Kristina Rozman
DO POJUTRIŠNJEM / UNTIL THE DAY AFTER TOMORROW
* PRIKROJITEV ČASA / TAILORING TIME *
plesni prvenec / a dance debut
Avtorstvo, koreografija in izvedba / Authorship, Choreography and Performance: KRISTINA ROZMAN
Dramaturgija in mentorstvo / Dramaturgy and Mentorship: ANDREJA KOPAČ
Avtorska glasba / Original Music: EDUARDO RAON
Oblikovanje luči / Lighting Design: GREGOR KUHAR
Kostumografija / Costume Design: IZTOK HRGA
Producentka / Producer: ŽIVA BRECELJ
Produkcija / Produced by: PLESNI TEATER LJUBLJANA
Koprodukcija/ Co-produced by: VITKAR zavod
Zahvala/ Thanks to: Branko Potočan, Enya Belak, Tajda Podobnik
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
Foto / Photo: SUNČAN STONE
O predstavi
Epoha, ki zahteva permanentno mutacijo vsakdanjega življenja in stalno prilagajanje spreminjajoči se realnosti, zaudarja od nenadnih in počasnih smrti. Neo-kapitalizem kot poslednja religija v obljubljanju ne-štetih davčnih nebes nekaj sto posameznikom pa vsem drugim živim bitjem planeta vztrajno odreka barve narave in njenih čudes.
Jaz sem. Pradavnina in obzorje konca. Strah in nova zaveza. Kot shizofreno prosojno platno, skozi katerega se pršijo zahteve in odlagajo krivde. Kot nova misel in novo telo, zaznamovano z umetnim ozračjem. In obenem kot zavest, ki se prepozna; a ne kot ime, temveč kot hkratnost svete jeze in divje nežnosti. Jaz sem telo Zemlje.
V telesu, ki je bilo od nekdaj živalsko, so naseljene himere. Le da danes te bivajo pod električnim soncem, ki ne oddaja nobenih barv. Upočasnjevanje skozi enostavnost in izguba raznolikosti - se dogaja v Rumenem. Sredi konca se poklanjam vsemu, kar počasi izginja, mogoč(n)emu življenju prihodnosti.
Plesna predstava Do pojutrišnjem je nastala po idejni zasnovi projekta z delovnim naslovom Prikrojitev časa.
About the performance
An era that requires a permanent mutation of everyday life and a constant adaptation to the changing reality stinks of sudden and slow deaths. Neo-capitalism, as the ultimate religion promising in numerable tax heavens to a few hundred individuals, persistently denies all other living beings on the planet the colours of nature and its wonders.
I am. Time immemorial, the horizon of the end. Fear and a new commitment. Like a schizophrenic transparent canvas through which demands are sprayed and guilts deposited. Like a new thought and a new body, marked by an artificial atmosphere. And at the same time, as a consciousness that recognizes itself; but not as a name, but as a simultaneity of holy anger and wild tenderness. I am the body of the Earth.
The body, which has always been animal, is inhabited by chimeras. Except today, they live under the electric sun, which does not emit any colours. Slowing down through simplicity and loss of diversity – is happening in Yellow. In the middle of the end, I pay homage to everything that is slowly disappearing, to the mighty life of the future.
The dance performance Until the Day After Tomorrow is based on the conceptual idea of the project with the working title Tailoring Time.
Izsek iz kritike
“A kaj hitro se neomejena potencialnost nastopajočega telesa prelevi v koreografsko impresijo človeške subjektivitete in njenega razvoja do sicer še vedno ambivalentnega, a veliko bolj suverenega in samozavestnega zaključka, kjer se zdi, da Rozman doseže neko relativno spravo s svojim obstojem tukaj in zdaj.” Maša Radi Buh, Sigledal
Excerpt from press review
"But rather quickly, the unlimited potential of the performing body transforms into a choreographic impression of human subjectivity and its development to a still ambivalent, but much more sovereign and confident conclusion, where Rozman seems to achieve relative reconciliation with her existence in the here and now.” Maša Radi Buh, Sigledal