10 / 10 / 2014
IZVEDBA
A Lesser Evil - 16.-18. Oct 2014 @Kino SC, Zagreb
A Lesser Evil
a solo procession"It’s night. You’re asleep, peacefully dreaming. Suddenly the ground begins to tremble. Slowly, the shaking escalates until you are thrown off balance, clinging desperately to any fixture to stay standing. The vibration moves up through your body, constricting your internal organs until it hits your chest and throat, making it impossible to breathe. At exactly the point of suffocation, the floor rips open beneath you, yawning into a gaping dark abyss. Screaming silently, you stumble and fall, skydiving into what looks like a bottomless pit. Then, without warning, your descent is curtailed by a hard surface. At the painful moment of impact, as if in anticipation, you awaken. But there is no relief, because at that precise split second, you experience an intense sound that shocks you to your very core. You look around but see no damage. Jumping out of bed, you run outside. Again you see no damage. What happened? The only thing that is clear is that you won’t be able to get back to sleep because you are still resonating with the encounter."
Steve Goodman, Sonic Warfare: Sound, Affect, and the Ecology of Fear
You go and you arrive somewhere. Or not. You watch and you see something. Or not. The place at which you arrive will not exist for long, the things you see seem like a threat. But what connects the concrete place, its time and its duration, is rhythm; a rhythm which constitutes dance, which constitutes fear, a rhythm which constitutes pleasure. In this new performance by BADco. rhythm forms time which carries the dread, a time which ticks away, a time which hammers in. If the contemporary danse macabre is no longer a procession of dead men or a procession of social classes but rather a chain of vibrations, electromagnetic waves and sonic affects, how else would one choreograph it if not as a solo performance? Our everyday life unfolds according to different temporal cycles like the calendar, daily and lunar cycles, and basic life cycles - somatic or mechanical. Rhythm is the phenomenon that connects place and time and provides a sort of infrastructure for time. Tempo, a momentary choice, duration, frequencies, sequences and rhythm are all mutually conditioning structures of time and every dance performance, which is a limited temporal image of spatial modifications, benefits precisely from the ways it deploys these structures. The work on this performance is thus grounded in our interest in the so-called rhythmanalysis and focused greatly on the experimentation with a set of varied relations which occur between rhythmic patterning, vibrations and frequencies, as well as different ways of measuring time. A dance performance, whether it be artistic, recreational, religious or social is, on the other hand, only one among many tactics of drowning the body into sonic spaces that produce matching affective states - pleasure, irritation or fear. Furthermore, one of the mythological topoi of the discourse on dance is precisely the body’s attempt to reach a state when it is fully immersed in the act of dancing. This concept of a body that is being danced away proposes that we think about the body in dance as a specific type of object in continuity with other material objects, as a particular condensation of matter within a general continuity of movement. Choreography in this performance is an attempt to neglect the romanticist concept of the body as a generator of movement and focus instead on the body’s ability to mediate but also to resist different series of movements, gazes and vibrations which chain both living and nonliving mediators together by way of conformation, translation, composition etc. And for this reason we needed to focus our attention on the “underground fluxes” of a dance performance; the infrastructure of dance, background rhythms, the rhythm of elementary corporeal functions and their visceral effects. BADco. The performance is jointly choreographed by Nikolina Pristaš and Zrinka Užbinec and it is performed by Zrinka Užbinec. Dramaturgy and set up: Goran Sergej Pristaš Music and suggestions about sound: Alen and Nenad Sinkauz Idea and costume design: Silvio Vujičić Sound design: Jasmin Dasović Company manager: Lovro Rumiha Production assistant: Vanja Zubović Photo: Dinko Rupčić The performance uses sound fragments from the movie Come and See by Elem Klimov, the poem Four Quarters by T.S.Eliot and a song Needles and Pins by The Searchers. " You say I am repeating Something I have said before. I shall say it again. Shall I say it again? In order to arrive there, To arrive where you are, to get from where you are not, You must go by a way wherein there is no ecstacy. In order to arrive at what you do not know You must go by a way which is the way of ignorance. In order to possess what you do not possess You must go by the way of dispossession. In order to arrive at what you are not You must go through the way in which you are not. And what you do not know is the only thing you know And what you own is what you do not own And where you are is where you are not." T.S. Eliot from Four Quartets "Whether they're real or imaginary, animate or inanimate, one must form one's mediators. It's a series: If you don't belong to a series, even a completely imaginary one, you're lost. I need my mediators to express myself, and they'd never express themselves without me: one is always working in a group, even when it doesn't appear to be the case." Gilles Deleuze Tickets:The ticket price is 50 kn, 25 kn for students and pensioners.
Ticket sales:You can purchase tickets at the Theatre 'TD box office every day except Sunday 11:00 - 13:00 and two hours prior to show. For reservations for performances on the 17th and 18th call the box office at 01 4593 510.
Project supported by: Zagreb City Council for Education, Culture and Sport; Ministry of Culture of Republic of Croatia
BADco. vas poziva na zagrebačku premijeru našeg najnovijeg projekta!
16., 17. i 18. 10. 2014. u 20:00 @Kino SC, Savska 25, Zagreb
Manje zlo
solo povorka“Noć je. Spavate, spokojno sanjate. Odjednom, tlo pod vama počinje se tresti. Trešnja se postepeno pojačava, gubite ravnotežu očajnički se hvatajući za koju god stabilnu stvar da se održite na nogama. Vibracije se penju vašim tijelom, stežu unutarnje organe sve dok ne stignu u prsa i grlo onemogućavajući disanje. Točno u momentu gušenja tlo pod vašim nogama se rastavlja, zijevajući prema razjapljenom tamnom ponoru. Tiho vrišteći, spotičete se i padate, padate slobodnim padom u nešto što izgleda kao jama bez dna. A onda, bez najave, nekakva tvrda površina zaustavlja vaš pad. U bolnom trenutku sudara, kao da ste to mogli predvidjeti, budite se. Ali nema olakšanja jer u tom dijeliću sekunde čujete prodoran zvuk koji vas šokira do srži. Ogledate se oko sebe, ali ne vidite ruševine. Iskačete iz kreveta, trčite van. I opet ne vidite ruševine. Što se dogodilo? Jedina stvar koja vam je trenutno jasna jest da nećete ponovno usnuti jer ovaj susret još uvijek odjekuje vašim tijelom.”
Steve Goodman iz Sonic Warfare: Sound, Affect, and the Ecology of Fear
Krenete i nekamo stignete. Ili ne. Gledate i nešto vidite. Ili ne. Mjesto na koje dođete neće još dugo postojati, stvari koje vidite čine se kao prijetnja. Ono što veže konkretno mjesto, njegovo vrijeme i trajanje možda je ritam, ritam koji tvori ples, ritam koji tvori strah, ritam koji tvori užitak. U novoj predstavi BADco. ritam tvori vrijeme koje nosi prijetnju, vrijeme koje otkucava, vrijeme koje zakucava. Ukoliko više nije povorka mrtvaca, povorka staleža nego lanac vibracija, elektromagnetskih valova i afekata, kako se pleše suvremeni danse macabre ako ne kao kolektivna solo izvedba?
Naša svakodnevica razmata se kroz različite vremenske cikluse poput kalendarskih, dnevnih i lunarnih, životnih, somatskih i mehaničkih. Ritam je fenomen koji povezuje mjesto i vrijeme te vremenu daje svojevrsnu infrastrukturu. Tempo, izbor trenutka, trajanje, frekvencija, slijed i ritam međusobno su uvjetujuće strukture vremena, a plesna izvedba kao ograničena vremenska slika prostornih promjena uživa angažman upravo tih struktura. Rad na ovoj predstavi temeljio se na istraživanju tzv. ritmoanaliza, odnosno uvida u ritmičke strukture svakodnevice te istraživanju raspona različitih relacija ritmova, frekvencija i modusa mjerenja vremena. No plesna izvedba, bilo da je umjetnička, rekreativna, religiozna ili društvena samo je jedna od frekvencijskih taktika utapanja u zvučne prostore koji stvaraju odgovarajuća afektivna stanja - užitak, iritaciju ili strah.
Pokušaj tijela da dosegne razinu uronjenosti u ples jedno je od mitoloških mjesta diskursa o plesu. Ne više tijelo koje pleše, nego tijelo koje je plesano, pretpostavlja da je tijelo u plesu specifična vrsta objekta u kontinuitetu s drugim materijalnim objektima, svojevrsno zgušnjavanje materije u općem kontinuitetu kretanja.
Koreografiju u predstavi smo radili pokušavši odbaciti romantičarsku ideju da je tijelo generator kretanja zanimajući se za njegovu posredničku, ali i otporničku ulogu u različitim serijama kretanja, gledanja i vibracija koje ulančavaju žive i nežive posrednike kroz postupke prevođenja, konformacije, kompozicije itd. Zato smo se morali spustiti na razinu "podzemnih tijekova" plesne izvedbe; infrastrukture plesa na razini organizacije tijekova, pozadinskih ritmova, elementarnih tjelesnih funkcija i njihovog visceralnog učinka. BADco.
Predstavu koreografski nose Zrinka Užbinec i Nikolina Pristaš, a izvedbu Zrinka Užbinec. Dramaturgija i postav: Goran Sergej Pristaš Glazba i zvučne sugestije: Alen i Nenad Sinkauz Ideja i izrada kostima: Silvio Vujičić Dizajn zvuka: Jasmin Dasović Produkcija: Lovro Rumiha Asistentica produkcije: Vanja Zubović Fotografija: Dinko RupčićU predstavi se koriste zvučni fragmenti iz filma Idi i gledaj Elema Klimova, poeme Četiri kvarteta u interpretaciji autora T.S. Eliota te pjesme Needles And Pins The Searchers.
"Kažete da ponavljam nešto što sam već rekao. Reći ću to opet. Da kažem opet? Da biste stigli tamo, stigli tamo gdje jeste, otišli s mjesta gdje niste, morate putom na kojem nema ushita. Da biste došli do onog što ne znate morate putom koji je put neznanja. Da biste stekli ono što nemate morate putom potpunog izvlaštenja. Da biste došli do onog što niste morate putom na kojemu niste. I ono što ne znate jedino je što znate i ono što imate jest što nemate i tamo gdje ste jest gdje niste."
T.S. Eliot iz Četiri kvarteta, prev. Antun Šoljan Bilo da su stvarni ili imaginarni, živi ili neživi, svatko mora oformiti vlastite posrednike. Riječ je o seriji: ako ne pripadate seriji, makar bila potpuno imaginarna, izgubljeni ste. Posrednici su mi potrebni da se izrazim, a oni se nikad ne bi izrazili bez mene: uvijek se radi u grupi, čak i kad se čini da to nije slučaj.” Gilles Deleuze Ulaznice:Cijena redovne ulaznice iznosi 50 kn, a 25 kn s popustom za studente i umirovljenike.
Prodaja:Ulaznice možete kupiti na blagajni Teatra &TD svakim danom osim nedjelje od 11 do 13 h te dva sata prije početka predstave. Rezervacije za izvedbe 17. i 18. listopada moguće je napraviti, također, na blagajni Teatra &TD. (Broj: 01 4593 510)
Projekt je podržan od: Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture RH. Program je realiziran uz podršku Kulture promjene Studentskog centra u Zagrebu.10 / 10 / 2014
IZVEDBA
A Lesser Evil - 16.-18. Oct 2014 @Kino SC, Zagreb
A Lesser Evil
a solo procession"It’s night. You’re asleep, peacefully dreaming. Suddenly the ground begins to tremble. Slowly, the shaking escalates until you are thrown off balance, clinging desperately to any fixture to stay standing. The vibration moves up through your body, constricting your internal organs until it hits your chest and throat, making it impossible to breathe. At exactly the point of suffocation, the floor rips open beneath you, yawning into a gaping dark abyss. Screaming silently, you stumble and fall, skydiving into what looks like a bottomless pit. Then, without warning, your descent is curtailed by a hard surface. At the painful moment of impact, as if in anticipation, you awaken. But there is no relief, because at that precise split second, you experience an intense sound that shocks you to your very core. You look around but see no damage. Jumping out of bed, you run outside. Again you see no damage. What happened? The only thing that is clear is that you won’t be able to get back to sleep because you are still resonating with the encounter."
Steve Goodman, Sonic Warfare: Sound, Affect, and the Ecology of Fear
You go and you arrive somewhere. Or not. You watch and you see something. Or not. The place at which you arrive will not exist for long, the things you see seem like a threat. But what connects the concrete place, its time and its duration, is rhythm; a rhythm which constitutes dance, which constitutes fear, a rhythm which constitutes pleasure. In this new performance by BADco. rhythm forms time which carries the dread, a time which ticks away, a time which hammers in. If the contemporary danse macabre is no longer a procession of dead men or a procession of social classes but rather a chain of vibrations, electromagnetic waves and sonic affects, how else would one choreograph it if not as a solo performance? Our everyday life unfolds according to different temporal cycles like the calendar, daily and lunar cycles, and basic life cycles - somatic or mechanical. Rhythm is the phenomenon that connects place and time and provides a sort of infrastructure for time. Tempo, a momentary choice, duration, frequencies, sequences and rhythm are all mutually conditioning structures of time and every dance performance, which is a limited temporal image of spatial modifications, benefits precisely from the ways it deploys these structures. The work on this performance is thus grounded in our interest in the so-called rhythmanalysis and focused greatly on the experimentation with a set of varied relations which occur between rhythmic patterning, vibrations and frequencies, as well as different ways of measuring time. A dance performance, whether it be artistic, recreational, religious or social is, on the other hand, only one among many tactics of drowning the body into sonic spaces that produce matching affective states - pleasure, irritation or fear. Furthermore, one of the mythological topoi of the discourse on dance is precisely the body’s attempt to reach a state when it is fully immersed in the act of dancing. This concept of a body that is being danced away proposes that we think about the body in dance as a specific type of object in continuity with other material objects, as a particular condensation of matter within a general continuity of movement. Choreography in this performance is an attempt to neglect the romanticist concept of the body as a generator of movement and focus instead on the body’s ability to mediate but also to resist different series of movements, gazes and vibrations which chain both living and nonliving mediators together by way of conformation, translation, composition etc. And for this reason we needed to focus our attention on the “underground fluxes” of a dance performance; the infrastructure of dance, background rhythms, the rhythm of elementary corporeal functions and their visceral effects. BADco. The performance is jointly choreographed by Nikolina Pristaš and Zrinka Užbinec and it is performed by Zrinka Užbinec. Dramaturgy and set up: Goran Sergej Pristaš Music and suggestions about sound: Alen and Nenad Sinkauz Idea and costume design: Silvio Vujičić Sound design: Jasmin Dasović Company manager: Lovro Rumiha Production assistant: Vanja Zubović Photo: Dinko Rupčić The performance uses sound fragments from the movie Come and See by Elem Klimov, the poem Four Quarters by T.S.Eliot and a song Needles and Pins by The Searchers. " You say I am repeating Something I have said before. I shall say it again. Shall I say it again? In order to arrive there, To arrive where you are, to get from where you are not, You must go by a way wherein there is no ecstacy. In order to arrive at what you do not know You must go by a way which is the way of ignorance. In order to possess what you do not possess You must go by the way of dispossession. In order to arrive at what you are not You must go through the way in which you are not. And what you do not know is the only thing you know And what you own is what you do not own And where you are is where you are not." T.S. Eliot from Four Quartets "Whether they're real or imaginary, animate or inanimate, one must form one's mediators. It's a series: If you don't belong to a series, even a completely imaginary one, you're lost. I need my mediators to express myself, and they'd never express themselves without me: one is always working in a group, even when it doesn't appear to be the case." Gilles Deleuze Tickets:The ticket price is 50 kn, 25 kn for students and pensioners.
Ticket sales:You can purchase tickets at the Theatre 'TD box office every day except Sunday 11:00 - 13:00 and two hours prior to show. For reservations for performances on the 17th and 18th call the box office at 01 4593 510.
Project supported by: Zagreb City Council for Education, Culture and Sport; Ministry of Culture of Republic of Croatia
BADco. vas poziva na zagrebačku premijeru našeg najnovijeg projekta!
16., 17. i 18. 10. 2014. u 20:00 @Kino SC, Savska 25, Zagreb
Manje zlo
solo povorka“Noć je. Spavate, spokojno sanjate. Odjednom, tlo pod vama počinje se tresti. Trešnja se postepeno pojačava, gubite ravnotežu očajnički se hvatajući za koju god stabilnu stvar da se održite na nogama. Vibracije se penju vašim tijelom, stežu unutarnje organe sve dok ne stignu u prsa i grlo onemogućavajući disanje. Točno u momentu gušenja tlo pod vašim nogama se rastavlja, zijevajući prema razjapljenom tamnom ponoru. Tiho vrišteći, spotičete se i padate, padate slobodnim padom u nešto što izgleda kao jama bez dna. A onda, bez najave, nekakva tvrda površina zaustavlja vaš pad. U bolnom trenutku sudara, kao da ste to mogli predvidjeti, budite se. Ali nema olakšanja jer u tom dijeliću sekunde čujete prodoran zvuk koji vas šokira do srži. Ogledate se oko sebe, ali ne vidite ruševine. Iskačete iz kreveta, trčite van. I opet ne vidite ruševine. Što se dogodilo? Jedina stvar koja vam je trenutno jasna jest da nećete ponovno usnuti jer ovaj susret još uvijek odjekuje vašim tijelom.”
Steve Goodman iz Sonic Warfare: Sound, Affect, and the Ecology of Fear
Krenete i nekamo stignete. Ili ne. Gledate i nešto vidite. Ili ne. Mjesto na koje dođete neće još dugo postojati, stvari koje vidite čine se kao prijetnja. Ono što veže konkretno mjesto, njegovo vrijeme i trajanje možda je ritam, ritam koji tvori ples, ritam koji tvori strah, ritam koji tvori užitak. U novoj predstavi BADco. ritam tvori vrijeme koje nosi prijetnju, vrijeme koje otkucava, vrijeme koje zakucava. Ukoliko više nije povorka mrtvaca, povorka staleža nego lanac vibracija, elektromagnetskih valova i afekata, kako se pleše suvremeni danse macabre ako ne kao kolektivna solo izvedba?
Naša svakodnevica razmata se kroz različite vremenske cikluse poput kalendarskih, dnevnih i lunarnih, životnih, somatskih i mehaničkih. Ritam je fenomen koji povezuje mjesto i vrijeme te vremenu daje svojevrsnu infrastrukturu. Tempo, izbor trenutka, trajanje, frekvencija, slijed i ritam međusobno su uvjetujuće strukture vremena, a plesna izvedba kao ograničena vremenska slika prostornih promjena uživa angažman upravo tih struktura. Rad na ovoj predstavi temeljio se na istraživanju tzv. ritmoanaliza, odnosno uvida u ritmičke strukture svakodnevice te istraživanju raspona različitih relacija ritmova, frekvencija i modusa mjerenja vremena. No plesna izvedba, bilo da je umjetnička, rekreativna, religiozna ili društvena samo je jedna od frekvencijskih taktika utapanja u zvučne prostore koji stvaraju odgovarajuća afektivna stanja - užitak, iritaciju ili strah.
Pokušaj tijela da dosegne razinu uronjenosti u ples jedno je od mitoloških mjesta diskursa o plesu. Ne više tijelo koje pleše, nego tijelo koje je plesano, pretpostavlja da je tijelo u plesu specifična vrsta objekta u kontinuitetu s drugim materijalnim objektima, svojevrsno zgušnjavanje materije u općem kontinuitetu kretanja.
Koreografiju u predstavi smo radili pokušavši odbaciti romantičarsku ideju da je tijelo generator kretanja zanimajući se za njegovu posredničku, ali i otporničku ulogu u različitim serijama kretanja, gledanja i vibracija koje ulančavaju žive i nežive posrednike kroz postupke prevođenja, konformacije, kompozicije itd. Zato smo se morali spustiti na razinu "podzemnih tijekova" plesne izvedbe; infrastrukture plesa na razini organizacije tijekova, pozadinskih ritmova, elementarnih tjelesnih funkcija i njihovog visceralnog učinka. BADco.
Predstavu koreografski nose Zrinka Užbinec i Nikolina Pristaš, a izvedbu Zrinka Užbinec. Dramaturgija i postav: Goran Sergej Pristaš Glazba i zvučne sugestije: Alen i Nenad Sinkauz Ideja i izrada kostima: Silvio Vujičić Dizajn zvuka: Jasmin Dasović Produkcija: Lovro Rumiha Asistentica produkcije: Vanja Zubović Fotografija: Dinko RupčićU predstavi se koriste zvučni fragmenti iz filma Idi i gledaj Elema Klimova, poeme Četiri kvarteta u interpretaciji autora T.S. Eliota te pjesme Needles And Pins The Searchers.
"Kažete da ponavljam nešto što sam već rekao. Reći ću to opet. Da kažem opet? Da biste stigli tamo, stigli tamo gdje jeste, otišli s mjesta gdje niste, morate putom na kojem nema ushita. Da biste došli do onog što ne znate morate putom koji je put neznanja. Da biste stekli ono što nemate morate putom potpunog izvlaštenja. Da biste došli do onog što niste morate putom na kojemu niste. I ono što ne znate jedino je što znate i ono što imate jest što nemate i tamo gdje ste jest gdje niste."
T.S. Eliot iz Četiri kvarteta, prev. Antun Šoljan Bilo da su stvarni ili imaginarni, živi ili neživi, svatko mora oformiti vlastite posrednike. Riječ je o seriji: ako ne pripadate seriji, makar bila potpuno imaginarna, izgubljeni ste. Posrednici su mi potrebni da se izrazim, a oni se nikad ne bi izrazili bez mene: uvijek se radi u grupi, čak i kad se čini da to nije slučaj.” Gilles Deleuze Ulaznice:Cijena redovne ulaznice iznosi 50 kn, a 25 kn s popustom za studente i umirovljenike.
Prodaja:Ulaznice možete kupiti na blagajni Teatra &TD svakim danom osim nedjelje od 11 do 13 h te dva sata prije početka predstave. Rezervacije za izvedbe 17. i 18. listopada moguće je napraviti, također, na blagajni Teatra &TD. (Broj: 01 4593 510)
Projekt je podržan od: Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture RH. Program je realiziran uz podršku Kulture promjene Studentskog centra u Zagrebu.