saznajemo naoko efemerne detalje o nastanku same produkcije, raspličući suptilnu mrežu odnosa moći koja definira čin izvedbe. No ovaj puta situacija se multiplicira, jer plesači imaju različite odgovore na zadane zadatke, dok sama dramaturgija predstave dovodi u pitanje unisonost na sceni, kreaciju plesnog identiteta i vlastitite plesne i osobne umjetničke povijesti. Gledatelj je neprestano primoran birati između dvaju ponuđenih plesnih modela i pozvan je aktivno preuzeti odgovornost u lancu hijerarhije izvođačkog čina. Predstava “Boys don’t cry” razvijana je unutar međunarodnog projekta SPIDER i jedan njezin dio prikazan je u okviru predstave At Once . Završni rad na predstavi “Boys don’t cry” realiziran je kroz radnu platformu ekscene, a u suradnji s Pučkim otvorenim učilištem Zagreb
Projekt su podržali: Ministarstvo kulture Republike Hrvatske te Grad Zagreb - Gradski ured za obrazovanje kulturu i šport Zahvaljujemo: Aleksandri Janevi Imfeld, Ani Mrak, Zdravki Ivandiji, SSP-u
The performance Boys don’t cry is the second part of a trilogy dedicated to the relationship between dance and a specific genre of pop music. “Boys don’t cry” continues the research from 2011 which resulted with “Love Will Tear Us Apart”, a solo for dancer Petra Hrašćanec. “Love will tear us apart” dealt with questions of ownership over the performance; first in an abstract dance frame dealing with the body, and then in a broader artistic and social framework. The selected love songs resulted with performance statements that attempted to interpret the word ‘love’, as love for the performance in all its multiplicity. “Boys don’t cry” narrows its musical scope. It explores the legacy of female singer-songwriters from the period of the 60s of last century (Joan Baez, Marianne Faithfull, Judy Collins...) and the related issues of female identity on the scene and the political messages that this music, and the dances danced to it, possess. The female identity in the work is explained through the voice and the gaze, while the ownership of this identity is discussed through the fictional biography of the dancer Petra Hrašćanec, brought to life in the form of a duet. The process follows the dance procedure of the project “Love will tear us apart”: the dancers perform dance numbers and selected pop songs, while during the breaks between performances we get acquainted with the seemingly ephemeral details about the creation of the production itself, thus unweaving the subtle fabric of the relationships of power that define the act of performance. But this time, the situation multiplies because the dancers respond differently to the given tasks, while the dramaturgy of the play itself questions harmony on the scene, the creation of a dance identity, as well as one’s own dance and personal artistic histories. The viewer is constantly forced to choose between the two offered dance models, and may actively take responsibility within the hierarchical chain of the act of performance. “Boys don’t cry” was developed within the SPIDER International Project and partially performed within the performance At Once. Final work on the performance “Boys don’t cry” was conducted through the work platform of ekscena, in cooperation with the Pučko otvoreno učilište, Zagreb.
This project is supported by the Republic of Croatia Ministry of Culture and the City of Zagreb – City Office for Education, Culture and Sport. Special thanks: Aleksandra Janeva Imfeld, Ana Mrak, Zdravka Ivandija, SSP
MAJA I JA / MAJA A nja Suša
ected by: A
Režija / Dir
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Dra
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y: Saša Boži
Dramaturg
ec
y: Ksenija Z
horeograph
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ave Tekst predst
n Marković
/ Text: Mila
Petrov
phy: Zorana
Schenogra enografija /
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ja Mirković
grapher: Ma
/ Costimo stimografija
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stimografa
Asistent ko
ostuški
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usi Muzika / M
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Izvode / Pe
ožić i Anja
sign: Saša B
/ Light de izajn svetla
D
Suša
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kić, Neven by: Maša Da
Kecojević vić, Damjan
Miloš Isailo
a Grahovac
sstant: Teon
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2012
cković
i Strahinja La
Jelena Ilić,
A I MAJA AND ME
Maja i ja i Maja projekt je koji raspravlja/razlaže krizu intimističke svijesti i njenog ideološkog ukalupljivanja. Na tragu svima poznatih slikovnica o Maji, autori uspostavljaju moduse traganja za intimizmom sjećanja, njihovom poroznošću i potrebom da se intimne priče povežu u sisteme kazališnog dijeljenja trenutka i definiranja zajednice. Projekt je temeljen na romanu cijenjenog srpskog autora Sretena Ugričića, kao I na seriji knjiga za djecu belgijskih autora Marcela Marliera I Gilberta Delahayea. Maja and me and Maja is a project that discusses/ elaborates on the crisis of intimistic awareness and its ideological embedding. Utilizing picture books about Maja, which are known to all, the authors establish ways of searching for the intimacy of remembrance, their flexibility and the need to mold intimate stories into theatrical systems of sharing moments and defining communities. The project is based on the novel by esteemed Serbian author Sreten Ugričić, as well as on the series of children’s books by Belgian authors Marcel Marlier and Gilbert Delahaye.
AT ONCE reografi
n Monty,
mero, Saša Michael Po
Koncept & ko Jurišić, Julie
Janeva
Aleksandra
tic advisor:
etnik / Artis
tnički savj rak / Umje feld/Ana M
Janeva Im
ot / Zvučna
Marie Goud
tervjui
dra
ec, Aleksan
tra Hrašćan
n Monty
allaron
on: Pierre T
c instalati lacija / Musi
insta
ali / Visuals
opač / Vizu
Andreja K / Interviews:
r /Tehn
ong (SI)
pah / Kinkk
tion: Pekin ct coordina
Proje projekta /
Kordinacija
: Pekinpah
Production
e facto
e 22 (FR), d
llectif Log ong (SI), Co
/ Kinkk
)/
ectacle (GR
as Dance Sp
(HR), Kinitir
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s (B), M
ni ples (HR)
za suvreme
2012
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ulture (SI), St
an city of C
- Europe aribor 2012
Production
ge
), Red Oran
trumjette (B
: Danscen production
Koprodukcij
:
Borut Cajnko
al director:
/ Tehnic ičko vodstvo
Petra Vebe
i
Leja
atej Kejžar,
rmed by: M
de / Perfo Imfeld /Izvo
Jurišić, Julie
Hrašćanec
Božić, Petra
omero, Pe , Michael P
& Fabrik/ In
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tej Kejžar, Le
graphy: Ma
t & choreo ja / Concep
Projekt Spider (dio programa Kultura 2007-2013) povezuje ljude iz različitih disciplina i zemalja u polju umjetničkog promišljanja izvan ustaljenih granica. At Once je kolektivni rad koreografa,dramaturga, likovnih umjetnika, pisaca i glazbenika unutar Spidera, suočen s različitim aspektima izvedbe. On secira, okuplja, izolira i sastavlja elemente kao što su tijelo, prisutnost, zvuk, tekst, svjetlost i vizualno okruženje. Odjednom – at once, sve u istom prostoru. Spider propitkuje formu predstavljanja, propitkuje što je ples danas, kako restaurirati autorov istraživački proces i kako stvarati u kolektivu Spider (part of Culture 2007-2013 programme) connects people from various disciplines and countries in an ongoing field of artistic reflection beyond borders. At once is a collective creation of choreographers, dramaturges, visual artists, authors and musicians from Spider project, challenging the different aspects of performance. It dissects, assembles, isolates and composes elements as the body, presence, sound, text, light and visual environment. All at once, all in the same space. Spider questions the presentation format, what is dance today, how to restore the research process of the author and how to create as a collective.
SPIDER ( 2012) SP PAND (20 REMEMB MAJA (20 DER (201 SPIDER E
(2010PIDER EX012-2014 BERING 012) SPI SPI10-2012) EXPAND
SPIDER opska r u E a l a 탑 r d o Projekt je p Kultura m a r g o r p , komisija 2007-2013. ported by p u s is t c e j The pro sion, the is m m o C n a the Europe 2013. 7 0 0 2 e m gram Culture Pro
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Međunarodni umjetnički projekt Spider plod je suradnje četiriju umjetničkih organizacija KINITRAS (Atena, Grčka), COLLECTIVE ROOM 22 (Lyon, Francuska), KINK PEKINPAH (Ljubljana, Slovenija) i de facta (Hrvatska), koje su se povezale kako bi stvorile novi model stvaranja i produciranja suvremene umjetnosti. Projekt Spider nastao je kao ideja kao ideja troje plesača i koreografa: Mateja Kejžara (Slovenija), Michaela Pomera (Francuska) i Antigone Gyra (Grčka). Projekt nastao je iz skice bavljenja rubnim konceptima i principima:
„Kako je danas moguće napraviti međunarodnu interdisciplinarnu strukturu iz ničega?“
The Spider international art project is the result of a cooperation between four art organizations – KINITRAS (Athens, Greece), COLLECTIVE ROOM 22 (Lyon, France), KINK PEKINPAH (Ljubljana Slovenia) and de facto (Croatia) – which joined forces to create a new model of developing and producing contemporary art. The Spider project was initiated as an idea by three dancers and choreographers: Matej Kejžar (Slovenia), Michale Pomer (France) and Antigone Gyra (Greece). The project stems from a drafted method of confronting borderline concepts and principles:
“How can one today create an international interdisciplinary structure out of nothing?”
SPIDER EXPAND Okuplja ! D N A P X E ER Projekt SPID k Kong/ in K : a r e n t r pa 6 europskih ), Collectif a n a j l b u j L ( Pekinpah Zagreb), ( o t c a f e d , on) Loge 22 (Ly els), s s u r B ( e t t e mJ DansCentru l Centre a r u t l u C e c an DAN.C.CE/D ) koji in l r e B ( s a r G or (Atena), Lab roducirati p i i it r o v t s ki će zajednič u SPIDER n a v z a n u platform Artistic t n a r e in t I n EXPAND!: A n. Manifestatio
4 1 0 2 2 1 20
Projekt okuplja izvedbene i plesne umjetnike iz cijele Europe koji su predani modelima istraživanja i razvoja performativne ekspresije i koji žele nadići trenutne produkcijske i festivalske formate te istražuju nove formate za proizvodnju i prezentaciju izvođačkih umjetnosti. Namjera SPIDER-a je dublje rezonirati u umjetničkom, socijalnom, političkom i ekonomskom životu zajednice koju naseljava. Projekt SPIDER EXPAND! teži mobilizirati plesače, kulturne radnike, performere. Kroz plesne rezidencije, izvedbena okupljanja internacionalnih umjetnika, debate i susrete u Ateni , Berlinu, Bruxellesu, Ljubljani, Lyonu i Zagrebu, projekt traži načine umrežavanja s lokalnom i internacionalnom zajednicom kroz njegovanje umjetničke kreacije, razmjene znanja i iskustava, radionice, izvedbe, prezentacije work in progress i intenzivnu kolaboraciju.
Projekt je podržala Europska komisija, program Kultura 2007-2013. The SPIDER EXPAND! project comprises 6 European partners: Kink Kong/Pekinpah (Ljubljana), Colectiff Loge 22 (Lyon), de facto (Zagreb), DansCentrumJette (Brussels), DAN.C.CE/Dance Cultural Centre (Athens), LaborGras (Berlin) which will jointly develop and produce a platform under the name SPIDER EXPAND!: An Itinerant Artistic Manifestation.
The project includes performance and dance artists from all over Europe dedicated to research models and the development of performative expression. The aim of the project is to surpass current production and festival formats, and discover new formats for producing and presenting performance arts. The aim of the SPIDER project is to resonate to a deeper extent in the artistic, social, political and economic life of the community it inhabits. SPIDER EXPAND! works to mobilize dancers, workers in culture, performers. Through dance residences, performative happenings that include international artists, debates and meetings in Athens, Berlin, Bruxelles, Ljubljana, Lyon and Zagreb, the project constantly seeks methods of networking with the local and international community through nurturing artistic creation, exchanging knowledge and experiences, workshops, performances, workin-progress presentations and intensive collaboration.
The project is supported by the European Commission, the Culture Programme 2007-2013.
REMEMB MAJA uropean E a l r p u d o Projekt je p okviru u n io t a d n u Cultural Fo centive n I n a k l a B programa Found.
y the b d e t r o p p u is s The project tion a d n u o F l a r ultu European C centive n I n a k l a B within the amme. Fund Progr
2012
BERING Sjećanje na Maju regionalni je interdisciplinarni projekt koji za cilj ima uspostavljanje i preispitivanje obrazaca prekinutih kulturoloških veza kroz razlaganje krize intimističke svijesti na tragu slikovnica o Maji, uz koju su odrastale brojne generacije, kao i na tragu romana S. Ugričića „Maja i ja i Maja“. Projekt će istraživati post-jugoslavensko naslijeđe i mogućnost kontinuiteta osobne memorije unatoč diskontinuitetu socijalnog i političkog zaleđa. Problematizirat ćemo topose vlastitih sjećanja u okviru kolektivne memorije i trauma tzv. “devedesetih”. Projekt je nastao kao koprodukcija kazališne kompanije de facto iz Zagreba, Bitef Teatra iz Beograda, umjetničke organizacije Kliker iz Beograda, Art Radionice Lazareti iz Dubrovnika te Teatra ITD iz Zagreba. Remembering Maja is a regional interdisciplinary project which aims to establish and reexamine patterns of broken cultural bonds through the elaboration of the crisis of intimistic awareness involving picture books about Maja, which entertained generations and generations of children, as well as Sreten Ugričić’s novel Maja i ja i Maja (Maja and Me and Maja). The project explores post-Yugoslav heritage and the possibility of establishing continuity for one’s own personal memory despite the discontinuity of his/her social and political surroundings. It studies the checkpoints of our own memories within the collective memory and traumas of the so-called “nineties”. The project was created as a coproduction of the de facto theater company from Zagreb, the Bitef Teatar from Belgrade, the Kliker Art Organization from Belgrade, the Lazareti Art Workshop from Dubrovnik and the ITD Theater from Zagreb.
iz kritika from the ME
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EDIA
LOVE WILL TEAR US APART
Njezina izvedba iznimno preciznih skokova, ali i odmaranja na zvučniku ili popravljanja vlastite bluze (Hrašćanec je odjevena u crne muške hlače i sivu košulju, naglašavajući svjesni odmak od „ženstvenosti“ bosih nogu i raspuštene duge kose, kakva perzistira u plesnom teatru u rasponu od Isadore Duncan do Pine Bausch) pristaje nam pokazati procesnost svog plesnog razmišljanja, sva ona „nečista“ mjesta plesačke koncentracija u kojima se autorica pokreta dvoumi u kojem smjeru krenuti. Ta otvorenost, ali i diskretna virtuoznost njezina djela sama je po sebi pohvala „razmišljanju“ naglas te unikatnosti stvaralačkog postupka.
Nataša Govedić (Novi list)
Her performance of extremely precise jumps, but also of resting on the speaker or adjusting her own shirt (Hrašćanec was dressed in black men’s pants and a gray shirt, emphasizing conscious departure from the “feminine” barefoot and disbanded long hair, as it persists in the dance theater in the range of Isadore Duncan and Pina Bausch) agrees to show us the process of her dance way of thinking , all those “dirty” places of dancer’s concentration in which the author of movement hesitate in which direction to go. This openness, but also a discrete virtuosity of her work is by itself a praise of “thinking” out loud and uniqueness of the creative process.
Nataša Govedić (Novi list, Croatian daily
BOYS DON’T CRY Odnos pop glazbe i plesa Saša Božić započeo je suradnjom s Petrom Hrašćanec u solu Love Will Tear Us Apart. Drugi dio – Boys Don’t Cry u kome se Petri Hrašćanec pridružuje Marko Jastrevski, izveden je na 29. TSP-u. U Boys Don’t Cry, tema pop glazbe sužena je na kantautorice iz 1960-ih, tako se koreografija veže na pjesme ikona tog nasljeđa poput Joan Baez, Marianne Faithfull ili Judy Collins. Taj fokus objašnjen je istraživanjem ženskog glasa odnosno ženskog identiteta na sceni, koji autori „razlažu na pogled i glas“. U prvom je dijelu Petra Hrašćanec pojavom i izvedbom odlično uspostavila potpuno emancipirani ženski identitet; njezina je scenska figura neposrednog šarma i komunikativnosti, kao i urbane, atletski riskantne tjelesnosti 21. stoljeća. Njezin se lik istovremeno poigrava s idejom post-punka, post-feminizama, post-virtuoznosti, a izvedba koju donosi približava se osobnoj ispovijedi i nosi elemente anegdotalnog storytellinga, emocionalnosti i izravnog kontakta s publikom. U drugom dijelu, pak, od te se samodefinirane ženske figure odmiče, koreografijom i tekstualnim dijelovima dovodeći u pitanje sve ono što je uspostavila u prvom dijelu.
U Love Will Tear Us Apart Petra Hrašćanec odjevena je u hlače i košulju, a u drugom dijelu u prepoznatljivu malu crnu haljinu. Marko Jastrevski nosi stereotipnu mušku uniformu - sivu košulju, hlače i zlatni sat na ruci. Očekivani odmak je, osim u crvenim tenisicama, u njihovim fizikalitetima jer dok je njezina tjelesnost moćna i energična, on je krhkiji, nesigurniji, duhovniji. Inverzija je očita. U slijedećih tridesetak minuta, neki se govorni materijali iz prvog dijela ponavljaju doslovno, kao primjerice uvodni govor u kome izvođačica predstavlja i objašnjava kontekst nastanka rada. No, u Boys Don’t Cry ponavlja se simultanim govorom obaju izvođača, postupak kojeg je Saša Božić koristio u diptihu Nosferatu. U koreografskom dijelu, na razne se načine tematizira pitanje objektivizacije ženskog tijela i izvedbe. Tako vidimo jedan song koreografiran kao slijed stereotipnih muško ženskih poza, koji djeluju kao da su preslikane s modnih fotografija. Oboje ih izvode potpuno odsutno, netremice gledajući u publiku, kao u kameru. Drugi song svojevrsni je ples pogleda u kome plesačica pleše trepćući, a on stoji potpuno blizu gledajući u daljinu. Svoju izvedbu plesačica završava solom u kome je pogled usmjeren prema unutra ili visoko prema gore, koreografski je zakrivljenog, introvertnog pokreta, sa snažnim izbacivanjem glave. Jastrevski, utjelovljujući tipični male-gaze promatra je sa strane, nepomično, s rukama prekriženima na prsima. Neočekivani zaokret, završni je solo Jastrevskog koji se ostvaruje dvostrukim izmještanjem izvođačkog materijala – tekst koji govori kao završni govor slušamo i u originalu na engleskom kao uvod u slijedeći song, na koji on doslovno ponavlja završni solo Petre Hrašćanec iz prvog dijela. Začudnost ovog sola proizvedena je prijenosom sa ženskog na muško tijelo, kao i aktivacijom razlike korporiteta dvaju izvođača. Doslovan, gotovo naivan, tehnički nesavršen, a opet vrlo precizan pristup Jastrevskog zanimljiv je komentar na, u svakom pogledu suverenu, Petru Hrašćanec. Tu su i potpuno različiti emocionalni, odnosno izvođački naboji, kao i neizgovoren podtekst odnosa s glazbom i tekstom na koju plešu. Kako će se to razvlašćivanje izvođačice od svoje izvedbe i svog autentičnog identiteta razriješiti, i što će s tim preuzetim suviškom učiniti muški akter, vidjet ćemo, vjerojatno, u najavljenom završnom dijelu trilogije.
Iva Nerina Sibila, PLESNA SCENA.hr
Saša Božić initiated the relationship between pop music and dance by cooperating with Petra Hrašćanec in the solo Love Will Tear Us Apart. The second part – Boys Don’t Cry – in which Petra Hrašćanec is joined by Marko Jastrevski, was performed at the 29th Dance Week Festival. In Boys Don’t Cry, the pop music was narrowed down to 1960s female composers, which resulted in a choreography that relied on songs by icons such as Joan Baez, Marianne Faithfull or Judy Collins. Behind the focus on 1960s music is an exploration of the female voice, that is, the female identity on the scene, which authors “divide into look and voice”. In the first part, Petra Hrašćanec used her appearance and performance to efficiently establish a fully emancipated female identity; her scene figure possesses an immediate charm and outgoingness, as well as an urban, athletically risky corporality typical for the 21st century. Her character simultaneously flirts with the idea of post-punk, post-feminism, post-virtuosity, while the resulting performance closely resembles a personal confession and brings about elements of anecdotal storytelling, emotionality and direct contact with the audience. In the second part, she steps away from this self-defined female figure and utilizes choreography and textual segments to question everything that has been established in the first part. In Love Will Tear Us Apart, Petra Hrašćanec is dressed in pants and a shirt, while in the second part she wears the notorious little black dress. Marko Jastrevski is dressed in a stereotypical male uniform – gray shirt, pants and gold wristwatch. The expected departure, apart from the red sneakers, lies in their physicalities; while her corporality is powerful and energetic, his is more fragile, insecure, and spiritual. The inversion is more than apparent. In the following thirty minutes, some of the spoken lines from the first part are repeated verbatim, as, for example, the introductory speech in which the female performer presents and elaborates on the context of the work’s creation. However, in Boys Don’t Cry, lines are repeated through simultaneous speech by both performers – a procedure already used by Saša Božić in the diptych Nosferatu.
The choreography chooses various methods to deal with the important issues such as the female body and performance as objects. Thus, we see a song choreographed as a sequence of stereotypical male and female poses appearing as if they are copied from fashion photos. Both performers seem to be absentminded while performing the poses, every now and then looking at the audience and the camera. The second song is a kind of ‘eye-dance’ where the female dancer dances with her eye lashes while the male dancer looks somewhere in the distance although he is very close to her. The female dancer ends her number with a solo where her look is directed both inside and high above; choreographically, her body is curved with introverted movements and her head swiftly jerks to the back. Jastrevski, embodying a typical male-gaze, observes her from the side and his arms are crossed on his chest. There is a sudden twist at the end when Jastrevski performs his solo with a double displacement of the performing material; we hear the text he uses as his final speech in its original form in English as an introduction to the next song during which he literally repeats Petra Hraščanec’s ending solo from the first part. The wonder of this solo performance results from the transfer from the female to the male body and the activation of the two different corporalities of the performers. Jastrevski’s literarily naïve and technically imperfect yet very precise interpretation makes a very interesting comment on Petra Hraščanec who is contemporary in every sense. The two performers have entirely different emotional and performing electricity as well as unpronounced sub-context with the relationship with the music and text they dance. How will this disintegration between the performer and her performance and her authentic identity finally end and what will the male performer do with that surplus is yet to be seen, most probably in the final part of the trilogy.
Iva Nerina Sibila, PLESNA SCENA.hr
NOSFERA Postavljen u formi mekih granica kao „niz plesnih i kazališnih eseja“, Nosferatu Saše Božića komunikativna je i dinamična predstava. Solo Jastrevskog u svojoj jakoj teatralnosti začudan je, a istovremeno zabavan i duhovit. Proces kojim su se bavili, prijenos iz filma na scenu, pak otvara daljnje pitanje – što je Nosferatu (ili tijelo zla, ili zaborav tijela) bez izravne posvete Klausu Kinskom? Odnosno, baveći se ready-madeom kao tehnikom, dominantna tema ovog eseja postaje upravo ready-made u svoj svojoj umjetničkoj i političkoj višeslojnosti tako da Nosferatu i drama koju donosi ostaje u drugom planu. Drugi dio, kompliciraniji u početnoj tezi, u konačnici je razigraniji, podložniji daljnjem komentaru ili razvoju. Saša Božić na vrlo otvoren način radi na onome što ga trenutačno zanima, postavlja čvrst okvir tog istraživanja i ne odustaje od dometa koji taj okvir nameće. U tome uspijeva zaokružiti u cjelinu dva potpuno nespojiva rada uglavnom vještom upotrebom prostora i dinamike akcije. I na kraju, što je zaista zanimljivo, kao plesno-kazališni esej Nosferatu upravo svojim odustajanjem od zaključaka uspijeva djelovati kao platforma za daljnje istraživanje.
Iva Nerina Sibila, PLESNA SCENA.hr
ATU Set in the form of flexible boundaries as a “series of dance and theater essays”, Saša Božić’s Nosferatu is a communicative and dynamic play. The powerful theatricality of Marko Jastrevski’s solo is surprising, but also entertaining and humorous. The process at hand – the transfer from film to the scene – raises another question: what is Nosferatu (or the body of evil, or the forgetfulness of the body) without a direct dedication to Klaus Kinski? In other words, through working with ready-made as a technique, the dominant subject of this essay becomes precisely ready-made in its artistic and political layering, resulting in the placement of Nosferatu and the drama it brings in the background. The second part, more complex in its initial thesis, is ultimately more playful and subject to further commentary or development. Saša Božić works on what interests him at the moment in a very overt manner; he sets a firm framework for his explorations and never gives up on the reaches of that framework. He successfully manages to incorporate two completely different works into one unit mainly through the skilful use of space and dynamics of action. And finally, what is truly intriguing, as a dance-theater essay, it is precisely through its abandonment of conclusions that Nosferatu succeeds in functioning as a platform for further research.
Iva Nerina Sibila, PLESNA SCENA.hr
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