Groundfloor Group/Ferenc Sinkó
Post.Sync
“(…) A man (Szabolcs Balla) without a precise identity (demagogue,
salesman, clerk, motivational speaker, politician?) spends his free time
in front of the TV, as any other modern human. Sliding away from the
diegetic sound, he establishes his own sound reality, entering the
character of a Japanese silent movie narrator. The result is a funny
combination of TV pop culture, communicated very well by the great vocal
resourcefulness of Szabolcs Balla, also an actor in the Hungarian
Theatre in Cluj.
His counterpoint is a TV chameleon character, or pixel-man, played by
Agota Székely – the archetype of a figure absorbed by the TV screen,
with an identity lost in the turmoil of the images, a person without
content, incapable of expressing herself, taken over by the clichés
pouring from the screen. And here lies the permanent challenge to
reflection, despite the apparently dominant entertaining component of
this show. (…)” – Horatiu Damian/ovidiublag.ro
Imagine a world
in which there is no sound. A world in which objects and devices lose
their sounds and the familiar noises of vehicles and electrical
appliances around us are gone. Imagine nothingness. Silence. And a human
voice. This voice defines a schizoid space where fantasy merges with
reality, where animation and feature films, sounds of radio emerge from
subconscious to surprise, challenge and awaken us to grim reality: what
we see or hear - whether it is present, past or future, real or screened
– becomes a part of our personality. There is no silence. No human
voice. No escape.
FERENC SINKÓ graduated at the Theatre and Television Department of
Babes-Bolyai University in 2002 and he has been an actor of the
Hungarian State Theatre of Cluj since graduation. He has taught at the
same department since 2002. In the theatre he has played parts in plays
by Chekhov, Shakespeare, Buchner, Ibsen, Euripides etc., and has worked
with famous Romanian and international theatre directors: Andrei Şerban,
Silviu Purcărete, Gabor Tompa, Mihai Măniuţiu, David Zinder. He has
also worked as a choreographer of theatre plays as well as contemporary
dance performances produced by the GroundFloor Group: Message (2009), sunSET (2007) and Samples
(produced by AltArt Foundation: 2008 in Cluj, 2010 in Istanbul and
Sofia). He has attended dance workshops with Ray Chung, Martin Koegh,
Andrew Harwood, Scott Wells, David Zambrano, Jess Curtis, Kurt Koegel,
Alicia Grayson, Thomas Kampe, Chris Aiken, Nita Little, Ko Murobushi,
and acting workshops with David Zinder, Tadeus Bradeczki and Yoshi Oida.
He is a former danceWEBer, taking part in the program in 2004 under the
coaching of Mark Tompkins. He is the co-founder and president of the
GroundFloor Group Association.
choreographer: Ferenc Sinkó • dancers:
Szabolcs Balla, Agota Székely • design: András Szabó • video:
Tihamér Török • sound design: Szabolcs Balla • assistant director:
Noémi Vajna • production: Groundfloor Group • Szabolcs Balla's suit
was offered by Steilmann • aknowledgement: Corso Café & Bistro,
Smaranda Almăşan
Performance presented with the financial support of the The National Dance Centre Bucharest
photo: István Biró
www.groundfloor.ro
Prosxima Dance Company/Maria Coliopoulou
[Action] 8 - Singularity
“(…)We lean forward – we the audience – physically forward, for the
fervent rotation of the dancers creates gravity. We take control of
ourselves, we straighten up, we lean forward again and thus the
performance exercises its influence on us right to the end; (...) you
follow the performance with curiosity, with excitement, with a sensual
and all encompassing esthetic satisfaction(…)” – Nina Vangeli/Dance Zone
Magazine, May 10
The title of
this solo is inspired by the theory of general relativity, where
singularity arises during the creation of a black hole. At the centre of
a black hole lies the singularity, where matter is crushed to infinite
density, the pull of gravity is infinitely strong, and spacetime has
infinite curvature. Here it's no longer meaningful to speak of space and
time, much less spacetime. Jumbled up at the singularity, space and
time cease to exist as we know them.
Praxis [actions] is a series of cutting-edge, movement-based
performances which are always in the process of self-generation.
Inspired by the indeterminacy of the unconscious, the works are
depictions of living forms whose specificity is articulated in a poetic
idiom of movement. The title was prompted by the need to act, where,
according to H. Arendt “to act, in its most general sense, means to take
initiative, to begin, to set something in motion”.
[Praxis] actions do not comprise a spectacle, but choreographic events which are unique every time and always in progress.
MARIA KOLIOPOULOU studied with a scholarship at the Laban Centre for
Movement and Dance in London, graduating in Dance Theatre with honours
in 1995. She has been a founding member, co-artistic director,
choreographer and performer of Prosxima Dance Company since 1996.
During the New Europe Festival 2008 in Prague she has received the Jarmila Jeřábková choreography Award for her two solo works: Action 3 & Action 1.3. She also received the Audience Award at the 4th Duo Dance International Festival 2005 for Walzing Apart; the Choreography & Performance Award at the Napolidanza “Il coreografo Eletronico” Festival 2005 for Three Times; and the Honorary Award at the Strange Screen Festival 2005 for her dance video Motorbreath.
choreographer, authoress: Maria Koliopoulou •
dancers: Karmiri Nikoleta, Evgenia Sigalou • music & sound
design: Yannis Isidorou • light design: Thomas Economacos • costume
design: Adonis Volanakis • set design: Konstantsia Sarafianou •
production: Prosxima Dance Company
photos: Miltos Athanasiou & Vojtìch Brtnický
www.prosxima.gr
Via Negativa/Marko Mandić
Viva Mandić
In one hour Marko literary extracts his artistic life into one single
glass of sweat. On two video screens we simultaneously witness his
theatre achievements from the beginning of his career up to the
Slovenian National Award (2009) and his secret artistic experience from
two nights spent in the Slovene National Theatre repository.
The essence of
his performance can be summed up with the following questions: 1. Why am
I doing all this? 2. Who is all this meant for? 3. What purpose do I
serve?
With his answers Marko remains radical and uncompromising: 1. Because of
me. 2. For Me. 3. My own. Viva Mandić! Exhibitionist, Narcissist,
Jester, Intellectual, Animal, Egoist, Artist.
VIA NOVA is a series of performances (seventeen to date) engaging in
questions about the relations between old and new, creation and
destruction, theory and practice, contemporaneity and tradition,
presence and absence...MARKO MANDIĆ: Born in 1974. Graduated from the
Academy of Theatre, Radio, Film and Television. He also studied at The
Lee Strasberg Theatre Institute in New York and HB Studio. He received
the Prešeren Student Award, the Sever Award and two Borštnik Awards. He
was chosen for the "Shooting Stars" at the Berlinale 2007. He is a
member of SNG Drama, Ljubljana. Regularly appears in independent
productions (Mini teater, Via Negativa...)
conceived by: Marko Mandić and Bojan
Jablanovec • performer: Marko Mandić • direction: Bojan Jablanovec •
text: The argumentation of the “Prešernov sklad” Award 2009 • Video
“I Put a Spell on You”: Marko Mandić showreel fragment; Video “Marko”:
Marko Mandić; Video “Mandić” edited by Bojan Jablanovec (contains
performance fragments from SNG Drama Ljubljana, Mini Teater Ljubljana,
Cankarjev dom Ljubljana, Glej Theatre Ljubljana, AGRFTV Ljubljana and
Via Negativa productions; video archive: Prodok Teater Ljubljana) •
photos: Tone Stojko, Peter Uhan, Fulvio Grissoni, Tit Košir, Matjaž
Rušt, Jure Eržen, Blaž Samec, Mavric Pivk, Matej Družnik, Tadej Regent,
Tomi Lombar, Voranc Vogel, Janko Mandić, Goran Antlej, Tina Ramujkić,
Maja Slavec, Delo photo documentation • music: Screamin’ Jay Hawkins, I
Put a Spell on You • producer: Špela Trošt • production: Via
Negativa supported by: The Ministry of Culture of the Republic of
Slovenia, The City of Ljubljana
www.vntheatre.com
Oktana Dancetheatre/Konstantinos Rigos
Dressed Undressed
Dressed/Undressed, covered/uncovered. The body acting as a vehicle of
beauty or as a vehicle of attrition is the dominant element in this new
performance by Konstantinos Rigos.
The
protagonists are two men without identity, wearing the clothes of modern
everyday life. During the performance they denounce their attire,
willingly or unwillingly, in order to remain two naked bodies within a
given space, from which it is impossible to escape. The space, deprived
of objects, stresses the desolation that encircles the two men and
renders their forced coexistence more painful.
KONSTANTINOS RIGOS graduated from the State School of Dance. In 1990,
he founded Dancetheatre OKTANA and worked on the following
performances: Les Noces, Room No 5, The Garden, Daphnis and Chloe
(National Dance Award 1995), The Athlete, 5 Seasons (National Dance
Award 1996), Hotel Orpheus, Icarus - Explosive Decompression, La dames
aux camelias, Alkeste, Ring (National Choreography Award 1999), Crazy Happiness (National Choreography Award 2001), Utopia, Wintereisse, Free besieged-Draft B, Neverland.
From October 2001 to October 2005 Konstantinos Rigos was the Artistic
Director of the Dancetheatre of the National Theatre of Northern Greece,
for which he choreographed the following plays: Sleeping Beauty, Bluebeard, The Ship Wreck, Winterreise, Igor's Room (Les noces), White Noise, and Free Besieged.
His works continued to be shown at many festivals abroad: in Portugal,
USA, Georgia, France, Italy, Sweden, Holland, England, Bosnia, Brazil,
Israel, Venezuela, Poland, Serbia, Singapore, Germany, Montenegro. He
collaborated with many theatres and companies such as The National
Theatre of Northern Greece, Hellenic Festival, National Theatre,
National Opera, Thessaloniki International Film Festival, Athens Concert
Hall. As a choreographer Konstantinos Rigos collaborated with more than
thirty theatre, cinema, opera and television directors. He also
collaborates with music artists on their music videos and concerts. As a
visual artist Rigos has participated at various exhibitions. In 2007 he
started the music-visual group “tageria” in which actors and
choreographers participate. From 2006 to 2007 he worked with OKTANA
again and presented the play Free Besieged-Draft B at the Hellenic Festival. In 2008 he directed the performance Bossa Nova, a multi production for 20 dancers and actors, for the National Theatre; and in 2009 he directed the performance Titanic for 46 dancers and actors. He also presented the play Emperor's New Clothes by Elena Penga in Theatre Roes. In 2010 he presented a new version of the famous ballet Daphnis and Chloe and the performance Dressed Undressed in Athens, and recently Tchaikovsky's Nutcracker at the theatre “Theseum, a theatre for the arts”.
choreographer or author of the performance:
Konstantinos Rigos • dancers: Tasos Karachalios, Yannis Nikolaidis •
choreography, set-design, light-design: Constantinos Rigos •
dramaturgy: Xenia Aidonopoulou • assistant choreographer: Myrto
Kontoni • costume design: Natassa Dimitriou • production: OKTANA
Dance theatre / Konstantinos Rigos
www.pro4.gr
www.rigosk.gr
Via Negativa/Kristian Al Droubi
Interview with an Artist
Questions about the political powerlessness of radical art practices,
about confession as a media spectacle, about the imperative of pleasure
in the contemporary post-industrial society, about the impotence of
communication, about the impossibility of subjectivization, etc.
Kristian deals with questions about his powerlessness in the
contemporary post-industrial society as a performer – he argues his
beliefs not only with his words but also with his whole body.
The
conversation with Kristian in the form of a classic interview is usually
led by an interrogator from the area where the performance is held. The
questions, based on the text by Bojana Kunst, Ph.D., drill deep into
the core of the issues which Via Negativa has always been concerned
with.
VIA NOVA is a working platform allowing the performers to investigate
different performing strategies autonomously: dance, lectures, video,
interviews, auctions, concerts, radical body practices, visual theatre
etc. These are mostly small format performances which we present as
independent pieces or link them together into new integrities and more
complex structures in order to directly address the context in which
they are presented.
KRISTIAN AL DROUBI: A performer from Novi Sad, Serbia, working in the
fields of dance, physical theatre, and performance. His unique
performative expression has been crucial to each of the performances he
has created within the framework of the Via Negativa project (Incasso, Would Would Not, Viva Verdi, Not Like Me, Out). In the performance Incasso
he introduced himself: “By origin I’m mixed-race with Syrian and Arabic
blood from my father’s side and Serbian from my mother’s side. That is
why I have a great genetic potential. As you probably know, the best
race horses come from the Arabic countries. I am a connoisseur of
Tantric and Taoist sexual skills. I am in excellent shape. Sex takes me
sixty minutes on average. Some say I resemble Johnny Depp... I’m a truck
driver by profession, but I like to dance very much. My ass pleases
even the most discriminating female and male audiences.”
concept and direction: Bojan Jablanovec •
performers: Kristian Al Droubi and his guest • questions based on the
text by Bojana Kunst, Ph.D. (Powerlessness of Radical Consumption,
2009), adapted by Bojan Jablanovec • answers: Kristian Al Droubi and
Bojan Jablanovec • producer: Špela Trošt • production: Via Negativa
• supported by: Ministry of Culture of Republic of Slovenia and the
City of Ljubljana
www.vntheatre.com
Alper Marangoz
Normal
The one who is normal is the one who adapts. The group creates its own norms and you obey. In case you reject, you are rejected.
Deviation from the norms creates abnormality. Too much deviation results in chaos.
At the end, abnormal becomes so common that it turns out to be normal. Abnormality becomes the norm itself...
ALPER MARANGOZ studied at the Music & Performing Arts Department
of the Faculty of Art & Design at the Yildiz Technical University,
Istanbul. Between 2002 and 2005 he danced at the Hürrem Sultan of the
Dance Company and Sultans of the Dance Company. In 2007 he took part in
the Cultural Visitors Programme at the John F. Kennedy Center for the
performing arts in Washington and New York. Since 2006 he has been a
member of the Zeynep Tanbay Dance Projects Company. With his second
work, Normal, Alper Marangoz participated at the Dance Platform in Istanbul, the 2010 European Capital of Culture.
choreographer: Alper Marangoz • dancers:
Alper Marangoz, Bengi Sevim, Beril Şnöz, Evrim Akyay, Gül Batirbaygil,
Mert Öztekin, Nil Batirbaygil, Suzan Alev • music: Burçin Vural •
light design: Arek Nişanyan • assistant: Seçil Demircan • repetitor:
Gizem Erdem • costume design: Aygül Costumes Houses • production:
Alper Marangoz
http://www.dansplatformistanbul.com/
Looping project/Marko Milić
Series
“Marko Milić is a very vivid dancer, as if he was plugged into high
voltage electricity and could not stop, as if he was at a trance party.
His solo explores the potential of dance as a collective act.” – blogspot
Dance as
observed in today's theatre is different from the spiritual séances in
XVIII century which were the first inspiration for this solo. At these
gatherings, dance was used as a tool for presenting the communication
with spirits and transmitting the message to the participants.
Where we can find the message or answers about the pressing social
subjects such as the abolishment of slavery, drinking ban and women's
right to vote?
Since 1990 MARKO MILIĆ (1981, Belgrade, Serbia) has been committed to
photography while attending workshops in the “Stari Grad” Cultural
centre. In the same centre he has been taught in a series of workshops
for children with learning disabilities. In 2002 Marko began working his
own performances. In 2006 he was a DanceWEB scholarship recipient in
Vienna. Until 2008 he was mostly a performer in different productions,
working with authors from Serbia, Croatia, Holland, Germany and
Bulgaria. In 2010 he was a LOOPING artist.
choreographer, dancer: Marko Milić •
collaboration: David Wampach • artistic supervisor: Martine Pisani •
artistic advisor: Andreja Široki, Olivier Hespel • music: Dušan
Broćić • production: LOOPING project • developed by: Uzès danse CDC
• partnership: TanzWerkstatt Berlin, O Espaço do Temp • supported
by: The Culture Programme of the European Union, CCN de Franche-Comté
Belfort, Treffen Total
www.sweetandtender.org/wiki
Dance Studio Zodijak/Kire Miladinoski
Bug's
“At heart Bug's is a confession, one that transcends the narrow
boundaries of the actor’s monologue, enriching its expressive value
through the medium of the contemporary dance. Confession proves to be a
powerful instrument for the task at hand - to articulate the leitmotif
of this performance in a format that reflects its nature.” – Milka
Ivanovska, independent critic
Dance can be
found in every movement, even in lip-synching. The piece is named after
the famous Las Vegas Drag Queen bar, “Bug's”. It is a performance
inspired by the marginalized groups in the heterosexist societies,
representing imagery through which imagination, physical activity,
concentration and outward appearance develops.
Bug's is a story about a single person, about the
transformation of a single life. It is up to us to decide what kind of a
person and which gender we want to be... This is a story of a single
Drag Queen.
KIRE MILADINOSKI (1983) lives and works in Prilep, Macedonia. In 1998
he established the Dance Studio Zodijak for the research, production
and education in contemporary dance. Since 2003 he has been a member of
the Lokomotiva Dance Atelier. His works include Process-in-Infinity-Progress,
Rebirth-Dance of the Gods, The Painter's Vision, Little Night Game,
Travelling-Sionski Priorium, One Way Inside and (Not)Close. He
received the Best Choreography Award at the state festival for modern
dance Mak Dance - Kumanovo (04, 05 and 06). In 08 he was a NOMAD Dance
Academy student and in 09 he took part in the scholarship programme
DanceWEB in Vienna, Austria. Last year he received an award for his
contributions in the field of dance and culture in Macedonia.
idea, concept and choreography: Kire
Miladinoski • performed by: Kire Miladinoski • text editing: Kocho
Andonovski • light design: Elena Risteska • music composed &
selected by: Kire Miladinoski • voice over: Kliment Poposki •
make-up: Angela Dimoska, Filip Sharkoski • special effects: Irena
Todoroska • production: Kire Miladinoski Dance Studio Zodijak, MK •
in partnership with: Lokomotiva, Skopje, MK • supported by: The
Ministry of Culture of Republic of Macedonia; National Institution
Cultural Centre “Marko Cepenkov”
Damaged/Çağlar Yiğitoğullarí
Diss & Luvstory
“A series of physically rough scenes (bordering on self injury),
designed by the author to provoke a strong emotional response with his
audience and shatter the established staging (...) A very good and
uncompromising work with an extraordinary emotional charge.” − Igor
Burić/www.dnevnik.rs, 25-11-10
“Wash yourself in your tears and build the church of your faith, or DISS.” − Ekrem Pehlivan/Milliyet gazetesi blog'dan
Diss & Luvstory
are solo performances. They are an autobiographic projection, changing
continuously due to different venues, locations and audiences. Every
time the performances are subject to change and recreation. No
performance ever repeats itself, as it is always performed in a new
form. And as for the audience: the performer's idea “to live” and “to
make” as he adds, cuts and changes makes the audience “witness a
personal history”.
After he studied acting, Çağlar Yiğitoğullarí joined the Istanbul
City Theatre in Istanbul. Beside this he performs in other projects and
works with choreographers such as Vava Stefanuscu, Ilyas Odman, Handan
Ergiydiren, etc. In 2010 he received the “Youth Talent of the Year by
International Association of Theater Critics (IATC)” as well as the
“Afife Prize” as the best supporting actor. He is still working at the
Istanbul City Theatre.
choreographer, dancer etc: Çağlar Yiğitoğullarí • superviser: Handan Ergiydiren • production: Damaged
Flota MS/Matjaž Farič, Milko Lazar
Shiver
“(…)Through this crack of a six-part suite, written by M. Lazar, the
exquisite dancers M. Rebolj, R. Hribar, K. Janjiæ, M. Krnel and Ana Mrak
pass through different moods and embodiments of female characters,
resulting in an abstract and not illustrative effect of the
performance.(…)Vigorous and partly impulsive choreography is focused on a
sexualized round movement of the shoulder girdle and hands particularly
in the first part of the performance, where special mention should be
made of Rosana Hribar, but every dancer also performs her “own” arsenal
of movement elements(…)” – Mojca Kumerdej/Skin as a sound membrane/Delo,
10-11-09
They meet and
divide the world into male and female poles. They find each other in the
crevice of the world. Inspiration incites the rod to strike an object.
The man propels the sound, the female body accepts it. The vibrating
skin makes music and pours out into a shift. The body shifts, the
consciousness shifts, then the shift turns into a dance. The rhythm
breaks apart and several pairs of eyes witness how teeth sink into the
solid crust. A taste spills out into the mouth and the jaws stiffen in a
spasm. Her gaze stops on the surface, which is subjected to slaps. His
hand administers them with precision, and so she has no difficulty
finding her bearings in time. As time lapses, they look at each other
and bow ceremoniously. They then forget each other. The drum beats give
one the shivers. The more frequent and the more rhythmically complex the
beat, the more the shiver turns into a light sensation of flying.
MATJAŽ FARIČ's career, ranging from dance to choreography, began in
the eighties. With his first company, the Eastern Dance Project, he
performed a series of his early works: Sixth of April and Breakdown (1988), Red Alarm (89), Emotional (90), Icht
(91). In 1988, he danced in the Ballet Observatory ZENIT within the
scope of the Red Pilot group. In the autumn of 1999 Flota was
established with which Farič first staged Terminal as the resident
choreographer of Cankarjev dom. There followed 10 degrees below 0 (2000), Temptation (01), 3.oLo and Talk Me Your Body (both in 02), A circle in the body – A square in the head (03), Bari
(04). Abroad Farič has asserted himself as a dancer with the Amsterdam
group Testworks, as a choreographer with Contemporary Dance Studio
Zagreb and with Diversions Dance Company Cardiff. In 2004 he staged BETA
for the French Compagnie Coline. As a choreographer he contributed to
theatre and opera performances in Slovenia, Croatia and Belgium.
MILKO LAZAR studied piano and saxophone on Music Academy in Graz - on
the classical and jazz departments - and continued his studies of
harpsichord and baroque music on the Royal Conservatory in Haag. Now he
lives in Ljubljana, where he is engaged with RTV Slovenia Big Band
Orchestra as a soloist on first alto saxophone, conductor and composer.
Together with other members, he started off ensembles Quatebriga and the
still active Štefbet Rifi, he is performing baroque music on
harpsichord, but lately he has mostly been composing, since he writes
music for all sorts of chamber ensembles and orchestras.
authors: Matjaž Farič (choreographer), Milko
Lazar (composer) • dancers: Rosana Hribar, Kaja Janjič, Katja Legin,
Ana Mrak, Mateja Rebolj • pianist: Milko Lazar • musicians: SToP –
Slovenian Beat Project (Franci Krevh, Barbara Kresnik, Matevž Bajde,
Damir Korošec, Tomaž Lojen) • costumes design: Sanja Grcić • space
and props: Manca Bajec • light design: Borut Lampret • production:
Flota Murska Sobota • co-production: Cankarjev dom, Flota Ljubljana,
PTL - Ljubljana Dance Theatre • partner: Slovenian Philharmonic •
supported by: The Ministry of Culture of the Republic of Slovenia, The
Culture Department of the City Municipality of Ljubljana
www.flota.si
Sezen Tonguz
Crimson
“The project arose from the desire to recover the items forming a
part of the recent past and, simultaneously, to provoke critical
reflection on the concepts of transmission, interpretation and
appropriation in contemporary dance as well as recreation. (...) Thus,
the transmission part happens not only through the transference of the
choreographic material but, essentially, through analysing and sharing
the creative process as well as many links, continuous and
discontinuous, visible and invisible, and information for the performers
to recreate.” – Margarida Bettencourt
Is she a woman, or a creature?
Is she a good or bad creature?
How much of her is human, or the other way around: what is the percentage of the animal within her?
If she were a creature, what kind of sound would she produce?
What would her favorite food be?
Crimson was recreated on the basis of the original piece Composition with Nude and Red
by the Portuguese choreographer Margarida Bettencourt, which premiered
in 1993 at Culturgest, a programme dedicated to Isadora Duncan. The
creative process and the physical practice of the original piece were
translated into a different body and composition.
Crimson is a
solo piece about a woman struggling to reveal her inner world through
body language. It enacts a circular ritual, in which the qualities that
women are supposed to embody, such as purity, virginity and fertility,
are questioned.
A set of actions reveals the transition from one state to another while
the tension grows through an impressive exploration of identity in a
strong atmosphere.
SEZEN TONGUZ (Balikesir, Turkey) lives and works in Istanbul and
Lisbon. She graduated from the Environmental Engineering Department at
the Istanbul Technical University in 2003. Since 2002 she has regularly
attended the dance classes and workshops in the ÇATI Dance Studio and
worked on different techniques with many dancers and choreographers.
She created her solo piece Crimson which was staged in Lisbon, Istanbul, Coimbra and Porto. She performed in Good Feelings, Bad Feelings by Vera Mantero.
Her interdisciplinary site-specific performance project Memento For Sale
was selected for the 2010 artist residency in Forum Dança. She is still
working on a piece with Seyhan Baysoy which was performed as a
“work-in-progress” at the 2010 Dance Platform Istanbul Local Selection
programme. Recently she has worked with the visual artists Özlem Günyol
and Mustafa Kunt as a dancer and choreographer in the video piece On the stage for the “Invisible Play” exhibition in Istanbul.
choreographer & dancer: Sezen Tonguz •
dramaturgical assitance: Margarida Bettencourt, Ali Moini, Acerina
Amador • costume and set design: Sezen Tonguz • producer: Sezen
Tonguz • supported by: Forum Dança, Portugal; CENTA, Artists’
Residency, Portugal; ÇATI Contemporary Dance Artists’ Association,
Turkey; Sibel Kutman Oral
photo: Vera Rodrigues, Claudia Mateus
Ivo Dimchev
I-on
“Last summer Mr. West asked me to create two videos for two of his
adaptive sculptures as visual examples of how the objects can be used by
the audience in the galleries. After a short work on the videos I
become very interested in the possibility of adapting his sculptures to
the context of stage, theatre and choreography.” – I. D.
“It doesn't matter if art is beautiful, it's more important what you can do with it.” – Franz West
A solo
performance, an exploration of some of the adaptive sculptures created
by the Austrian visual artist Franz West. The solo is a first part of a
group project called
X-on which will be premiered at the end of the year.
Franz West has created his first adaptives in the early 70s as his
reaction to the Viennese actionism. According the artist the portable
sculptures become complete only when someone does something with them.
In that way West questions our frequent distancing from the objects of
art.
IVO DIMCHEV is a choreographer and performer from Bulgaria. His work
is an extreme and colourful mixture of performance art, dance, theatre,
music, drawings and photography. Dimchev is an author of more then 30
performances. He has received numerous international awards for dance
and theatre and has presented his work all over Europe and North
America. Besides his artistic work Ivo has given master classes in the
National Theatre Academy in Budapest/Hungary, the Royal Dance
Conservatorium of Belgium in Antwerp, DanceWeb/Vienna etc. He is the
founder and director of the Humarts foundation in Bulgaria and organizes
the annual national competition in contemporary choreography. In
October 2009, after completing his master studies of performing arts at
the Dasarts Academy in Amsterdam, Ivo moved to Brussels where he opened
his own performance space Volksroom.
performed by Ivo Dimchev in co-operation with Franz West • production Volksroom, Humarts Foundation
www.ivodimchev.com/I-on.htm
Exodos Ljubljana/Snježana Premuš
Stories of the Body: MOVE-AS
This is the fourth performance in the Stories of the Body
series, and it focuses on a man: on his body, the poetics of the
communication established by the male body movement, the expression of
power, vulnerability, capability and personality through movement.
Stories of the Body
is a series of dance performances focusing on the body, in which the
choreographer Snježana Premuš explores the corporeality of persons and
the personality of bodies. She is interested in movement and studies the
signals that the body communicates through it. When we try to
understand these signals or codes, we can learn interesting stories of
the people's history, their secrets and personality traits.
SNJEŽANA PREMUŠ: After finisfing LCDS in London/98 Snježana Premuš
was invited in various research and improvisational projects: Choreographic project / Glasgow with Emylin Claid, On the Edge/Paris with Mark Tompkins, Vera Mantero, David Zambrano, Julyen Hamilton etc., Danceweb Scholarship/Vienna, Tanzfabric/Berlin with Iztok Kovač, Tuning scores/Ljubljana with Lisa Nelson, Vinko Globokar - improvisation event/Athens etc.
As a performer she has lived and worked in London, Berlin and Ljubjana.
Yelp Dance Co.(London/Athens), Elena Alonso (Berlin/Madrid) and
Slovenian companies: PTL, EN KNAP, Betontanz. In 2006 and 2008 she is
invited to two International projects: 2006 / Mateja Bučar (Brother Karamasov), 2008 / Cultural Dialogue Italy, Firenze Fabbrica Europa Festival.
She collaborated intensively with the director S.Horvat / National Theatre Ljubljana: with V. Bartol, Alamut they won the First Prize, Salzburg Festspiele Festival 05.
Her own work since 2000, is focused on »the conditions of the human body« in the series of works: Stories of the body and »the relation between the sound and the movement: multimedia projects Body-Sound-Image«.
In 2009 together with Andreja Podrzavnik and Gregor Kamnikar establishes Zavod Federacija.
concept and choreography: Snježana Premuš •
dance and movement: Primož Bezjak • light design: David Orešič •
music arrangement: Ivan Mijačević • costumes, photography and visual
design: Madster • technical director: Borut Cajnko • technical
assistance: PTL - Dance Theatre Ljubljana • production: Exodos
Ljubljana • co-production: Zavod federacija, PTL - Dance Theatre
Ljubljana, Narodni dom Maribor, Stage
www.exodos.si
Compagnie Krassen Krastev/Krassen Krastev
Are You Lonesome Tonight?
Are you lonesome tonight? explores the universal question of
loneliness. It is a research of the intimate, a physical approach
emphasizing the relationship of the individual with others, the Self and
the Other (his twin), the positive and negative, hope and despair. It
focuses on the emotional deprivation or emotional breakdown on the Being
in its ultimate sadness due to the lack of the Other and, as the title
suggests, because of the loneliness of the night...
Body movements are slow, hesitant, sensitive, and they seem to be more dreamlike than real.
Naked or dressed in a nightgown, immaculate, lit or plunged into
darkness, the body is illustrated by its own shadow. It becomes a
dancing shadow, expressing melancholy, the pain of absence, the absence
of the Other, the absence of Being, of dance...
Three years after creating the first contemporary dance company in
Bulgaria, Amarante Dance Studio in 1993, KRASSEN KRASTEV joined the
company Linga as a dancer and assistant. In 2002 he presented Leaning Points at the Festival de la Cité and Festival International de Danse de Lausanne. In 2003 and 2004 he created Hanging Possibilities and The Invisible Somehow Someone
for the Festival Les printemps de Sévelin. In 2004 he took part in the
DanceWEB Europe (Vienna) programme, where he worked with Alain Buffard
and performed his piece Bad Sort at the ImPuls Tanz Festival.
Since 2005 Krassen Krastev has worked with Brice Leroux / Continuum vzw
(Brussels), initially participating in Gravitations and later participating as a performer and artistic assistant in the creation of Quantum and Solo #2 - Frequencies,
created for the KunstenFestival des Arts (Brussels) and Théâtre de la
Ville (Paris). The latest production of Krassen Krastev is the solo
Shift_une pièce pas terminée, presented in 2005 at the Festival Les
printemps de Sévelin, in Lausanne, The Balkan Dance Platform in Skopje
and The Red House in Sofia.
choreographer, performer, set design, costumes: Krassen Krastev • music: Frédéric Morier, Vaughn De Leath - Are You Lonesome Tonight
(1927) • light-design: Guillaume Gex, Krassen Krastev • production:
Compagnie Krassen Krastev • supported by: Loterie Romande, Fondation
Suisse des Artistes Interprètes • acknowledgement: Ivan Pittalis,
Stéphane Bonin, Pavlina Krasteva
www.krassenkrastev.ch
DUM/Mateja Bučar
I Would've Been a Palm Tree
“(…)In the second part the performance is upgraded by the projected
light simultaneously forming sharp angled surfaces, into which the
dancer is “rooted”, and shadows dancing around her fluidly. It is this
very entrapment of the dancer(…) which depicts the duality of the
subject's existence(…)” – Mojca Kumerdej/Delo, March 10
The perversity of fate, which we refer to as reality, is a flux of various interpretations or even creations of the human mind.
I Would've Been a Palm Tree
is a fantasy about a journey into an exotic world, separate from ours,
different and dreamlike, while in reality we face the motionless, static
life, rooted in a single point.
In these circumstances we try to find a way to unite dreams and reality.
The performance,
which can also work as an installation, consists of movement (dance),
constantly taking place in a single place – it is “rooted” into the
centre of the space; however, it continuously interacts with the space
around it.
MATEJA BUČAR graduated in classical and modern dance at the Ballet
school Ljubljana and Centre de dance international Rosella Hightower
(Cannes, FR), as well as continued her biology studies at the University
of Ljubljana. In 1984 she joined the Slovenian National Ballet in
Ljubljana, and in 1989 PTL - Dance Theatre Ljubljana. Since 1992 she has
worked as an independent choreographer: Ton-Ka; Cukrarna; Discipline
As A Condition Of Freedom; A.B. Sence; Pleasure In Displeasure;
DependDance; Telborg; O kvadrat; Media Medici; Concept of Concept;
Room&Road; Brothers Karamazov – Worldwide – Vol.1; Brothers
Karamazov – Vol.2/Made in China; Sorry Out Of Ideas; I Would've Been A
Palm Tree; Green Light.
choreographer & dancer: Mateja Bučar •
light design: Vadim Fishkin • music: Borut Savski, Errorist • text:
Renata Salecl • software: Miha Grčar, Miha Petelin • assistant for
movement: Mateja Rebolj • production: DUM • supported by: The
Ministry of Culture of The Republic of Slovenia; Cultural Department of
the City of Ljubljana; freekoders.org
www.dum-club.si
Future Time
Azra Ibrahimović
Vacumess
Igor Koruga, Aleksandar Georgiev
Store at Room Temperature
Aleksandra Spasova
From Them to Everlasting
Vacumess
is a work in progress, based on improvisation; it studies movement in
relation to sound and in relation to silence. The performance
investigated vacuum in time, waiting and its structure trough movement,
where is movement coming from, how do we create movement during waiting,
what is the time devoid of waiting, is time active or does it have a
purpose.
Store at Room Temperature is a co-authorship project that
examines the over emotional/pathos and its presence in the society. The
project thus focuses on exploring perception of pathos in modern society
and debugging it of its modern and familiar meanings (such as
outrageous, overdone expression) with search for different/new ones
(suffering, illness, passion, warmth, sublime etc.).
From Them to Everlasting is a twenty minute duet miniature
surrealistic and minimalist picture. The idea is not to seek contact
occurring between the pictures. The idea is try to find that which is
related to women's inner space.
At the age of 18 AZRA IBRAHIMOVIĆ auditioned for the professional
theatre group in her hometown and was part of it for the next three
years. At the age of 21 she moved to Sarajevo and continued performing
in the field of street art, she took part in a fire dance project by
Tanzelarija.
In 2009 she developed her first contemporary dance performance with
elements of fire in collaboration with the performing artist Elma
Selman. In 2010 she joined MAPA (Moving Academy for Performing Arts),
where she was educated in the field of physical theatre. Her first
independent art project is Theydream, a site-specific dance and
physical theatre performance. Azra has had numerous dance and theatre
performances, upgrading her knowledge in order to become a professional
performing artist.
IGOR KORUGA has been involved in alternative forms of theatre,
performance and contemporary dance since 1998. He is a member of
Station, a service for contemporary dance in Belgrade. In 09 Igor was a
recipient of two dance scholarships for European educational programmes –
DanceWEB and NOMAD Dance Academy. Recently he started to create his own
work: This Figuration in C-minor, a video-dance collaboration I Wanted to Tell You Something (with Nina Zeljković), and – most recently – the dance collaboration Store at Room Temperature (with Aleksandar Georgiev).
Igor also has a degree in socio-cultural Anthropology from the University of Belgrade.
ALEKSANDAR GEORGIEV has a degree in dance theatre of the New Bulgarian
University in Sofia. In 09 he was a NOMAD Dance Academy student.
His own works: Treshol (in process “d”), in which he addresses pain; Heidi,
a solo performance in which he focuses on the subject of stupidity and
naivety; Store at Room Temperature (with Igor Koruga). In 09 Georgiev
was one of the 50 people that were trained by David Zambrano, spending
three months in Costa Rica, and one of ninety-six people in the
scholarship programme DanceWeb in Vienna. Amazed by the term ‘nomad’, he
is trying put it into practice.
ALEKSANDRA SPASOVA, a dancer and a choreographer, between 2002 and
2006 studied at the New Bulgarian University, Sofia, the Theatre
Department - Dance Theatre Programme. In 2006 she received the special
jury prize for her solo performance The Voices in Red at the
National Competition of Contemporary Choreography of Humarts Foundation -
Ivo Dimchev. In Bulgaria she works with some of the best
choreographers: Galina Borisova, Christian Bakalov, BrainStoreProject,
Petia Stoikova, Teodora Popova.
Aleksandra has gained a lot of skills from many workshops and works in
progress with artists like Izabel Shad, Sibrig Dokter, Iztok Kovač,
Gregor Luštek, Jon Jaspers, Matej Kejžar …
Paul Dunca
We Went with these Bodies as far as We Could
“(…)Three gymnasts, reconverted into singers, talk, deconstructing
the clichés of the performance's competition and exhibition, about their
bodies of a champion, who, usually, seduce through perfectionism and
glamour, but who have all sort of ‘flaws in their bodies', of metallic
plates due to accidents. What is it behind the perfectly stretched body,
the podium body towards which an entire nation is aiming? A shorter
leg, an unseen metal, agonizingly moments wrapped in the most performing
smile.” – Mihaela Michailov/Europe Is Moving
Dr. Poul-Erik
Paulev of the Department of Medical Physiology, University of Copenhagen
writes that pregnancy seems to increase muscle strength in female
athletes. “Top female athletes - just following the time when they gave
birth to their first child - have set several world records. Of course,
this is acceptable as a natural and unintended event. However, in some
countries female athletes have become pregnant for 2-3 months, in order
to improve their performance just after the abortion.”
Sports always harms the female energy, and purity doesn’t get your picture on the cereal box; winning does.
PAUL DUNCA (1983, Bucharest, RO) graduated “Goethe” German Collegue,
National University of Drama and Film “I.L.Caragiale” (Choreography
section) and studied play writing at U.N.A.T.C., Bucharest. He worked
with the choreographers: Madalina Dan, Eduard Gabia, Maria Baroncea,
Alexandra Pirici, Valentina del Piante, Mihaela Dancs, Ana Maria Costea,
Iuliana Stoianescu and the dramaturg Rui Catalao. He acted in Some Explicit Polaroids (07) and Pool(No Water (09) by Mark Ravenhill, both directed by Miruna Dinu, and in the movie Scanteia
(09), directed by Hano Hoffer and written by Cristian Mungiu. He also
had a TV show on MTV (08) and featured in different music videos. Since
05 Paul has been a member of Ofensiva Generozitatii, an initiative
seeking to prove the importance of art for everyone by working with
different communities.
Own Works: Flexible 1 & 2 (documentaries about how people dance in Bucharest done together with Maria Draghici, 08), Oracolul din Culinaria (Kitchenday, 08), We Went With These Bodies As Far As We Could (09), Lady Elisabeth (work done for the residency Jardin D’Europe, Mogosoaia, 09), I.C.(10).
choreographer and author of the performance:
Paul Dunca • dancers: Mădălina Ghiţescu, Ştefan Cosma, Paul Dunca,
Eduard Gabia • light design: Catalin Nicolescu • producer: Paul
Dunca • supported by: The National Dance Centre in Bucharest
Emanat, Ferlin/Matija Ferlin
Sad Sam /Almost 6/
“Without any virtuosity, which he eliminates as one of the principles
of his creativity, Matija Ferlin effectively enacts children's pranks.
However, these are by no means naive. Instead, the mimicry of the
patterns from the world of the adults results in creepy undertones. This
is exactly what the atmosphere of the performance is like – it moves
between roguishness and creepiness, attesting to the awareness about the
decisive processes of personality formation in the early childhood,
detailed in psychoanalytical discourse.” – Lea & Pia/Radio Študent, 3
- 2 - 2009
In his solo
Now I Am /Almost 6/,
Matija Ferlin explores the children's mentality, which is not
restricted by anything, not even its own existence. In the process of
growing up our conscience clashes with social norms and limitations,
which it experiences as harassment and repression. All the fictional
characters from our childhood become enemies. The fact that we have to
grow up leads to imperfection, which makes our lives and ways of
survival individual and special.
Sad sam /Almost 6/ is yet another work in the Sad Sam series
of solos, which began in January 2004 in Amsterdam with the staging of
the first production Sad Sam, followed by Sad Sam /Revised/ in 2004/2006.
MATIJA FERLIN is a dancer and choreographer. He graduated in
choreography and dance from SNDO in Amsterdam. He has worked with a
variety of choreographers and directors, including Maja Delak, Ivica
Buljan, Ame Henderson, Sasha Waltz, Keren Levi, Martin Bulter, David
Zambrano and Mauricio Ferlin. He also creates his own performances,
short films and exhibitions, which he has presented all over Europe and
North America. Currently he lives and works in Pula, HR. In 2010 he
received the Croatian Theatre Award for his choreography of the work Appearance (Nastup), the best Croatian dance performance in 2010 in the contemporary dance category.
performer: Matija Ferlin • dramaturgy: Katja
Praznik • light design: Urška Vohar • set design: Artikl, Silvio
Živković • costumes: Artikl • collaborators: Alexandar Nussbaumer,
Mauricio Ferlin, Maja Celija, Maja Delak • production coordination:
Sabina Potočki • production: EMANAT Institute, Ljubljana, SI; Ferlin,
Pula, HR • co-production: Chez Buswick, New York, US; Bunker,
Ljubljana, SI • financial supported by: Istra Region, The Ministry of
Culture of The Republic of Slovenia • with the support of:
Tanzquartier Wien & KulturKontakt Austria (artist-in-residence
programme)
www.emanat.si
trailer
photogallery
De Facto, 1er stratagème/Giuseppe Chico, Barbara Matijević
I am 1984
I am 1984 focuses on the year 1984 and takes the audience on a
pseudo-scientific journey, presenting a richly textured depiction of
1984 using language and drawings.
Everyday our own
personal little story meets History or, at least, certain events taking
place elsewhere and which don’t seem to have anything to do with us.
I am 1984
plays with the links between autobiographical events and historical
facts, questioning whether nowadays, in a constantly expanding virtual
world, the dichotomy between reality and imagination still has value, or
whether it has become obsolete.
I am 1984 is the first part of a trilogy with a working title:
The Theory of the Performance to come or - Is the Only Way to Avoid the Massacre to Become Its Authors?
The performance received The Special Award of the international jury at the INFANT festival in Novi Sad (Serbia) in 2008.
BARBARA MATIJEVIĆ (1978, Našice, HR) studied Language and Literature
at the University of Zagreb (M.A.). Trained as a dancer in the Hypaxis
Dance Center, Wilton (New Hampshire, US) and the International Center
for Contemporary Dance and Performance Art - ATHENA under the artistic
direction of Kilina Cremona in Zagreb (HR). She is the co-founder (with
Saša Božić) of the performance group De Facto.
She collaborated with Bojan Jablanovec (project Via Negativa), Boris
Charmatz (project Bocal), and Joris Lacoste (“Purgatoire”). She teaches
dance at the National Arts Academy in Osijek (HR).
GIUSEPPE CHICO (1974, Bari, IT) makes his debut in theater at the age of
10 after having studied with the Abeliano Company under the direction
of Tina Tempesta. He continues his studies in the Kismet Theater with
Robert McNeer and Teresa Ludovico. As a stage designer he collaborates
with Paolo Baroni. Since 2000 he has lived in Paris where he studied
dance with Joao Fiadeiro, Vera Montero, Julyen Hamilton, Mark Tompkins,
Vera Orlock, Pooh Kaye, K.J. Holmes, Olivier Besson. He has worked as a
dancer in the Mille Plateaux Associés company for four years and
continued his work with George Appaix. In theater he worked with Joris
Lacoste.
authors: Giuseppe Chico and Barbara Matijević
• performer: Barbara Matijević • production: De Facto and 1er
stratagème • co-production: ZeKaeM, Zagreb, HR
Serial Paradise Company, Gabriela Tudor Foundation/Cosmin Manolescu
Supergabriela
“It was disturbing and beautiful and weird. With all the smoke and
the music combined with stillness and desperation it was like being in
some kind of surreal, ominous nightclub purgatory. (...) In the duet
they were exploring primal emotional states of desire, separation, fear
and lust; the solo was all about loss and isolation. But all the pieces
came together with an illogical, subconscious cohesion. (…)
Supergabriela is like a “happening” in a way. It is beautiful, moving
and disturbing with the absolute meaning always just beyond your grasp.”
– Andy Horwitz/Supergabriela at PS122/ CultureBot, November 10
Supergabriela is a “disturbing and beautiful and weird” two-part evening. The performance includes
dreams.land (a duet piece created in 2007) and
superGabriela
(a new solo piece). Alternately sexy, confounding, and dark-humored,
this two-part evening of dance explores the expressions of love &
loss, heightened sensation, and the illusion of everyday life. Manolescu
continues his investigation of and desire to deepen the relationship
between performers and audience. The bond carries through to
superGabriela as Cosmin performs an emotionally intimate solo expressing the very personal story of lost love.
Supergabriela was premiered in New York, 4 & 5 November 2010.
It is dedicated to Gabriela Tudor, Cosmin’s manager and wife, whose work
was infused with passion and dedication and who set many landmarks in
the world of Romanian contemporary art.
COSMIN MANOLESCU is a choreographer, performer and cultural manager
based in Bucharest, Romania. He is the executive director of Gabriela
Tudor Foundation and artistic director of Serial Paradise Company. His
artistic work has been successfully presented as part of international
festivals and venues in Amsterdam, Barcelona, Beirut, Bremen, Bucharest,
Dublin, Florence, Liverpool, Lyon, New York, San Diego, Paris, Porto,
Rome etc. He has received several awards and fellowships such as the
Award of the Soros Center for Contemporary Arts for the development of
contemporary dance in Romania (1998), CEC Artlink fellowship (02), and
the SACD “Nouveau Talent Choregraphie” prize (Paris, 05).
He is the co-founder and co-organiser of the Balkan Dance Platform and
he is the executive director of ArtistNe(s)t, an artist-in-residence
network in Romania created by Gabriela Tudor in 2006.
Part 1: dreams.land; conceived and
directed by Cosmin Manolescu • choreography created by Cosmin
Manolescu in collaboration with the performers • performed by: Camille
Mutel and Litsa Kiousi • external eye: Gabriela Tudor • music
excerpts by: Nick Cave, Arvo Part, Ana Piuariu • original light
design: Lutz Deppe
Part 2 (with no break between the parts): superGabriela; created and performed by: Cosmin Manolescu • music: Nouvelle Vague, Mondial
production: Serial Paradise Company/Gabriela Tudor Foundation •
financial supported by: Sibiu & Luxembourg and Grande Region -
European Cultural Capitals 2007, Centre de Creation Choregraphique
Luxemburgeoise - 3 CL, National Cultural Fund, National Dance Centre in
Bucharest
Performance presented with the financial support of the The National Dance Centre Bucharest
www.gabrielatudor.ro
