DOUBLE BILL: Bez voznog reda/Refleksije

DOUBLE BILL: Without timetable/Reflections

Bez voznog reda i Refleksije dvije su polusatne inkluzivne plesne predstave nastale u umjetničkoj kolaboraciji članova plesne grupe Magija i njenih suradnika (plesači nezavisne suvremene plesne scene, Udruga gluhih i nagluhih PGŽ Rijeka, OŠ za klasični balet i suvremeni ples pri OŠ Vežica) sa koreografkinjama i plesnim umjetnicama Gordanom Svetopetrić i Sanjom Josipović, te vizualnom umjetnicom Mašom Drndić. Obje izvedbe konceptualno promišljeno progovaraju kroz suvremeni i izvedbeni pokret, glumu, dok posljednja izvedba prožima ples, pokret i video projekciju. Po kvaliteti rada stvaraju nedjeljivu cjelinu jer istovremeno provode različitost i jedinstvo, i potiču nove načine promišljanja o plesu.

Without timetable and Reflections are two half-hour inclusive dance performances created by the artistic collaboration of members of the dance group Magija, dancers of the independent contemporary dance scene, the Association of the deaf and hard of hearing PGŽ Rijeka and the Elementary School for classical ballet and contemporary dance Vežica, with choreographers and contemporary dance artists Gordana Svetopetrić and Sanja Josipović, and visual artist Maša Drndić. Both performances speak conceptually thoughtfully through contemporary and performance movement and acting, while the second performance permeates dance, movement and video projection. In quality they create an indivisible whole because they simultaneously exercise diversity and unity, and foster new ways of thinking about dance.

BEZ VOZNOG REDA/WITHOUT TIMETABLE

Koreograf i autor predstave/Choreographer and author: Gordana Svetopetrić

Su-kreatori i izvođači/Co-creators and performers: Anja Bebić, Tamara Bračun, Isabella Hujić, Sanja Josipović, Sanja Polić, Marta Rak, Martina Rukavina, Marina Stanger

Producentica/Producer: Gordana Svetopetrić

Bez (voznog) reda bavi se situacijama putovanja, dolascima i odlascima na nepoznata mjesta, rastancima, susretima, stvarnim i lažnim putnim sjećanjima. Željeznica, kao imaginarna točka polazišta, mirisom podsjeća na nepreglednost i neizvjesnost života, a sami odlasci i dolasci nude alternative koje se rado ili nerado prihvate. Osjetila u nepoznatom izložena su novim podražajima, okusi su iznenađujući, zvukovi neobični, logika hodanja drugačija. Upravo takva situacija postaje poticaj kroz koji izvođači otkrivaju kompleksnost vlastite osobnosti, a koja se različitim intenzitetima i bojama odražava na kreiranje priče susreta sa odlascima.

Without timetable deals with travel situations, arrivals and departures to unknown places, partings, encounters, real and false travel memories. Rail, as an imaginary point of departure, smells reminiscent of the opacity and uncertainty of life, and the departures and arrivals themselves offer alternatives that are gladly or reluctantly accepted. The senses in the unknown are exposed to new stimuli, the flavours are surprising, the sounds unusual, the logic of walking different. It is this kind of situation that becomes the impetus through which the performers discover the complexity of their own personality, and which in different intensities and colours reflects on the creation of the story of the encounter with departures.

REFLEKSIJE/REFLECTIONS

Koreograf i autor predstave/Choreographer and author: Sanja Josipović

Video umjetnik i autor/Video artist and author: Maša Drndić

Su-kreatori i izvođači/Co-creators and performers: Tamara Bračun, Anika Cetina, Jasnica Desnica i Kristina Kovačić

Izraz, odraz, sraz.

Dugotrajno iskustvo pokreta i plesa stvara vlastite užitke i navike. Izraz tijela u kretanju. 

Kako ja plešem, a kako drugo tijelo pleše. Moje tijelo u tuđem izrazu.

Svijest o vlastitom plesu. Kako razbiti svoje navike, obogatiti svoje užitke.

Odraz plesačkog tijela na platnu. Sraz plesne i video umjetnosti.

4 plesačice uranjaju u sebe i druge, kroz pokret, ples i energiju. Ples i video se isprepleću prelazeći iz simbioze u sinergiju.

Ponekad nismo svjesni da se krećemo i plešemo na često isti, ustaljeni način. Čak i kada navike i sklonosti kretanja svjesno pokušamo mijenjati, razbijati, prekidati… ono nešto, samo nama slično se vrati i opet preuzme pokret, a da nismo ni primijetili. Dok plesačice na sceni, i u publici kao izvedbenom prostoru, istražuju i mijenjaju svoje i tuđe, svjesne i nesvjesne, ustaljene načine kretanja, plesanja i protoka energije, video projekcija istovremeno interpretira/transformira/inovira njihovo istraživanje, i provodi vlastito, kroz odraz plesačkih tijela na platnu, fokus na detalje koje inače ne zamjećujemo, imaginaciju i realne prizore kojima obuhvaća energiju onoga što se dešava na sceni.

Long lasting experience in motion and dance creates its own habits and pleasures in movement. Expression of a moving body.

How I dance, and how other body dances. Immersion in ourselves and immersion in others. My body reflecting other body's expression.

How to break your habits, enrich your pleasures.

Reflection of a dancing body on screen. Image and imagination.

4 dancers explore themselves and each other, in terms of movement, dance and energy. Dance and video intertwine with each other transitioning from symbiosis to synergy.

Sometimes we are unaware that we move and dance in the same, established way. Even when we try to consciously change, break or interrupt our habits and inclinations, that habitual something comes back without us noticing, and it takes over the movement again. While dancers explore and change their own and others, conscious and unconscious, established habitual ways of movement, dancing and energy flow, on stage and in public space, at the same time the video projection interprets/transforms/innovates their exploration, and carries out its own, through reflections of dancers bodies on screen, focus on details that we usually do not notice, imaginative and real scenes that include the energy of what is happening on stage.