CHOREOGRAPHY
Martina Tomić
PERFORMED BY
Dina Ekštajn, Ida Jolić, Ana Mrak
DRAMATURGY
Ivana Đula
SOUND DESIGN
Luka Vrbanić, BILK
COSTUMES
Ana Fucijaš
LIGHT DESIGN
Toni Modrušan
TEXT AND GRAFIC DESIGN
OAZA (Nina Bačun and Roberta Bratović)
VISUAL
Lena Kramarić
PRODUCTION
Studio Contemporary Dance Company:Tena Bošnjaković, Ivan Mrđen
COPRODUCTION
Nonresidential program Zagreb dance centar
PREMIÈRE
Premiere 26.11.2021. Zagreb dance centar, Zagreb
Thanks to: Milica Sinkauz, Branko Banković, Ana Vnučec, Ana Kreitmeyer, Aleksandra Jurišić Rastović
The performance was financially supported by the Zagreb City office for culture, the Ministry of Culture and Media and Kultura Nova foundation
ABOUT PERFORMANCE
we seek inspiration for this dance epic from
an essay by giorgio agamben called the end of the poem
in the text it states that poetry emerges from the tension
between sound and meaning
the possibility of enjambment is what separates poetry
from prose: the moment when the rhyme ceases
to correspond with the end of a thought
but what happens when the poem ends, when
the possibility of enjambment ceases to exist,
is the end of a poem a crisis of the verse and
a negation of the poetic
when analyzing a baudelaire poem and its ending
proust notices how the poem is suddenly
ruined how it lost its breath
walter benjamin when speaking about the end of another baudelaire
poem says that the poem suddenly
ends itself as if a poem could not truly have
an end because an end presumes what
is not immanent to poetry: the correspondence of sound
and meaning
leaning on valéry’s observation that
poetry is to prose what dancing is to walking we transfer the obsession
at the end of the poem to movement
what is the end of movement, where does dance begin, when does
walking become dancing, what if the end
becomes the beginning
while seeking for the answer we stop the movement in poses
static figures
by investigating the notion of a figure in everyday life
literature sport dance we create landscapes
through bodies
(landscapes of figures in movement) we examine our relationship
towards (our own) figure, we push it outside of its borders
of previously established movements
we expose ourselves
how comfortable do we feel in a presumed female
figure, what is a presumed female figure, what if
we go too far, where is the boundary and is there one
a moving figure becomes dance, brings an array of new
associations and emotions, which of these do we find
acceptable, which of these we do we not, what do they mean for us
and should they mean something, what is a typical figure in
contemporary dance
we imagine the five books as a dedication to dance
to body,
to figure,
to (the) end.
