Man.Chair/Čovjek.Stolac feat. D. B. Indoš

Man.Chair/Čovjek.Stolac - Indosh

Director and Choreographer/režija i koreografija: Goran Sergej Pristaš

Dramaturgy/dramaturgija: Ivana Sajko

Performers/izvođači: Nikolina Pristaš, Pravdan Devlahović, Damir Bartol Indoš
We must make a distinction between the chair as an occasional necessity of stage action and the chair as a collaborator in a new relationship between character and milieu. The modern actor knows the chair as one of the permanent tools of his art, primarily because it is the property that most directly engages his body in the stage world… To sit is to be, to exist suddenly and plentifully in the material world (“I sit, therefore I am here”); and in this sense classical characters are bodiless: they exist in a vague intersection between elsewheres established by poetry. But when characters begin to sit as naturally as they stand, the body comes fully into it’s own as the center of a new spatial concern…
(Bert O. States: Great Reckoning In Little Rooms)

Man.Chair was developed as a work in progress piece presented in a form of public rehearsal with no premiere. The research was based on the repetitive capacity of authentic performance Man-Chair, first time performed in 1982 by Damir Bartol Indos. We wanted to reconstruct, remake, remix and upgrade the original peace (which is screened on video) using dance improvisations and individual approaches of dancers towards the technical and semiotic characteristics of the first performance Man-Chair. The aim was to build the theatrical structure from the performance art piece (which was never meant to be repeated) through the dance variations.

Man.Chair is musically structured dance-impro performance, which avoids any thematic fulfilment. There are, rather, some parameters of rudimentary relation between body and object. In the process of development performers are focusing on the following parameters:

Resemblance between physical characteristics of object and body
Mental investment of energy and emotion in object
Objectification of body
Tension between “technical” and “natural” bodies
Tension between order of objects and order of bodies

Čovjek.Stolac predstava je razvijena kao work in progress i prezentirana kao javna proba bez premijere. Istraživanje je temeljeno na mogućnosti obnavljanja autentičnog performansa Damira Bartola Indoša, Čovjek-Stolica, prvi puta izvedenog 1982. Željeli smo rekonstruirati i nadograditi originalni komad koristeći se plesnim improvizacijama najboljih mladih plesača u Hrvatskoj. Cilj je bio izgraditi kazališnu strukturu iz performansa kroz plesne varijacije.

Čovjek.Stolac glazbena je struktura improvizirane izvedbe, koja izbjegava sva semantička punjenja. Prije se može govoriti o korištenju parametara rudimentarnih odnosa tijela i predmeta, a ti su: