Natalija Manojlović Varga
GOLAZEN / GAMAD / VERMIN
Cabaret-noir po motivih S. Gruma in J. P. Kamova/ Cabaret-noir after motifs of S. Grum and J.P. Kamov
Plesno-gledališka predstava / Dance-theatre performance
Režija, koreografija / Directed, Choreographed by: NATALIJA MANOJLOVIĆ VARGA
Dramaturgija / Dramaturgy: SARA STANIĆ
Asistentka koreografije / Assistant of Choreography: ALJA LACKOVIĆ
Glasba / Music: GORDAN TUDOR
Scenografija / Set Design: ANA RAHELA KLOPČIČ
Izdelava / Set Make: MARTIN LOVŠIN, JANKO OVEN
Kostumografija / Costume Design: ANA ALEKSANDRA BUKOVIĆ
Izdelava / Costume Make: Delavnica HNK l.pl. Zajc, Rijeka
Video, Foto / Video, Photo: NINA ĐURĐEVIĆ
Oblikovanje luči, tehnične rešitve / Light Design, Technical Solutions: JANKO OVEN
Kreativni producent / Creative Producer: KATJA SOMRAK
Produkcija / Produced by: PLESNI TEATER LJUBLJANA
Koprodukcija / Co-produced by: HNK l.pl. Zajc, Rijeka
Izvedba / Performed by: GOLAZNI / VERMINS
VERONIKA VALDÉS, mati, Ga. Štefanek, negovalka / Mother, Madam Štefanek, Caregiver
ALJA LACKOVIĆ, nedotaknjena Tju / Untouched Tju
PETRA PEČEK / KSENIJA KRUTOVA, prostitutka Marija / Prostitute Marija
EDI ĆELIĆ, literat, inspektor / Writer, Inspector
V predstavi so uporabljeni fragmenti skladb sodobnih hrvaških skladateljev: Margareta Ferek Petrić, Mirela Ivičević, Petar Obradović, Tena Ivana Borić, Davor Bobić in Gordan Tudor, v izvedbi Papandopulo kvarteta z albuma Scene pri založbi Cantus, ter posnetki koncertnih predstav. / Music fragments, used in the performance, originate from contemporary Croatian composers: Margareta Ferek Petrić, Mirela Ivičević, Petar Obradović, Tena Ivana Borić, Davor Bobić, Gordan Tudor. Music sequences are performed by quartet Papandopulo from album Scene (released by Cantus) and from live concerts.
About the project:
Closed room. Enclosed in the room. Waiting for Life and Death. Lifeless but not dead. Lonely but not alone. Writer. Voices. Door. Whores. Loving hand. Mother. Conspicuous eyes. Detained breath. Murder. Suicide. Threatening noise. Scream and door slam. Detective. Thoughts, Mirage, Delusion, Secrets, Shapes, Paranoia, Fears and Premonition are his company. Worms creep up on the surface from the holes. Rats stroll around the room. Bedbugs are hanging around in all the pores. Broads gossip behind the door. Vultures await. All the filthy vermin that exists in this world breathes down his neck. He wants to go somewhere where people are smiling. One window. Behind the window exists the outer world. Outside he is accompanied by the smell of theroom. Fustiness. Surging into the silence. The road spins around. Wherever he goes, he leaves a mark of reek behind him. His skin is infused by the odour of the room. Perhaps he pulled on the smell from the outside? Vermin crawls from all pores of society, it evolves legs and arms, walks around the world. There is something in the air... It rains, it always rains.
Cabaret-noir is a hybrid genre. Movement language and theatrical language are in a balance and united in a morbid world of music infused with literary material. Cabaret because there is no hierarchy between theatrical grips; noir because the content is derived from the darkest holes of consciousness. An empty hole where black shines in its lively spectrum.
O projektu:
Zaprta soba. On zaprt v sobi. Čakajoč na življenje in na smrt istočasno. Brez življenja, a ne mrtev. Literat. Glasovi. Vrata. Vlačuge. Lepa roka. Mati. Opazujoče oči. Pridržan dih. Umor. Samomor. Priteči šum. Krik in loputanje vrat. Detektiv. Osamljen, a ne sam. Družbo mu delajo misli, prividi, blodnje, skrivnosti, oblike, paranoja, strahovi in slutnje. Iz lukenj lezejo lezejo črvi. Po sobi se sprehajajo podgane. V porah se zadržujejo stenice. Za vrati se skrivajo opravljive babe. Mrhovinarji čakajo. Za ovratnik mu diha vsa umazana golazen, ki jo premore ta svet. V sobi je okno za katerim obstaja zunanji svet. Rad bi šel kam, kjer se smejijo. Zunaj ga spremlja vonj sobe. Kjerkoli je, za njim zaudarja. Zatohlost. Butanje v tišino. Cesta se je zavrtela. Vonj sobe se mu je zažrl v kožo. Ali pa se je navlekel smradu zunaj? Golazen gomazi iz vseh por družbe, razvija noge in roke, hodi po svetu. V zraku je nekaj... Dež, vedno dež.
Cabaret noir je žanrski hibrid v katerem sta gibalni in gledališki jezik poenotena in združena v morbiden svet uglasbenih literarnih predlog. Cabaret, ker med gledališkimi prijemi ni hierarhije; noir, ker vsebino črpa iz najtemnejše luknje zavesti, toliko izpraznjene luknje, da se v njej razliva črnina v najbolj živem spektru.
Excerpt from press review:
“Punctual setting of performative actions and contemporary dance inserts cohere with music score, not by being subdued but creating attractive accents in combination.”
(Metod Zupan, Sigledal.org)
Izsek iz kritike:
“Natančna tempiranost uprizoritvenih pantomimičnih akcij in sodobnoplesnih vložkov se sklada z glasbeno podlago, ne da bi ji bila podrejena, pač pa v kombinaciji tvorita atraktivne akcente.”
(Metod Zupan, Sigledal.org)
About the author:
Natalija Manojlović Varga graduated in Psychology at the FHSS (2010) and in Theatre and Radio Directing at ADU (2018). Right after finishing high school for contemporary dance she presented herself for the first time as a choreographer in 1998 with her own performance Virus 098 at the Croatian National Theatre Osijek. Since then, she has worked as a choreographer, director, as well as an author of more than twenty dance and theatre performances – Plumber (2009), Damn Bastards (2011), Adam and Eve (2013), Backstage of Champions (2014), Dead Wedding (2016), Waterman Ambrož (2021), Sloboština Barbi (2022) - to name the most prominent ones.
O avtorici:
Natalija Manojlović Varga je diplomirala psihologijo na zagrebški Filozofski fakulteti (2010), leta 2018 pa je zaključila tudi Akademijo dramskih umetnosti kot gledališka in radijska režiserka. Kot koreografinja se je z avtorsko predstavo Virus 098 prvič predstavila že leta 1998 na odru HNK v rodnem Osijeku, takoj po končani srednji šoli za sodobni ples Ane Maletič v Zagrebu. Od takrat naprej dela kot koreografinja, režiserka, pa tudi avtorica besedil pri več kot dvajsetih plesnih in dramskih predstavah – Vodoinštalater (2009), Prekleta golazen (2011), Adam in Eva(2013), Zakulisje prvakov (2014), Mrtva svatba (2016), Povodni mož Ambrož (2021) in Sloboština Barbi (2022) so nekatere med odmevnejšimi.
Program Plesnega Teatra Ljubljana sofinancirata Ministrstvo za kulturo RS in Mestna občina Ljubljana, Oddelek za kulturo / The programme of Plesni Teater Ljubljana is subsidized by the Ministry of Culture RS and Municipality of Ljubljana, Department for Culture