30th Dance Week Festival living room
talks, lectures, video projections
Every late afternoon during five consecutive days we will open the doors of our temporary living room to artists, scholars and cultural workers for socializing and discussions.
The title of this series of conversations is a paraphrase of a ballet crime novel Today she did not die so beautifully by Croatian ballet dancer, writer and choreographer Mercedes Goritz Pavelić (1907-2003).
Every day will be dedicated to one set of issues, and the line that runs through all of our gatherings will be the relationship between dance and basic life conditions, dance and the organic, dance and living matter, and of the inability to separate material conditions of life from ideas, concepts and aesthetic choices.
Prepared by the hosts: theatre scholar Una Bauer and choreographer Marjana Krajač
|29.5.||17:00 - 18:30:||There is no is without the image|
|30.5.||17:00 - 18:30:||Dance and death: ethnological reflections|
|31.5.||17:00 - 18:30:||Davoud Zare: Authentic Tension|
|1.6.||17:00 - 18:30:||Ballet practices: memories|
|2.6.||17:00 - 18:30:||Basic life forms: Choreoroam in a dialogue
In her popular ballet crime novel Today She did not Die so Beautifully, Mercedes Goritz Pavelić constructs the plot around a murder on stage, inspired by the ancient theatrical and philosophical tension between truth and lies, reality and “pretense”, or performance, in which the actual dying on stage can never rise to the aesthetic ideal of the one performed. What a are interested in, and the image of the act “beautiful death on the stage” and which will be used only as a trigger, is really the image, the visual, the visibile, the question of how something “looks” on the stage, how it gives itself to the gaze of the spectator, what is it that the spectator sees, how do the observed and the spectator negotiate, and also how is the physicality of our existence implied in the relationship between the observed and (its) spectator. Because there is no is without the image.
In conversation with contemporary Croatian choreographers, dramaturges and theoreticians: Nina Kurtela, Andrej Mirčev, Sonja Pregrad, Tea Tupajić and Petra Zanki about their respective choreographic, theatre and dance practices, we will engage with the following questions: Are we aware of the body which observes while it is observing? How do dancers-choreographers perceive dance-choreography? What do they thinking about those who look at their work and how do they direct their gaze? How do things become visible as a result of the viewing practices which have been invested into them?
We will talk with the ethnologist Ivana Katarinčić, from the Institute of Ethnology and Folklore Research in Zagreb, who has recently defended her PhD thesis Urban dance tradition (historical, ethnological and cultural anthropology aspects). Starting from the development of disciplines (ethnology, folklore science and ethnochoreology), and terminological confusions, comparing methodological approaches of institutional dance research in Croatia and abroad (dance anthropology...), Ivana will engage with various understandings and manifestations of the relationship between dance and death in local contexts, question of presence/absence and dance reconstructions which are, to paraphrase André Lepecki, always done based on the steps of dead bodies.
In the project Authentic Tension, Iranian director, choreographer, performer and audio-visual artist Davoud Zare from Tehran takes notes of his observations and reflections on the 40 day long during which he abstained from eating while choreographing his dance solo. Zare is interested in ways in which avoiding food impacts diverse levels of everyday life of a performer and choreographer, his physical and emotional behavior, cognitive capabilities, concentration, sensory states and perception of time. Into his 40th day of starvation, Davoud Zare performed his solo. We will show a short film of the process, and talk about its political implications. Zare will talk to us via skype from Tehran.
The sensation of our body is closely connected with the present moment: it is difficult to remember in detail how we used to be embodied. Even the most intense experience of pain is is soon forgotten.
This makes it even more challenging to try to reconstruct not only past body sensations, but primarily the context which created them, the historical processes of normalization: what used to be taken for granted in ballet practices, and what changes have occurred since.
We invited two renowned ballet artists, Milko Šparemblek and Maja Bezjak, to discussions the ballet practice following World War II. We are interested in the contexts of their dancing physicality, living conditions of the time, nutrional regimes, body experience, methods of keeping fit, body poetics, all of that which used to be important to them at the time, and also how they see their physicality today.
Choreoroam Europe, a research and choreographic project which concluded its fifth edition this year gathered more than 40 young choreographers and authors from several European countries. Croatian choreographers also participated in the project, which was organized by the following partners: Croatian Institute for Movement and Dance, CSC Bassano del Grappa / Opera Estate Festival, The Place London, Rotterdam Dansateliers and a-2/Certamen Choreography Paso de Madrid. Through a series of residencies in different cities, through creation of temporary work-life communities, the project activated numerous reflections on the origin of authorial and choreographic impulse and around the themes of how basic life conditions, even personal conditions sediment that which will become choreographic work.
Each edition of the Choreoroam project has produced distinct collaborative and communicative networks which are still operational today, manifesting themselves in different shapes, forms and intensities. In the spirit of these evolving networks, the transformability of work environments and basic forms of life which always offer resistance by inertia, we have asked participants of the Choreoroam project to reflect on these issues. In a conversation we will try to detect basic life forms and their meaning, and make an attempt to mark these moments which are the antecedent to mechanisms of aesthetic and ideological choices.