Solo Me

Solo in A Major, op. 69 / Solo u A-duru, op. 69

choreography and performing/koreografija i izvedba: Pravdan Devlahović

dramaturgy/dramaturgija: Ivana Sajko, Goran Sergej Pristaš

music/glazba: Ludwig van Beethoven: Simphony no.7, Op. 92, second movement, Zagreb Philharmonic Orchestra, conductor: Lovro Matačić/Ludwig van Beethoven: Drugi stavak Sedme simfonije, op. 92 u izvedbi Zagrebačke filharmonije pod ravnanjem Lovre Matačića

light design/dizajn svjetla: Miljenko Bengez

—–

And this is no longer a beginning / I to se više ne računa kao početak

choreography and performance / koreografija i izvedba: Nikolina Pristaš (Ana Kreitmeyer in alternation)

dramaturgy/dramaturgija: Ivana Sajko i Goran Sergej Pristaš

music/glazba: Ivan Marušić – Klif

costume/kostim: Silvio Vujičić

light design/dizajn svjetla: Miljenko Bengez
Solo Me is a solo for two performers – a performance in which two different choreographic solo materials, opinions, processes come in touch with each other. Although both solos were made separately and can be performed as such, the performance focuses on the idea of juxtaposition, adjoining and refraction of one material in another.

Solo in A Major, op. 69, coreographed and performed 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, coreographed by Nikolina Pristaš and performed in alternation by Ana Kreitmeyer, 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.

Premiere: October, 4 and 5, 2002. in Bergen, Norway

Performed at: Podewil, Octoberdance Bergen, P.S. 122, Sushi San Diego, 4+4 Days Prague in Prague, Kanuti Gildi Tallin, Donumenta Regensburg…

Supported by: City Office for Culture Zagreb

—–

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.

Premijera: Listopad, 4 i 5, 2002. na festivalu Octoberdans u Bergenu, Norveška

Predstava je igrana: Tjedan suvremenog plesa (Zagreb), Podewil, P.S. 122, Sushi San Diego, 4+4 Days Prague in Prague, Kanuti Gildi Tallin, Donumenta Regensburg…

Predstava je podržana od Gradskog ureda za kulturu grada Zagreba.