BADco. invites you to see two of our most popular dance performances at Donumenta @ Regensburg, Germany 02.11.2008, 20:00, Theater an der Universität, Universitätsstraße 31, Regensburg

2 & Solo Me

[caption id="attachment_323" align="alignnone" width="294"] BADco. "2" (2001)[/caption]

2

choreography: Nikolina Pristaš dramaturgy: Ivana Sajko, Goran Sergej Pristaš light design: Goran Petercol costume design: Silvio Vujičić preformers: Ana Kreitmeyer, Nikolina Pristaš 2 is intimate - it unites two different bodies, 2 different natures of movement. 2 is an attempt to keep in contact in spite of intentionally imposed obstacles: to shut one's eyes, to listen to the body of the other and find the mute language of communication. To be blind on stage is not a metaphorical denial of the visual but a search for a more intense sensibility to the vibrations that fill the space around the dancers. 2 is a struggle for stability through the minimal mechanisms that support the structure: breathing, sounds, vibrations of the air, memory of space, feeling for the invisible other. [caption id="attachment_328" align="alignnone" width="450"] BADco. "Solo Me" (2002), Photo: Ljubo Gamulin[/caption]

Solo Me

Solo in A Major, op. 69

choreography and performance: Pravdan Devlahović dramaturgy: Ivana Sajko, Goran Sergej Pristaš music: Ludwig van Beethoven: Simphony no.7, Op. 92, second movement, Zagreb Philharmonic Orchestra, conductor: Lovro Matačić light design: Miljenko Bengez

And this is no longer a beginning

choreography and performance: Nikolina Pristaš dramaturgy: Ivana Sajko, Goran Sergej Pristaš music: Ivan Marušić – Klif costume: Silvio Vujičić light design: Miljenko Bengez Solo Me is a solo for two performers - choreographers; a performance in which two different choreographic solo materials, opinions, processes come in touch with each other. Although both solos were made individually and can be performed as such, the idea of juxtaposition, adjoining and refraction of one material in another seemed very interesting to be researched. Solo in A Major, op. 69 by Pravdan Devlahović initiates questions of defining the space surrounding his body (as a space that is being watched) by minimal alternations of movement which, in elaboration, gradually infect the whole body. Pravdan walks his choreographic material, passing through different points in the space in a way that the moment he finds the right spot he abandons it in search for a new one. By doing so he exposes his body to various perspectives in relation to the viewers, incorporating this consciousness of being watched all the time as an integral part of the performance. And this is no longer a beginning by Nikolina Pristaš is an attempt to thematize the act of (self)beginning. Thinking about the idea of multiple beginnings, reiterated attempts at always different quality of more or less the same movements brought her to the idea of writing one choreographic sentence in different (choreographic) fonts. The chosen fonts found their corporeal equivalents by means of different perspecitives, technical foci, formal strategies and orientations which, in process, redefine the differences in affective result in relation to the main sentence. --------------------------------------------------------------------------------- BADco. vas poziva da pogledate dvije od naših najpopularnijih plesnih predstava na festivalu Donumenta @ Regensburg, Njemačka 02.11.2008., 20:00, Theater an der Universität, Universitätsstraße 31, Regensburg

2 & Solo Me

[caption id="attachment_325" align="alignnone" width="300"] BADco. "2" (2001)[/caption]

2

koreografija: Nikolina Pristaš dramaturgija: Ivana Sajko, Goran Sergej Pristaš dizajn rasvjete: Goran Petercol dizajn kostima: Silvio Vujičić izvode: Ana Kreitmeyer, Nikolina Pristaš 2 je intimna - objedinjuje 2 različita tijela, 2 različita karaktera pokreta. 2 je temeljena na pokušaju da se održi kontakt unatoč namjerno zadanim preprekama: zatvoriti oči, osluškivati tijelo drugog i pronaći nijemi jezik komunikacije. Biti slijepa na sceni nije metaforičko uskraćivanje vizualnog, već upravo rad na pojačanoj osjetljivosti na vibracije koje ispunjavaju prostor oko plesačica. 2 je borba za stabilnost kroz minimalne mehanizme koji podržavaju strukturu: disanje, zvukove, vibracije zraka, memoriju prostora, osjećaj za drugog - nevidljivog. [caption id="attachment_326" align="alignnone" width="450"] BADco. "Solo Me" (2002), Photo: Ljubo Gamulin[/caption]

Solo Me

Solo u A-duru, op. 69

koreografija i izvedba: Pravdan Devlahović dramaturgija: Ivana Sajko, Goran Sergej Pristaš glazba: Ludwig van Beethoven: Drugi stavak Sedme simfonije, op. 92 u izvedbi Zagrebačke filharmonije pod ravnanjem Lovre Matačića dizajn svjetla: Miljenko Bengez

I to se više ne računa kao početak

koreografija i izvedba: Nikolina Pristaš dramaturgija: Ivana Sajko, Goran Sergej Pristaš glazba: Ivan Marušić – Klif kostim: Silvio Vujičić dizajn svjetla: Miljenko Bengez Solo me je solo za dva izvođača - koreografa. Riječ je o postavi u kojoj se dodiruju dva različita koreografska solo materijala, mišljenja, procesa... Iako su oba sola rađena individualno i mogu se tako izvoditi, činila nam se zanimljivom upravo to supostavljanje, stapanje i prelamanje jednog u drugom. Solo u A-duru, op. 69 Pravdana Devlahovića inicira pitanjima definiranja prostora oko tijela i gledanog prostora minimalnim promjenama koje svojom elaboracijom postepeno inficiraju cijelo tijelo. Pravdan konstantno korača svoj koreografski materijal po različitim točkama u prostoru tako da ga u trenutku pronalaska ostavlja u potrazi za novim. Time se izlaže i različitim perspektivama u odnosu spram pogleda koji dolazi izvana inkorporirajući osjećaj da biva promatran. Solo I to se više ne računa kao početak Nikoline Pristaš nastao je iz želje za tematizacijom započimanja. Razmišljanje o konstantnom vraćanju koreografije na njen početak, o koreografiji kojoj se svaki puta iznova bitno promijeni samo kvaliteta, a da ona uvijek ostaje slična sebi, dovelo je do ideje ispisivanja jedne koreografske rečenice u različitim koreografskim fontovima. Odabrani fontovi našli su svoj tjelesni pandan u korištenju različitih perspektiva, tehničkih fokusa, formalnih strategija i orijentacija koje redefiniraju i različitosti u afektivnom rezultatu unaprijed postavljene rečenice.