U[KREP] 2020 – FESTIVAL PLESNIH PERSPEKTIV / FESTIVAL OF DANCE PERSPECTIVES

U[KREP] 2020 – FESTIVAL PLESNIH PERSPEKTIV

»NOVA REALNOST«

U[KREP] 2020 – FESTIVAL OF DANCE PERSPECTIVES

»NEW REALITY«

U[KREP] – Festival plesnih perspektiv poskuša z vsako edicijo občinstvu približati izbrane teme in področja, ki se dotikajo širše plesno-gledališke scene tako v Sloveniji kot tujini. Kljub temu, da je naša »realnost« zaznamovana z boleznijo COVID-19, trenutna pandemija sicer spreminja, vendar ne preprečuje sedme izvedbe bienalnega festivala, ki je od začetka zasnovan kot odziv na vsakokratne razmere in potrebe domače plesne scene v povezovanju z mednarodnim prostorom. Odločili smo se, da festivala ne bomo preklicali ali preložili, ampak bomo izvirno edicijo razširili, nadgradili in spremenili v dvanajstmesečni kulturni projekt, izveden v treh programskih sklopih, ki se bodo zvrstili od junija 2020 do junija 2021 ob predpostavki, da nam bo postopoma uspelo izpeljati program v zastavljenem oziroma prilagojenem okviru. V juniju bo tema festivala »Nova realnost«, medtem ko bo konec leta 2020 in v začetku leta 2021 izvedenega večina mednarodnega programa, z »velikim finalom« v juniju 2021. Tudi v svoji sedmi izvedbi bo tako festival U[KREP] 2020 potekal kot pester, prodoren in inovativen festival domače in tuje sodobnoplesne ustvarjalnosti z nujnimi izjemami.

V vseh sklopih bomo sledili svojemu prvotnemu poslanstvu – predstaviti mlade perspektivne plesne ustvarjalce in ustvarjalke iz Slovenije in tujine skozi inovativne predstave, performanse, plesne intervencije in delavnice pod vodstvom prodornih avtorjev iz Evrope (Avstrija, Nemčija, Češka, Madžarska, Belgija, Norveška, Švedska), pa tudi iz Tunizije, Madagaskarja, Južne Koreje in Hongkonga. Tudi v letošnji izvedbi želimo domače mlade koreografe in plesalce postaviti v kreativni dialog z mednarodnim prostorom, tako da jih bomo aktivno vključili v plesne stvaritve in povezali s perspektivnimi tujimi avtorji in avtoricami. Druga pomembna smernica festivala je približevanje sodobnega plesa širšemu občinstvu, zato ga bomo prostorsko razprli z umeščanjem plesnih dogodkov na nove prostore in s povezovanjem z različnimi organizacijami (Gledališče Glej, ZRC SAZU, CK Španski borci, Knjigarna Azil, Festival Svetlobna gverila in Festival Mesto žensk).

Prvi sklop U[KREP]a 2020 bo potekal od 12. do 15. junija na temo »Nova realnost« v sodelovanju z Alma Mater Europaea – Akademijo za ples in festivalom Svetlobna gverila ter v povezavi s PTL-jevo Kreativno šolo plesnega filma. Nova realnost samoizolacije, karantene, spremenjenih pogojev delovanja in kolektivnega ustvarjanja je dobesedno »pljusknila« čez realnost, kot smo jo poznali do sedaj. Na obronkih znanega se v obrisih poraja »nova realnost«, ki jo lahko (zaenkrat) tipamo v temi, slutimo v želodcih, ne moremo pa je še zares misliti. Verjetno bo zahtevala preureditev ustaljenih družbenih vzorcev in predrugačenje intimne sfere človekovega življenja. Naš moto ostaja, da je ples metafora za življenje v celoti, tako za življenje posameznika kot za življenje skupaj. In ravno zato vsebuje potencial razkrivanja in prikazovanja vsega, kar (še) ne obstaja, a se lahko manifestira skozi telo, skozi film in svetlobo. In nenazadnje – skozi jezik absurda. Samuel Beckett: »Najprej pleši. Potem misli. Tak je naravni red.« (»Dance first. Think later. It's the natural order.«) Nova realnost predpostavlja nov red stvari in nove boje – za človeka, naravo in skupnost.

SLEDITE NAM!

With each new edition, U[KREP] – Festival of Dance Perspectives tries to bring the audience closer to selected topics and subjects touching upon the broader dance theatre scene both in Slovenia and abroad. Despite the fact that our “reality” is marked by COVID 19, the current pandemic is changing, but not stopping the seventh edition of the biennial festival, which has always been designed as a response to the existing conditions and needs of the local dance scene in liaising with the international arena. We have decided not to cancel or postpone the festival, but rather to expand, upgrade and change the original edition into a twelve-month cultural project, carried out in three programme clusters taking place between June 2020 and June 2021, assuming that we will be able to gradually carry out the programme within the set (adjusted) framework. In June, the topic of the festival will be “New Reality”, while the end of 2020 and the beginning of 2021 will be reserved for the biggest part of the international programme, with a “grand finale” in June 2021. In this way, the seventh edition of the U[KREP] 2020 will once again take place as a diverse, incisive and innovative festival of local and international contemporary dance creativity with necessary exceptions.

All clusters will follow our original mission – to present promising young dancers from Slovenia and abroad through innovative performances, dance interventions and workshops led by up and coming authors from Europe (Austria, Germany, Czech Republic, Hungary, Belgium, Norway, Sweden) as well as from Tunisia, Madagascar, South Korea and Hong Kong. Once again, we are trying to place local young choreographers and dancers in a creative dialogue with international arena by actively involving them in the dance creations and connecting them with promising foreign authors. Another important topic of the festival is bringing contemporary dance closer to the wider audience. That’s why we will further expand it by organizing dance events at new venues and by connecting with various organizations (Glej Theatre, ZRC SAZU, Španski borci Culture Centre, Azil Bookshop, Lighting Guerrilla Festival, and City of Women Festival).

The first part of the U[KREP] 2020 will take place from June 12 to June 15, in collaboration with Alma Mater Europaea – Dance Academy and Lighting Guerrilla Festival and in conjunction with the Creative School of Dance Film organized by Dance Theatre Ljubljana. The new reality of self-isolation, quarantine, changed working conditions and collective creative participation has literally “washed over” the reality as we used to know it. The outlines of a “new reality” are now emerging at the edges of the known, which we can (for now) feel in the dark, smell from afar, sense in our bellies, but are not yet able to think it. It will probably require both the rearrangement of the established social patterns and a transformation of the intimate sphere of human life. Our motto remains that dance is a metaphor for life in its entirety, both for the life of an individual and for the life together. And that is why it holds the potential of revealing and presenting everything that does not (yet) exist, but can manifest itself through the body, through film and light. And – last but not least – through the language of absurd. Samuel Beckett: “Dance first. Think later. It’s the natural order.” The new reality implies a new order of things and new struggle –for people, nature and community.

FOLLOW US!

PROGRAM junij 2020 – »Nova realnost« / »New Reality«

12. 6. – 15. 6. 2020

na različnih lokacijah / at various locations

OSTALE PREDSTAVE NA FESTIVALU / OTHER FESTIVAL PERFORMANCES

Slovenska akademija znanosti in umetnosti (SAZU) / Slovenian Academy of Sciences and Arts

CLASH (Nemčija, Tunizija / Germany, Tunisia)

plesna predstava / a dance performance

Koncept in koreografija / Conception and choreography: Massimo Gerardi

Plesalci-performeji / Dancers-Performers: Wael Marghni, Vojtech Rak, Kais Harbaoui, Haroun Ayari

Pomoč, koordinacija / Assistance, Coordination: Cyrnne Douss, Malek Sebai

Glasba / Music: Johann Sebastian Bach, Nik Bärtsch, Anouar Brahem

Koprodukcija / Co-produced by: SubstTANZ (Massimo Gerardi) in Hayyou’Raqs

O predstavi

Koreografski projekt CLASH obravnava dve plesni identiteti: evropsko in tunizijsko. Čeprav sta zaradi svoje dediščine in tradicij daleč narazen, se v predstavi CLASH srečata in postavita pod vprašaj odmev evropskega kulturnega kolonializma v današnjem severnoafriškem sodobnem plesu. Koreograf Massimo Gerardi uporabi besedo »spopad« kot simbolični izraz za »spopad kultur«, ki seže onkraj svoje negativne konotacije in namesto tega postane impulz za skupno kolektivno raziskovanje. Predstava CLASH ni samo politična izjava, saj se osredotoča na dialoge in odnose med nastopajočimi – ki so včasih tudi intimni – ter na njihov pristop do plesa kot oblike osebnega izraza in samoopredelitve. Toda na kakšen način se ti liki razlikujejo in v kakšni meri so povezani?

About the performance

The choreographic project CLASH deals with the encounter of two identities in dance: the European and the Tunisian. Although far from each other because of their heritage and traditions, they meet in CLASH putting into question the echo of the European cultural colonialism in the North-African contemporary dance of today. The choreographer Massimo Gerardi utilizes the word “clash” as a symbolic expression for “clash of cultures”, which reaches behind its negative connotation and becomes rather an impulse for a shared collective exploration. The performance CLASH is not merely a political statement as it focuses on the performers’ dialogues and relationships - sometimes intimate - and their approach to dance as a form of personal expression and self-definition. But how do these characters differ and how much are they connected?

Plesni Teater Ljubljana / PTL - Dance Theatre Ljubljana

SAME SAME (Belgija, Češka / Belgium, Czech Republic)

plesna predstava / a dance performance

Koncept in koreografija / Conception and Choreography: Karine Ponties

Nastopajoči / Performers: Tereza Ondrová & Petra Tejnorová

Oblikovalec svetlobe in umetniški svetovalec / Light Designer and Artistic Advisor: Guillaume Toussaint Fromentin

Asistent koreografije / Choreography Assistant: Jaro Viňarský

Svetlobni tehnik / Light Technician: Zuzana Režná

Producentka / Field Producer: Linda Průšová

Produkcija / Produced by: danceWATCH / Karolína Hejnová & Dame de Pic / Rachel Goldenberg

Koprodukcija / Co-produced by: Festival TANEC PRAHA & Le 140

O predstavi

Tereza Ondrová in Petra Tejnorová v nepričakovanem duetu v režiji francoskobelgijske koreografinje Karine Ponties.

Koprodukcije festivala TANEC PRAHA so poziv umetnikom, ki se ne bojijo novih impulzov ali raziskovanja neznanega, iskanja drugačnih metod in celo vlog, ki so definirane na še nepoznane načine. Zato ni nikakršno presenečenje, da se gledališka režiserka Petra Tejnorová znajde na odru skupaj z vodilno češko kreativno plesalko Terezo Ondrovo. Njun skupni interes za raziskovanje meja subtilnega humorja, ironije in absurdnosti, ob hkratnem spoštovanju do zapletenosti medčloveških odnosov, še poudarja režijskokoreografsko vodenje Karine Ponties. Delo, ki ga je navdihnil Buster Keaton, nas lahko kljub svoji lahkotnosti gane s svojo globino in iskrenostjo.

About the performance

Tereza Ondrová and Petra Tejnorová in an unexpected duo under the direction of Franco-Belgian choreographer Karine Ponties.

The co-productions of the TANEC PRAHA Festival are a call to artists who are not afraid of new impulses, of exploring the unknown, searching for other methods and even roles defined in ways we weren't used to. It therefore comes as of surprise that theatre director Petra Tejnorová finds herself on stage with leading Czech creative dancer Tereza Ondrová. Their joint interest in exploring the boundaries of subtle humour, irony and absurdity, while respecting the intricacies of human relationships, is underlined by the directorial-choreographic leadership of Karine Ponties. Inspired by Buster Keaton, despite all the lightness of the form they can move us with their depth and sincerity.

*Foto / Photo: Busan International Dance Market*

Plesni Teater Ljubljana / PTL - Dance Theatre Ljubljana

EMPTY ROOM (Južna Koreja / South Korea)

plesna predstava / a dance performance

Koreografija in ples / Choreographer & Performer: Hyeonbong Ha

O predstavi

Nisem vedel.

Vsakič, ko je bila soba polna, se je to zdelo naravno.

Toda zdaj soba ni polna.

V sobi ne čutim njegove topline ali vonja.

Soba je tako tiha, da je čudno.

Poslal sem ga v nebesa, potem pa mi je bilo žal, da sem spoznal, kako razmišlja.

Njegova soba in moje srce sta prazna.

Bil je osamljen in razcapan, a je bil čudovit.

On je moj ljubljeni oče.

About the performance

I didn't know.

Every time the room was full, it seemed natural.

But now the room is not full.

I can't feel his warmth or smell in the room.

The room is so quiet that it's awkward.

I sent him to heaven, and afterwards I felt sorry to have known his mind.

His room and my heart are empty.

He was lonely and shabby, but he was awesome.

He is my beloved father.

Plesni Teater Ljubljana / PTL - Dance Theatre Ljubljana

STORY OF GOING TO THE MOON WITH RABBIT (Južna Koreja / South Korea)

plesna predstava / a dance performance

Koreografija in ples / Chorographers & Performers: Jongyoon Lee, Jinwoo Lee

O predstavi

Pred davnimi časi so se na Vzhodu ljudje s svojimi željami obračali na luno, ki so jo imeli za simbol upanja. Če luno pogledamo od blizu, je oblika na njej nekoliko podobna zajcu, zato so ljudje verjeli, da na njej živi zajec.

Ali zajci res živijo na luni?

V starih pravljicah je luna predstavljala simbol »upanj« in »želja«. Bog nebes, imenovan »Jeseokcheon«, je luno varoval tako, da je zaradi njihove zvestobe za njene skrbnike izbral zajce. Imenujejo se lunini zajci.

Številni mladi ljudje živijo s svojimi upi in sanjami. A podobno kot izginja in se ponovno pojavlja luna, velja tudi za upanje mladih v resničnem življenju. Če luno varujejo zajci, mladi svoje upe varujejo s svojo voljo.

Z gibanjem želimo izraziti prizadevanja in želje mladih, da bi zaščitili svoje upe, kot zajci, ki trejo zrnje v terilniku in se z željo po upanju obračajo na luno.

About the performance

Long ago in the East, people made wishes to the moon, which was recognized as the symbol of hope. If one looks at the moon closely, the shape on the moon looks somewhat like a rabbit, so people believed that rabbit lived on the moon.

Do rabbits really live on the moon?

In old fairytales, the moon has been a symbol of "hopes" and "wishes". The God of heavens called "Jeseokcheon" protected the moon by having rabbits as guardians because of their loyalty. They are called moon rabbits.

Many young people live with their hopes and dreams. However, just like the moon disappears and reappears, so did hope for the young in real life. If the moon is protected by rabbits, young people have their own will to protect their hope.

We intend to express in a movement the effort and will of the young to protect their hope like the rabbits pounding grain in a mortar wishing for hope to the moon.

Plesni Teater Ljubljana / PTL - Dance Theatre Ljubljana

STRUGGLE (Južna Koreja / South Korea)

plesna predstava / a dance performance

Koreografija in ples / Choreographer & Performer : Darae Jeong

O predstavi

Ko stopimo na deževnika, se zvije … Divje se premika.

Kaj se zvija?

Ali ni zvijanje gibanje, ki se ga poslužimo, ko se poskušamo rešiti iz kakšnega težkega položaja?

Želim si pobegniti iz tega banalnega življenja, a ne morem. Nato se zavem, da sem kot črv, ki se zvija.

Ali ni ta lik jaz, ki se trudim pobegniti?

Kakšni so moji gibi borbe in zvijanja in iz kje izvirajo?

Kako se zdite sami sebi, ko se borite?

Z gibom želim občinstvu prenesti svoje misli.

About the performance

An earthworm wriggles when we step on it ... It moves violently.

What is wriggling?

Isn't wriggling a movement that we use when trying to get out of a difficult situation?

I want to escape from this mundane life but I can't. Then I realize, I'm like a wriggling worm.

Wouldn't the figure be me struggling to get away?

What are my struggling or wriggling movements and where do they come from?

How do you see yourself as you are struggling?

I want to convey my thoughts to the audience by movement.

Stara mestna elektrarna / The Old Power Station

METAMORPHOSIS (Madagaskar / Madagascar)

plesna predstava / a dance performance

Koreografija / Choreography: Judith Olivia Manantenasoa

Plesalka-performerka / Dancer-Performer: Judith Olivia Magpayo Manantenasoa

Oblikovanje svetlobe / Lighting Design: Volahasiniaina Linda Angelica

Fotografije / Photographic file: Bary Malandemongolod

Produkcija / Produced by: YODINE Produções

O predstavi

Poleg tega da Metamorfoza kot tema naslavlja spremembe stanja oz. položaja, se raztopi v maso in popolnoma izgine.

Predstava Metamorfoza obravnava individualizem plesalca in predmetov na odru prek faze inverzije in transmutacije med njima: »ne nanaša se zgolj na zavedanje vsega, kar se zgodi, temveč se osredotoča tudi na našo vizijo, da si omogočimo videti meje možnega«.

Na odru ni bila namenoma uporabljena nobena zvijača, preprostost na začetku, njen minimalizem in introvertiranost, ki skorajda nima pomena, ponazarja in kaže resničnost življenja, ki bo izgubila tla pod nogami, v nekakšnem fizičnem in psihičnem neravnovesju, v neke vrste nenadzorovani krizi.

About the performance

Besides the fact that Metamorphosis, as a theme, addresses a change of state, of situation, it dissolves into mass and disappears completely.

Metamorphosis, takes the individualism of the dancer and the objects present on stage, through a phase of inversion and transmutation of the two: «not merely referring to the awareness of everything that happens, but also focusing our vision to enable oneself to view the limit of the possible».

No artifice was purposefully used on stage, the simplicity at the beginning, its minimalism and the introversion that almost has no meaning, illustrates, and shows a reality of life that will fall adrift, in a kind of physical imbalance and psychic imbalance, in a kind of uncontrollable crisis.

Plesni Teater Ljubljana / PTL - Dance Theatre Ljubljana

ENTITLED (Norveška / Norway)

plesna predstava / a dance performance

Koreografija | Plesalec / Choreography | Dancer: Stian Danielsen

Oblikovanje svetlobe | Prostor / Lighting Design | Space: Martin Myrvold

Kostumografija / Costume Designer: Line S. Maher

Skladatelj | Oblikovanje zvoka / Composer | Sound Designer: Morten Pettersen

Oblikovanje zvoka / Sound Designer: Terje Wessel Øverland

Dramaturgija / Dramaturgy: Thomas Schaupp

Kreativna produkcija / Creative Producer: Lene Bang Org.

Koprodukcija / Co-produced by: Bærum Culture House

O predstavi

Človekovo identiteto oblikujejo izkušnje iz mladosti in stalni pritisk pričakovanj. Nekatere vidike identitete dobimo izoblikovane od zunaj, druge pa ustvarimo sami. Koreograf in plesalec Stian Danielsen nas v svoji novi solo predstavi Upravičen (Entitled) povabi v temno jamo, v kateri njegovo telo razkrije svojo dvoumnost, s čimer izrazi humanitarno sporočilo nasproti prevladujočim zaključkom. Predstava bo večplasten in čutni spektakel nerazumljivega, v katerem se njegovo telo in njegov glas prepletata v vibracije, od mikro premikov do širokih oscilacij. Gre za delo, kjer kodificirane oblike njegovega telesa, njegovega spola in prostora postajajo vse bolj krhke in se razblinijo v telesno izkušnjo biti najprej in predvsem človek.

About the performance

Early experiences and the enduring force of expectations shape one's identity. Some aspects of it are constructed for us, while others we construct ourselves. With his new solo Entitled, choreographer and dancer Stian Danielsen invites us into a black cave, in which his body exposes its ambiguity - proposing a humanitarian statement against predominant conclusions. Entitled will be a multi-layered and sensual spectacle of the incomprehensible, in which his body and his voice interweave into vibrations, from micro-movements to wide oscillations. It will be work, in that codified shapes of his body, his gender and space become increasingly fragile and dissolve into a corporeal experience of being first and foremost human.

Knjigarna AZIL / AZIL Bookstore

QUAN QUAN (Hong Kong)

lokacijsko specifična plesna predstava v knjižnici oz. knjigarni / a site-specific dance performance in Library or Bookstore

Koreografija, ples / Choreographer & Dancer: Ivy Tsui

Ples / Dancer: Grace Yuen

Producentka / Producer: Carrol Ho

O predstavi

QuanQuan (»Kroženje«) je na lokacijo vezana plesna predstava v knjižnicah, knjigarnah ali kavarnah s knjigarno. Performerki se po navdihu določenega prostora gibata skozi konceptualni prostor z interpretativnim gibanjem. Pri tem se prepustita, da ju vodijo vonjave, in uporabljata običajne predmete kot plesne partnerje. Avtorici vabita občinstvo, da zaključi popotovanje, in upata, da bodo skupaj odkrili veselje v najmanjših stvareh.

About the performance

QuanQuan (means circling) is a site-specfic dance performance in libraries, bookstores or cáfe cum bookstore. Inspired by the location, performers move through the conceptual space with interpretative movements. By letting scents act as guides, and incorporating ordinary objects as dance partners, the work invites audience to complete the journey and hope to discover joy from the smallest things together.

Plesni Teater Ljubljana / PTL - Dance Theatre Ljubljana

BUTTERFLY TALES (Avstrija / Austria)

plesna predstava / a dance performance

Koncept, koreografija, vizualna podoba, prostor, zvok, luči / Concept, Chorepgraphy, Visuals, Space, Sound, Light: Andrea K. Schlehwein

Ples, izvedba / Dance, Creation: Unita Gay Galiluyo, Jye Hwei Lin, Eiji Takeda

Kostumografija / Costume Design: Midori Kawamura

Vodja produkcije / Head of Production: Eleonore Schäfer

Sodelovanje, produkcija / Collaboration Space, Production: Brigitte Büsken

Pripravništvo, asistent za koreografsko sodelovanje in teaser / Internship, Assistant for Choreography collaboration on Soundtrack + Teaser: Abriel Gardner

Produkcija in vodenje / Production, Management: büro für tanz I theater I produktionen - Eleonore Schäfer, Andrea K. Schlehwein

O predstavi

Teorija kaosa I prevpraševanje

Plahutanje metuljevega krila na enem koncu sveta sproži velike posledice na drugi strani. To znanstveno nedokazano idejo smo prenesli v naše plesne vaje.

Vsak impulz, ne glede na to, kako majhen je, vpliva na naše notranje delovanje telesa. Akciji sledi reakcija, dejanju posledica.

Kako transparentna in uglašena mora biti naša plesna tehnika, da bi bil ta naš pristop viden od zunaj?

»Zgodbe o metuljih« so sodobni balet, nasičen v plesnem smislu, vizualno večplasten, dinamično vznemirljiv. Trije plesalci, Unita Gay Galiluyo s Filipinov, Jye Hwei Lin iz Tajvana in Eiji Takeda iz Japonske, v koreografiji Andree K. Schlehwein ustvarjajo zgodbe, ne da bi jih pripovedovali.

Realnost I zrcaljenje

Odhod proti zavestno izbrani ozki črti, horizonti, kjer se srečujejo bipolarni pari, kot so sanje in realnost, sprememba in stagnacija, logika in poezija, enigma in jasnost, kompleksnost in enostavnost, manipulacija in samoodločanje, utopija in distopija.

Sanjal sem, da sem metulj, ki plahuta skozi zrak. Ko sem se zbudil, sem se vprašal, ali sem človek, ki je sanjal, da je metulj, ali metulj, ki je sanjal, da je človek.

Prispodoba: Zhuang Zi

About the performance

Chaos theory I questioning

The flapping of a butterfly's wing on one side of the globe triggering a great effect on the other side.

This scientifically unverified idea is transferred to our dance rehearsal work.

Each impulse, no matter how small, has an impact on the inner workings of the body. Action is followed by reaction, input by consequence.

How transparent and fine-tuned do we need our dance technique to be in order to make this approach apparent from the outside?

'butterfly tales' is a contemporary ballet, dense in terms of dance, visually multi-layered, dynamically exciting. In Andrea K. Schlehwein's choreography, the three dancers Unita Gay Galiluyo from the Philippines, Jye Hwei Lin from Taiwan and Eiji Takeda from Japan let stories emerge without telling stories.

Reality I mirroring

A departure towards a self-chosen narrow line, a horizon, where bipolar pairings like dream and reality, change and stagnation, logic and poetry, enigma and clarity, complexity and plainness, manipulation and self-determination, utopia and dystopia meet.

I dreamt I was a butterfly, fluttering through the air. When I woke up, I asked myself whether I was a man who dreamt to be a butterfly, or if I am a butterfly who dreamt to be a man.

Parable by Zhuang Ziv

Plesni Teater Ljubljana / PTL - Dance Theatre Ljubljana

SELF HELP ROOM (Južna Koreja / South Korea)

plesna predstava / a dance performance

Koreografija in ples / Choreographer & Performer: Hyekyoung Kim

Mentorstvo in umetniško svetovanje / Menthorship & Artistic Advice: Eun-Me Ahn

Produkcija / Produced by: gadja productions

O predstavi

Z vidika plesa je »resničen obstoj osvoboditev«. Resničen obstoj pomeni fizično substanco. Zavedati se samega sebe kot fizičnega telesa. Zavestno telo in zavestni subjekt sta enaka. Ples sprejme ta fizični objekt kot podobo. Ko slika postane glavni subjekt in se produktivno giba, postane tudi najmočnejše orodje osvoboditve na področju estetike podobe. Med tem presežkom in obilico podob je ples oblika osvoboditve, hkrati pa tudi osvoboditev sama.

Ko je ples počasen in plazeč se, kot kakšna ličinka ali črv, predstavlja izkušnjo osvoboditve od nečesa drugega. Ta posebna izkušnja je izkušnja, ki ljubi izkušnjo, zavedanje izkušnje. Ličinke običajno nimajo zavedanja, toda ta podoba je posebna z zavedanjem. Zavedati se nečesa pomeni imeti dostop prek fizičnega telesa ter se znati vprašati.

Soba za samopomoč <Jajobangbang> ohranja ta dostop in vprašanja in nadaljuje v prostranem prostoru svobode. V Koreji ta prostor razumemo kot sobo. In soba postane igrišče. V Koreji je primerov sob na pretek, dovolj, da se vam zvrti. Igralna soba, video soba, masažna soba, stripovska soba, pevska soba (karaoke) in tako naprej. Ta kultura sob se nahaja na sredini med javno in zasebno sfero. Korejska družba ima raje to posebno izkušnjo posedovanja, močno in začasno, transformacije v prostor, kjer se lahko ljudje skrijejo zelo osebno in zasebno, in nato iz njega ustvarijo prostor osvoboditve, ne kot eden izmed članov družbe. Kaj je zares ta soba, ki je med javnim in zasebnim.

About the performance

In the perspective of dance, ‘Real existence is the liberation.’ Real existence means physical substance. Being aware of itself as a physical body. 자각하는 육체와 자각하는 주체는 같다. Dance accept this physically substantial object as an image. When the image becomes the main subject and productively moves, it also becomes the strongest tool of liberation at the field of image esthetics. Among these overflowing and abundant images, dance is a tool of liberation but also a liberation itself at the same time.

When dance is thrown, slow and crawling just like a larva or worm, it means to have an experience of being liberated from something else. This special experience is an experience that loves experience, being aware of experience. A larva normally do not have an awareness, but this image is a special one with awareness. To be aware of something is to access through physical body and know how to ask themselves.

<Self Help room room> <Jajobangbang>(<자조방방自照房房>) keeps this access and questions, and it proceeds in the substantial space of liberty. In korea, we see this space as a room. And the room becomes a playground. There are plenty of examples of rooms in Korea, enough to make you dissy. Game room, Video room, Massage room, Comic room, Singing Room(Karaoke) and etc. This room culture locates itself at the middle step between the public area and private one. Korean society prefer this particular experience of possessing, strongly and temporary, the transformation to place when people can hide very personally and privately then make it as a space of liberation, not as the one of the society members. What really is this room, between the public and private.

Galerija Škuc / Škuc Gallery

SLICK (Švedska / Sweden)

plesni solo / a dance solo

Avtorica in izvajalka / Created by and On Stage: Sofia Södergård

Pomoč pri režiji / Director Support: Ulrika Malmgren

Pomoč pri koreografiji / Choreography Support: Tarika Wahlberg

Pomoč pri kostumih / Costume Support: Felicia Kronlöf

Luč in tehnika / Light and Tech: Tobias Hallgren, Lumination

Video in projekcija / Video and Projection: Tova Nyberg

Zvok / Sound: Karl Lund

Kitarski solo / Guitar Solo: Susanna Risberg

Koprodukcija / Co-produced by: Norrlandsoperan, Dansens hus and Turteatern

O predstavi

V predstavi SLICK spoznamo Qarla Qunta – svetovno znanega umetnika, plesalca, pevca, zabavljača. »Hotela sem ukvarjati s klišeji in mačističnimi stereotipi, za kar gre pri transvestizmu. Iskala sem tudi Qarlove šibke točke in tako raziskovala njegovo ženstveno plat.« – Södergård

Predstava SLICK s humorjem in dostojanstveno odpira vprašanja spola, seksualnosti, moškosti in ženskosti, identitete in ljubezni. Predstavi je enostavno slediti, a je kljub temu politična. Södergård se po vsaki predstavi sreča z občinstvom, predstava pa hvalijo ljudje vseh starosti, iz vseh okolij in različnega poznavanja tematik LGBTQ+ in kulture.

About the performance

In SLICK you meet Qarl Qunt - the world famous artist. He dances, sings, and entertains. ”I wanted to work with clichés and macho stereotypes which is what drag king is all about. I also explored the feminine side of Qarl by finding his vulnerabilities.” - Södergård

With humor and dignity SLICK raises questions about gender, sexuality, masculinity vs. femininity, identity and love. It’s easy to follow and still political. Södergård meet the audience after every performance and SLICK has been praised by people of all ages, from different backgrounds and knowledge in lgbtq-questions and culture.

DELAVNICE NA FESTIVALU / FESTIVAL WORKSHOPS

V sodelovanju z EX-teatrom in Trubarjevo hišo literature / In collaboration with EX-teater & Trubar literature house

Bush Hartshorn (UK / ZK): GIVING & RECEIVING FEEDBACK WORKSHOP / DELAVNICA O PODAJANJU IN SPREJEMANJU ODZIVOV

Vabimo vas na dvodnevno delavnico pod vodstvom Busha Hartshorna. Delavnica ponuja orodja za podajanje in sprejemanje odzivov (t. i. feedback-a) pri vašem umetniškem delo po metodi učenja z delom. V okviru delavnice se bomo ukvarjali z mehanizmi komuniciranja, pri čemer se bomo opirali na načela nevrolingvističnega programiranja (angl. Neuro-Linguistic Programming, NLP) in nenasilne komunikacije (angl. Nonviolent Communication, NVC) in na prakse inštruiranja. Predstavljena in preizkušena bo tudi metodologija povratnih informacij, ki temelji na procesu kritičnega odzivanja (angl. Critical Response Process) avtorice Liz Lerman. Če bo čas dovoljeval, bomo proučili in preizkusili tudi druge metode. Cilj delavnice je razviti zanimive ideje in vzpostaviti dialog o ustvarjanju in prikazovanju umetniških del, pri čemer je namen okrepiti samozavest v procesu sprejemanja mnenj in povratnih informacij, da bi lahko postali bolj podporni kolegi, opazovalci, prijatelji in člani občinstva. Od udeležencev se pričakuje, da na delavnici pokažejo svoje gibe, besedila, ideje, predmete ipd., za katere bi radi prejeli povratne informacije.

Delavnica je namenjena vsem, ki pri svojem delu dajejo feedback: koreografom, plesalcem, dramaturgom, producentom, mentorjem, učiteljem.

Pomembno je, da so udeleženci na delavnici prisotni oba dneva.

Bush Hartshorn (Velika Britanija) je leta 1982 diplomiral na visoki šoli za umetnost v Darlingtonu iz smeri gledališki jezik. Od takrat naprej je deloval kot skupnostni umetnik, dramaturg, performer, oblikovalec gledaliških programov in umetniški direktor v Veliki Britaniji, Španiji, Belgiji, na Nizozemskem, Irskem in Danskem. Trenutno je vodja razvoja umetnikov pri plesni organizaciji Dance Base iz Edinburga. Leta 2009 je dobil naziv inštruktorja relacijske dinamike, ki jo uporablja pri svojem mentorstvu plesnih umetnikov. Od januarja 2015 Bush mentorira in inštruira umetnike v Avstraliji, na Cipru, v Veliki Britaniji, v Španiji, na Češkem, v Islandiji, na Norveškem, Švedskem in Finskem ter na Poljskem. Opravlja tudi delo plesnega kuratorja v gledališču Sardegna Teatro v Cagliariju na Sardiniji. V ozadju vsega skupaj pa stoji njegova doživljenjska predanost nogometnemu klubu Liverpool.

We invite you to a 2-day workshop led by Bush Hartshorn. The workshop provides a toolkit for giving and receiving feedback in your artistic work, through learning by doing. The workshop touches upon the mechanisms of communication, drawing on Neuro Linguistic Programming (NLP), Nonviolent Communication (NVC), and Coaching practices. There will also be an introduction and practice in shared feedback methodology based on the Liz Lerman’s Critical Response Process. If time allows, we may also examine and practice other methods. The aim is to create interesting ideas and dialogue around the making and showing of art works, hoping to build confidence in navigating the terrain of receiving opinion and feedback, to increase your ability to be a more supportive colleague, witness, friend and audience member. Participants are asked to bring phrases of movement, texts, ideas, objects, etc. that they would like to receive feedback on.

Who is it for: anybody who is involved in giving feedback to others: choreographers, dancers, dramaturgs, producers, mentors, teachers, programmers.

Language: English

It is important that all participants can commit to being present both days.

Bush Hartshorn, UK Bush graduated from Dartington College of Arts in 1982 with a degree in Theatre Language. From that time onwards, Bush has pursued a career as a community artist, dramaturge, performer, theatre programmer and artistic director in UK, Spain, Belgium, the Netherlands, Ireland and Denmark. He is currently the Head of Artist Development at Dance Base, Edinburgh. In 2009, he qualified as a coach in Relational Dynamics, which has informed his work in mentoring dance artists. Since January 2015, Bush has been mentoring/coaching artists in Australia, Cyprus, UK, Spain, Czech Republic, Iceland, Norway, Sweden, Finland and Poland. He is also a dance curator for Sardegna Teatro, Cagliari, Italy. This has all been underpinned by a lifelong commitment to Liverpool Football Club.

Lene Bang (Denmark / Danska): THE ART OF PITCHING PERFORMING ARTS / UMETNOST PREDSTAVLJANJA UPRIZORITVENIH UMETNOSTI

Na tem dvodnevnem seminarju bomo proučevali strategije za mednarodno povezovanje in razvoj, in sicer tako, da bomo vadili predstavitve kot orodje za izboljšanje lastnih standardov. Predstavitve je mogoče uporabiti na trgih uprizoritvenih umetnosti in na sestankih, kjer se predstavljajo dela ali profili z namenom prodora na globalno sceno. Moderatorka bo proučila pogoje za predstavitev s spraševanjem – kakšne so vaše odlike? Vsi pogovori bodo temeljili na lastnih izkušnjah udeležencev oziroma na ambicijah po dodatnih možnostih za mednarodno sodelovanje. Med seminarjem bodo vsi udeleženci sestavili jasno predstavitev, katere cilj bodo dosegljivi rezultati. Vsaka izmed predstavitev bo predstavljena pred žirijo sovrstnikov. Poleg tega bodo udeleženci razpravljali o vprašanjih v zvezi s kulturnim kontekstom ter delali na lastnih materialih in strategijah.

Lene Bang je kreativna producentka in mentorica, ki raziskuje svet, pri čemer se osredotoča na krepitvi sodelovanja. Danes Lene Bang Henningsen deluje na platformi Lene Bang Org. s sedežem na Danskem. Zaradi svoje strastnosti in radovednosti sodeluje v različnih dolgoročnih partnerstvih in razvojnih projektih. Zaradi svoje predanosti in dela je v obdobju 2015–2017 prejela tudi štipendijo ISPA za razvoj vodstvenih sposobnosti. Trenutno Lene Bang razvija projekte z nordijskimi umetnicami in umetniki, kot so Kirsten Dehlholm/Hotel Pro Forma, Jon R. Skulberg/Convoi Exceptionnel ter Stian Danielsen in Björn Säfsten/Body of Curiosity. Je ena izmed štirih ustanovnih članic raziskovalnega projekta CAMP – Creative Agent Manager Producer in soavtorica vodnika It starts with a conversation (»Začne se s pogovorom«), pobudnica mentorske sobe pri mreži sodobnih uprizoritvenih umetnosti IETM ter mednarodna menedžerka in sodelavka plesne organizacije Zero Visibility Corp. (2008–2017). Poleg tega je oblikovala tudi prometni znak za visoke pete.

This two-day seminar explores strategies for international networking and development by practicing pitching as a tool to improve our own standards. Pitching can be used in the performing arts markets and meeting situations, where works or profiles are propositioned in order to access the global scene. The facilitator will investigate the conditions for pitching by the question: “How do you excel?” All conversations will be fuelled by the participants’ own experiences and/or ambitions to further explore international collaboration. During the seminar, all participants will create a clear pitch, aiming at achieving manageable results. Each pitch will be delivered to a panel of peers. In addition, the participants will explore questions relating to cultural context, while working on their own materials and strategies.

Lene Bang is a creative producer and mentor exploring the world – with a focus on empowering collaboration. Today, Lene Bang Henningsen is working from the platform Lene Bang Org, based in Denmark. Her passion and curiosity have led her to various long term partnerships and development projects. Her commitment and work have also led to her receiving ISPA fellowship 2015–2017 to further her leadership. Lene Bang is currently developing projects with Nordic artists such as Kirsten Dehlholm/Hotel Pro Forma, Jon R. Skulberg/Convoi Exceptionnel, Stian Danielsen and Björn Säfsten/Body of Curiosity.
She is one of the four founding members of the research project CAMP – Creative Agent Manager Producer, and the author and co-writer of It Starts with a Conversation, initiator of the mentor room at IETM, and international manager collaborating with Zero Visibility Corp. (2008–2017). In addition, she designed a high heels traffic sign.

Katja Sonnemann (Germany / Nemčija): ARTISTS AND PRODUCERS / UMETNIKI IN PRODUCENTI

Skupaj, z ramo ob rami, eni proti drugim, eni za druge?
Kako lahko izgleda sodelovanje med umetniki in producenti?
Kako so razdeljene odgovornosti in delovna področja?
Kako je oboje prepleteno? Kdaj pride do konfliktov?
Kaj pomeni dobro sodelovanje in kako želimo sodelovati?

Vloga producenta lahko zaobjema vse od ponudnika storitev do strateškega partnerstva. V praksi producenti pogosto pokrivajo celoten spekter in se gibajo na robu popolne preobremenjenosti. Kako lahko producenti bolj natančno opredelijo svojo vlogo in jo bolj jasno komunicirajo? In kaj od producentov zahtevajo in želijo umetniki?
V tej delavnici za umetnike in producente bomo proučili različne načine, na katere lahko sodelujejo umetniki in producenti, preverili, kakšna so pričakovanja obojih, ter zasnovali modele za njihovo medsebojno sodelovanje.

Katja Sonneman je neodvisna producentka, mentorica, svetovalka in predavateljica. Študirala je na Inštitutu za uporabne gledališke študije v Giessnu in delala kot vodja umetniškega načrtovanja v gledališčih Schaubühne (1999–2002) in Gorki Theater (2006–2009). Leta 2015 je bila vodja umetniške produkcije v gledališču Theater der Welt, v obdobju 2010–2012 pa samostojna producentka v kolektivu Rimini Protokoll. Med letoma 2012 in 2017 je vodila umetniški kolektiv and & Co., od leta 2013 pa dela v agenciji Wilson*Borles Arts Management. Leta 2017 je ustanovila in zasnovala Akademijo za producente uprizoritvenih umetnosti nemške Zveze mednarodnih produkcijskih hiš, ki je bila prvič izvedena leta 2018.

Together, side by side, against each other, for each other?
How can cooperation between artists and producers look like?
How are responsibilities and work areas divided?
How do these intertwine? When do they conflict?
What makes a good collaboration and how do we want to work together?

The role of the producer can range from service provider to strategic partnership.
In practice, producers often cover the entire spectrum and balance on the brink of feeling utterly overwhelmed. How can producers define their role more precisely and communicate it more clearly? And what demands and wishes do the artists have in relation to the producers?
In this workshop for artist and producers, we will look at the different ways in which artists and producers work together, take a closer look at each other's expectations, and design models for collaboration.

Katja Sonnemann is an independent producer, mentor, consultant and lecturer. She studied Applied Theatre Studies in Giessen and worked as the head of artistic planning at Schaubühne (1999–2002) and at Gorki Theatre (2006–2009). She was the head of artistic production at Theater der Welt, Stuttgart in 2015, and freelance producer at Rimini Protokoll in 2010–2012. From 2012 to 2017, she was the manager of andcompany&Co., and since 2013, she has worked at the Wilson*Borles Arts Management agency. In 2017, she initiated and conceived AKADEMIE for Performing Arts Producers as part of the Alliance of International Production Houses, which has been held for the first time in 2018.

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