Maja Đurinović: Kako razlikovati plesače od plesa (PLESNA SCENA.hr, 16. lipnja 2014.)

Maja Đurinović: Kako razlikovati plesače od plesa
(PLESNA SCENA.hr, 16. lipnja 2014.)

Plesna scena   Kako razlikovati plesače od plesa

IMRC kolektiv je nastupio 31. svibnja u Zagrebačkom plesnom centru s dva programa. Magnolija (ili prkos), je posljednji rad i prvo cjelovečernje djelo kolektiva pod vodstvom Sibile; duet Vesne Mačković i Silvije Marchig nastao na poticaj, tekstualne i likovne nacrte Mačković, ujedno iznimno zanimljive izvođačice čija se ograničenja u brzini hoda ili veličini koraka pretvaraju u neobičnu, nemirnu vertikalu. Izvođačice kreću iz pozicije distance i međusobnog preuzimanja scene da bi se s vremenom sve više osjetila neka povezanost, misaona pa onda i tjelesna. Svaki novi izlazak donosi drugu nijansu tjelesne senzacije, međutim to pada u djelu kada izvođačice sjednu da bi naizmjence čitale tekstove čiji se sadržaj čini pretenciozan u kontekstu cijelog
programa baziranog na finom tkanju osjetilnog i emotivnog.

Nataša Govedić: Granica izvođačice i autorice (Zarez, broj 381., 10.4.2014.)

Nataša Govedić: Granica izvođačice i autorice
(Zarez, broj 381., 10.4.2014.)
2014-04-10 Zarez - osvrt na rad u nastajanju - Magnolija (ili prkos)

Magnolija (ili prkos)

Vrlo jaku motivaciju izvedbe ovih nam je dana ponudila predstava, bolje rečeno tridesetpetominutni procesnirad pod nazivom Magnolija (ili prkos), kojisuradnički potpisuju Iva Nerina Sibila, Vesna Mačković i Silvia Marchig. Ovdje pratimo susret, nipošto ne klasični duet, dva različito kapacitirana tijela: jednog vrhunske plesačice suvremenog plesa i balerine Silivije Marchig i drugog, također vrhunski obilježenog borbom s invaliditetom, koje se izvedbi pred gledateljima otvara iz duboke potrebe propitivanja svog mjesta u cijelom kinetičkom sustavu današnje fizičke estrade. To “drugačije funkcionalno” tijelo Vesne Mačković u drugom dijelu predstave dijelis publikom svoje koreografske vizije i potrebe. Jedna od njih je san o željezničkoj stanici, gdje se brzi vlakovi i putnici koji jure u različitim smjerovima mimoilaze s tijelom koje nikamo ne može odjuriti i ne može se uključiti u općislet hektičnosti, alistoji na stanici zagledano u beskrajne mogućnosti odlazaka i dolazaka. Silvia Marchig odgovara Vesni Mačković citatom iz Deleuzea, o tome da je dosta binarnog mišljenja, dosta je suprotstavljanja “zdravih i bolesnih”, idemo se maknuti od toga da svuda postoje samo jedan zid i jedna rupa. I zbilja, koreografija koja počinje kao nizanje “samopredstavljačkih” sola vremenom prerasta u vrlo potresnu studiju ljudskih ruku, rastvorenih (Marchig) i čvornatih, zgrčenih dlanova (Mačković), čija je koordinacija onoliko nepravilna i onoliko savršeno točna koliko su to i kompozicije latica posvema neumjerenih magnolija. U ovoj predstavi Marchig nije “asistentica” Mačković. Naprotiv, svako tijelo brine za sebe isvako tijelo bira svoju muku, odnosno svoj rad s unutarnjim i socijalnim preprekama. Čak bih rekla da je naglašenija samostalnost tijela i u toj samostalnosti namjerna kriza “koherencije”, u korist istraživanja dvije vrlo različite zone nonkonformističkih impulsa. Marchig istražuje pokret bez čvrstih vektora, gotovo olujno vođen (vitlan) prostorom, a izazivan dugim zadržavanjem daha i zatim njegovim naglim otpuštanjem, kao i težinu evokacije sinkronog kretanja, odnosno poziva i čekanja da s Vesnom Mačković uđe u ritmičko zajedništvo sudisanja. Mačković afirmira ples kao imaginacijsku zonu, u kojoj je dovoljno dozvolitisi moment igre da bi i izvođačica i publika bili uvučeni u koreografsku etidu, dodatno radeći i na maski(realiziranoj prekrivanjem lica bjelinom kreme) i na kostimu (suknja prljavoružičaste boje čije ogrtanje i zavezivanje predstavlja vidljivi napor). Ispada da i Marchig i Mačković na sceni žele transformaciju: Marchig prvenstveno unutarnju, Mačković u prvom redu izvanjsku.

Autorice i njihovi “viškovi”

Iako je Magnolija službeno potpisana kao “suautorstvo i izvedba Vesne Mačković i Silivije Marchig, uz umjetničko vodstvo Ive Nerine Sibile”, rad na sceni ne ostavlja sumnje u to da je svaka instanca kreativnog odlučivanja ovdje vrednovana upravo kroz prizmu autorstva. I u razgovoru s publikom nakon izvedbe također je jasno da imperativ čitavog procesa bio istražiti pojedinačne glasove, pogotovo različite dimenzije njihove tegobne virtuoznosti. Jer svako je majstorstvo jednako tako hendikepirajuće koliko je to ifizička bolest. Zbog toga u mnogim zemljama svijeta u rubriku “djece s
posebnim potrebama” ulaze i oni čije je usvajanje znanja zbog nečega usporeno, ali i oni kod kojih je usvajanje znanja izrazito ubrzano. Obje grupe u socijalnim državama dobivaju pratitelje nastave da ne bi potpuno ispale iz takozvanog “korektivnog prosjeka”. U istom duhu, imajmo na umu da je baletno tijelo
posve jednako ekscentrično koliko su to i tijela s vidljivim invaliditetom. Štoviše, baletno tijelo je i politički često prognano isključivo u zonu nostalgije i imperijalističke zabave, što mu doduše osigurava specifičnu vrstu komercijalne vidljivosti, ali ne i dijalošku vezu s praksama i publikama suvremene umjetnosti. Zbog toga spoj Silvije Marchig i Vesne Mačković na sceni veoma produktivan i na različite načine međusobno oplemenjujući. Njihova razlika nije ni očekivano iskustvena, nitisamo politička. Zajedno s umjetnicom Juliet Robson, mogli bismo je prije nazvati paralelnim “podrivanjem arhitektonike standardizacije tijela”, kao i prevrednovanjem intenziteta scenskog fizisa u korist povećavanja složenosti i nijansiranosti onoga što uopće smatramo
elaboriranim plesnim materijalom. Ali to je samo jedan (uski) interpretativni okvir. Osobno, ovu predstavu ne mogu reducirati na ovu ili onu vrstu kritike ili programa integracije. Daleko mi je važniji neverbalni od verbalnog dijela, jer se u čistoplesnom izričaju kod obje autorice pojavljuje unutarnja tjeskoba različitih afektivnih i identifikacijskih viškova – zanimljivo je koliko ih različito razrješuju (Mačković – lirski vedrom igrom, Marchig – mnogo mračnijim pristankom da tijelo prođe kroz svojevrsni “vihor” dekompozicije). U verbalnoj ifilmskoj zoni izvedbe, doduše, imam problem s uspoređivanjem scenskog materijala izvođačica i legendarnog japanskog performera Kazuoa Ohnoa (citat iz Ohnoove predstave Mother završava izvedbu). Naravno da je butoh također odrediv kao zona u kojoj je čudovišno/katastrofalno/ranjeno izjednačeno s najpročišćenijim izrazom i na svoj način onda čak i estetički zavodljivim sadržajem, ali nisam sigurna da je Magnoliji(kao lucidno imenovanoj vrsti prkosa u naslovu predstave) potrebna tako eksplicitna usporedba, niti da joj je uopće potrebna sprega s tehničkim aspektom buthoa kao vizualnog citata, bez dubljeg odnosa u ovu kompleksnu umjetničku formu. Marchig i Mačković stvaraju kontekst intimnosti izloženih tijela koji se čini daleko važnijim od citata nekih drugih epoha i njihovih ekspresivnih vrhunaca. Općenito mise čini da je You Tube doveo do toga da praktičkisvaka predstava ima na sceni previše neprorađenih i nedovoljno motiviranih citata, kojima je jedina svrha zaobićirazličite stupnjeve artikulacije koje nam duguju sami umjetnici.

Tragovi

Nakon predstave Izvođačice gotovo se ne mogu sjetiti nijednog njezinog markantnijeg momenta. Izvedba prolazi opušteno, tu i tamo popraćeno smijehom, sa srdačnim aplauzom na završetku izvedbe. Njezina je lepršava intoniranost pomalo bliska cabaretu, u kojem izvođačice znaju da ne smiju uznemiravati gledatelje previše zahtjevnim pitanjima (dapače, stručnu će terminologiju citirati na način humorne dosjetke), ali zato ih smiju diskretno zavoditi lijepim haljinama. Magnolija nipošto ne teče opušteno, premda je jedan od ponovljenih glazbenih citata kabaretska glazba. Tijela Vesne Mačković i Silvije Marchig na sceni zahtijevaju od nas tišinu koja nema veze s diskretnom ironijom zabavljačke glazbe koja teče u pozadini. Nakon toplog pljeska i završnog naklona, publika Magnolije ne žuri izaći. Desetak lica ostaje sjediti na mjestu (na podu), iako je svima jasno da je program gotov. Glasovi gledatelja polako se is interesom
pridružuju razgovoru o predstavi. I nakon napuštanja Bijele dvorane Zagrebačkog plesnog centra, momenti Magnolije nastavljaju me pratiti. Prvenstveno gotovo dječje razoružavajuća otvorenost, pa i “nevoljkost”, ali istodobno istrastvenost oba ženska lica. Zatim razmišljanje o tome što znači bačenost u izvedbu. Očito postoji jedan socijalni prag nakon kojega smo doslovce survani u izvedbu. Ili u nju “padamo”, kao u provaliju (rupu iz Alise u zemlji čudesa). Ali nikako ne ulazimo na način “Kuc, kuc, evo me, ja bih sad malo izvodila, izvolite, uđite”. Izvedba počinje daleko nakon i daleko izvan zone udobnosti i dopadljivosti, u momentu pada/rizika.

Je li to ujedno i definicija autorstva?
Postoji prag čiji prelazak duboko uznemirava i mene (autoricu) i čitatelja/gledatelja? Svakako postoji osjetljivost za prijestup, kao iravnodušnost prema mogućnosti izazivanja postojećih pravila igre. Drugo je pitanje želimo li izdržati turbulencije nepoznatog sadržaja, hvatanje zraka u nedostatku oslonca i trganje vlastitih kandžica s posljednjeg poznatog praga. Evo što je rekla Alisa, naša učiteljica: Bome! Poslije ovakvog pada kao što je ovaj, neće mi biti ništa kad se skotrljam niz stube!

Shadow casters: Urban hum – 1st episode: T.E.K.

2014-12-19 Bacači sjenki - Brujanje grada - proba 34
Premiere: 21. 12. 2014., library “Bogdan Ogrizović”, Zagreb, Croatia.

Performances:
31.1.2015.
1.2.2015.
library “Bogdan Ogrizović”, Zagreb, Croatia.

Inicial concept: Boris Bakal
Dramaturgy: Anja Pletikosa
Performers: Boris Bakal, Nikolina Butorac, Dora Kokolj, Nikolina Komljenović, Vesna Mačković, Nikša Marinović, Jelena Mesar, Veno Mušinović, Anja Pletikosa, Leo Vukelić

Urban Hum is a multidisciplinary platform with the goal of critical thinking presentation, preservation and interpretation of urban, public spaces in the region. Our mission connects us to each other with our different histories, playing (former) multi-cultural nation. Our goal is to transform the local community from the places in which we live into a place that we love and understand – together. Partners on the project URBAN HUM are: Association of Shadow Casters, Croatia (project leader); The Association for Culture and Art FRU, Macedonia; REX Cultural Centre, Serbia; Qendra Multimedia, Kosovo; Expeditio, Montenegro.

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2014-12-17 Bacači sjenki - Brujanje grada - proba

2014-12-23 Brujanje grada - ulaznica i poster 008

Not a Self-Portrait workshop (Faustin Linyekula)

2014-09-29 ZPC Not a self portrait 14
At the workshop in Zagreb Linyekula with professional dancers wants to continue his highly personal exploration of concepts such as memory, identity and name. He decided to call the workshop “Not a Self-portrait and ‘about it says only:’ My dance will be an attempt to recall my name. Surely I lost it in the dark, back streets of memories. And since then I wander … ‘
2014-09-29 ZPC Not a self portrait 15

IMRC: Magnolia (In Defiance)

2014-05-31 IMRC Magnolija (ili prkos) 21

Performances:

Premiere: 31.5.2014., Zagreb, Croatia, Zagreb dance center
4.6.2014. Rijeka, Croatia, Filodrammatica
26.2.2015., Athens, Greece, Onasis culture centre (Unlimited access festival)
18.10.2105. Zagreb, Zagreb dance center, mini festival ‘Inclusive scenes’
26.3.2016. Rijeka, Hrvatski kulturni dom na Sušaku, festival ‘Inclusive scenes’

Concept and chorography: Iva Nerina Sibila in cooperation with Silvija Marchig and Vesna Mačković
Performers: Vesna Mačković, Silvija Marchig

The Magnolia (In Defiance) duet is the first full-length work by the IMRC collective. The idea of the performance stems from the textual and visual designs of Vesna Mačković for an imaginary play „Nepokretne“. The performers develop the themes of mobility and imobility, the ecstatic dance and the imposed stillness, as well as the transposition of these categories into the more intimate zones of memory, bodily imagination and transgression of identity, within their respective, autonomous zones. In addition to the emotional and the visceral, through acknowledgement and support their bodies come together as one.

Press clipping

Nataša Govedić: Border between performer and author (Zarez, broj 381., 10.4.2014.)

Maja Đurinović: How to differentiate dancer from a dance, PLESNA SCENA.hr, 16. lipnja 2014.

Related material

Sketches from brainstorming notebook

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Poetic prose reflecting creation of “Magnolia (In defiance)” first published in magazine “Kretanja” (#22)

PDF: kretanja-22-str-42-47

The dedication to dance introspection
Vesna Mačković

I spend my life loving solitude. In psychology, the arts and elsewhere this love has been named – they call it introspection.
Every day a healthy dose of solitude. Every day immersion in your own mind and emotions. Painful or sweet – depending on the day. So the rest of the day, out of introspection, could be devoted to the written word, color, sound, movement.

Introspection, the opposite of external observation, too often fools me. Succeeds to regularly and immaculately convince me I possess knowledge of who I am, what I make and how.
Magnolia (or defiance) has taught me to question my solitude, introspective vanity and arrogance. Blind belief which is engraved in me as some postulate that at that moment when I reach for artistic tools (pen, brush, sound, step) I close my eyes, I know how to and I can – do everything.

Fed by poetry of Marina Gynt, Kazuo Ohno’s videos and numerous brainstorming sessions with Nerina and Silvija, going outs into improvisational introspection were marked with increasingly opened eyes each subsequent rehearsal. After weeks of work, I put away my pen and brush, and I signed a pact with introspection that my performative body would walk the stage, dance, and let its voice out with eyes wide open. I wrote with my feet, painted with my whole body. Coming back regularly to myself, reflecting on the day, week or month filled with work, I realized that the new face of introspection is not extinguishing in its strength. It is not extinguishing in me and it is not extinguishing in my creative expression. Encroachment in myself, in what movement means to me, in what were Kazuo, magnolia, defiance leading me to, that opening of all of my eyes and finally also those that physically see, brought only reinforcement of my confidence. Introspectively I grabbed deeper and wider and threw out all the more. The eyelids, raised or lowered, it was all the same.

I wondered whether creative, artistic introspection can be too deep. Fearful of becoming too personal I delibarately put a STOP sign on some moves, some motives, some glances into the audience. When I would relax in improvisation because my time at rehearsal would allow it, because we were interested in finding out what indulging of inexperienced dancing body can bring outwards, something happened that naively I did not anticipate. Improspections emerging too deep, caused the cracking at some internal stone walls, which otherwise I would not see in myself for too long, if ever. Luckily, some natural inclination to performative expression made each tear, laughter, word and song that came out of me, to be contextualized and inserted within the sequence of movements. By repeating and practicing such sequences originated some dance images that I will forever remember as a self-born, untaught.

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2014-04-05 IMRC ZPC - Magnolija (ili prkos) work-in-progress 36

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Voice and singing workshop (Anne-Marie Blink)

2014-04-09-14 SC radionica Anne-Marie Blink 12
Searching in our voice we meet different parts of our selves. We know only a part of our voice. All kind of emotions are written in our body and almost hidden for the voice.

By awakening the primal sounds of the body, we are enabled to produce a deeper and a richer voice. Within this method there is special attention paid to the use of our breath, the power and emotions of the voice, the support of the group, being part of the group and at the same time the conserving and remaining of yourself, your own personality. Anne-Marie stipulates that you must stay true to yourself whilst you are singing. Sing from your heart and understand that singing is more than just technique.

This workshop is for everybody who likes to sing. The work can help actors, singers and speakers in their use of their voice. The workshop is led by Anne-Marie Blink and is English spoken.

She works as a conductor, voice teacher and voice coach in the Netherlands as well as in different countries abroad on invitation. She gives also concerts in different regions of the voice. Billie Holiday, Edith Piaf, Astor Piazzolla and Gypsiemusic.

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Little man wants to cross the line (MONTAЖ$TROJ)

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Premiere: 14.3.2014., Pogon Jedinstvo, Zagreb, Croatia
Performances: 15. i 16.3.2014.

Project named ‘LITTLE MAN WANTS TO CROSS THE LINE’ (LMWCL) was inspired by a cult Yugoslav new wave album ‘Paket aranžman’. This performance tried to question whether pop music is able to make social changes possible. We live in a capitalist society where music, even the one created over 30 years ago, is not treated as a public and cultural good. The text in this performance was not spoken but sung. Thirty people in the performing collective joined together professionals and amateurs – deprived members of the Croatian society: Old People, Dykes, Workers, Serbians, Women, Blacks… They were all united in the ‘’Choir of Little People” creating a new meaning for the empty phrase ‘little man’.

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Voice as a body, text as a music (Irena Tomažin)

In the workshop we are working on voice through the body – the body is an instrument of voice, body resonates when we sing and the body carries the voice.

»Voice has many bodies, body has many voices. So they are never in lack of each other. Height depends on how deep you stand, the depth depends on how high you imagination is jumping. Feeling of being in tune comes from feeling the other – the one who sings next to/in you – a feeling in between your ribs. A bit lower or a bit higher…it depends on which body you are in. It depends on which voice you sing in, in which one you hear… Or you just feel it in such a way as if you don’t feel anything…because you are no longer – you yourself is absent, but you are all in the singing – you are present… In the moment when you have forgotten the text, you knock on the door of improvisation, innovation and we might find many fancy names on iiii, but thanks to a music, we forgot about it. So just fallow the rhythm. And the rest will come.When you’re out of tune, you’re just out of tune. Or you could hear inside that a voice that is escaping from you and wants to play with you. If you have a text, but no melody, then you just need to sustain and stand the silence – you need to listen to it as long as it’s needed for a mumbling to become a rhythm, to become a melody, to seduce you and finally until it bites your body. To hear yourself you need to be brave. Eh, just open that door and start to voice yourself out!«

In the workshop we are working on voice through the body – the body is an instrument of voice, body resonates when we sing and the body carries the voice. Through the physical exercises, through connecting to the body and it’s movement we come also to the voice – seeing and hearing how the voice can be prolongation and continuation of physical action. With exercises of breathing and relaxing the body, we can resonate with voice and by opening an ear to it, we can come to our own rhythms and melodies which we organically carry. Experimenting with voice can bring us to different faces, stories that each voice has.
On the other hand taking the text and working with it as a composition, we can embody it and come to singing with it, or just speaking it to the space, sending it to space to resonate. By approaching it musically we can come to different text interpretations.
At the end singing is just singing – working with old songs, learning them and just singing them as simple as singing can be, learning about singing through them, can bring us to simple beauty of a song.

Biography
Irena Tomažin is a dancer and singer. Until now, she has created five performances and has collaborated with many Slovenian directors, choreographers and musicians. Her dance-theater and voice education she gathered in dance-theatre, in programs such as Laboratorij of EN-KNAP; the educational program Agon of EMANAT; in the contemporary performing arts seminars of Maska Ljubljana, as well as in many workshops and seminars in Slovenia and abroad. In 2004, she received a scholarship from the Dance Web program in the frame of the ImPulzTanz festival, and in 2007, she was selected by Atelier of workshops and creation in Wroclaw, organized by the Grotowski Institute. She has her own project for voice and dictaphones entitled iT, which she has performed at many festivals at home and abroad. She collaborated with Bast Kolektiv of Aldo Ivančič in the recording of the cd Retinal Circus, as well with many different musicians. She participates in the experimental improvised music workshops organized by Tomaž Grom and gives a voice workshop. For her performances Caprice and caprice (re)lapsed, she received the Golden Bird Award of the Liberal Arts Academy. She is also a postgraduate student of philosophy.

IMRC (Integrated movement research collective)

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Inclusive dance workshop (Iva Nerina Sibila)

IMRC (Integrated Movement Research Collective) is an integrated contemporary dance group founded in 2012, based at the Zagreb Dance Centre and supported by HIPP. Its premise is that dance and movement are not conditioned on certain physical given abilities, but that physical expression, experience of dance and performance of it belongs to everyone. It is currently the only inclusive dance group of its kind in Croatia.

IMRC – Integrated Movement Research Collective is calling all those interested in dance, including both professional dance artists as well as all those regardless of any physical challenges or other disabilities to join in the free dance workshop aimed for all sorts of bodies.

Unlimited Access dance workshop (Jordi Cortés Molina)

2013-12-06 ZPC Unlimitted access 50

Unlimited Access, a project co-funded by the EU Culture programme, seeks to profile some of the best disabled-led performing arts work in Europe, and to promote increased access to the arts of both disabled audiences and disabled artists alike. Throughout 2014, a series of ‘Creative Encounters’ in Croatia, Portugal and Greece are providing an experimental space for disabled and non-disabled artists and performers to interact, connect and learn from each other in practical dance workshops.
Spanish choreographer and performer Jordi Cortés Molina is the Artistic Director of Jordi Cortés – Alta Realitat Company, Barcelona’s leading integrated dance organisation. As part of Unlimited Access, Jordi facilitated Croatia’s Creative Encounter in Zagreb in December 2013.