Jerca Rožnik Novak
FEAR(FUL)LESS / (NE)USTRAŠNA
plesna predstava / a dance performance
Koncept in koreografija in izvedba / Concept, Choreography & Performance: JERCA ROŽNIK NOVAK
Koreografija in mentorstvo / Choreography and Mentorship: DAMIAN CORTES ALBERTI
Avtorska glasba / Original Music: KAJA JANJIĆ (F-RAW BLANCA)
Uporabljena glasba / Used Music: VERDI - MESSA DA REQUIEM
Dramaturgija / Dramaturgy: ZALA DOBOVŠEK
Kostumografija / Costume Design: TANJA PAĐAN (KISS THE FUTURE)
Oblikovanje svetlobe in tehnična podpora / Lighting Design and Technical Support: JANKO OVEN
Producentka / Producer: KATJA SOMRAK
Produkcija / Produced by: PLESNI TEATER LJUBLJANA
Podpora / Supported by: Red Sapata TANZFABRIK Linz, Anton Bruckner Privatuniversität Linz
Zahvala / Special Thanks to: Enya Belak, Julio Escudero, Renata Carola Gatica, Ira Goldbeche, Dean Krivačić, Natalija Rožnik, Veronika Valdés, Mitja Vasič, SVŠGUGL
Program Plesnega Teatra Ljubljana sofinancirata Ministrstvo za kulturo RS in Mestna občina Ljubljana, Oddelek za kulturo / The programme of Plesni Teater Ljubljana is subsidized by the Ministry of Culture RS and Municipality of Ljubljana, Department for Culture
Foto / Photo: DRAGO VIDEMŠEK
O predstavi
Ustvarjanje težav in reševanje neobstoječih težav je lahko posebna sposobnost. Strah je osnovni mehanizem preživetja. Mehanizem, ki se sproži, ko je oseba v nevarnosti. Strah je sposobnost prepoznavanja nevarnosti in vodi do odločitve: beg ali boj. To čustvo in odziv sta nam prirojena. S strahom smo rojeni. Rojeni z njim, da nas zaščiti pred resnično nevarnostjo. Težava nastane, ko se ljudje s strahom odzovejo ne le na dejansko nevarnost, ampak tudi na pričakovane, namišljene nevarnosti. Ubogo telo, misli, da beži pred levom, pa beži pred seboj. Zanimivo je, da lahko dosežemo visoke ravni adrenalina, ne da bi se morali soočiti z resnično nevarnostjo.
Trenutni nepredvidljivi časi predstavljajo različne grožnje in strahove. Predstava raziskuje strah kot koncept, uokvirjen v gibanje, ples in elemente gledališča. Šaljiv pristop do enega najtemnejših čustev. Predstava je samorefleksivna in nagovarja vse tiste, ki se česa bojijo, se tega zavedajo in se jim morda celo zdi nepotrebno, da se bojijo, pa vendar se. Občutek strahu, resničen strah in ustvarjanje strahu.
About the performance
Creating problems and solutions to non-existent problems can be a special ability. Fear is a basic survival mechanism. A mechanism that is triggered when a person is in danger. Fear is the ability to recognize danger and leads to the decision: to escape or to face danger. This emotion and response are innate in us. We are born with fear. Born with it to protect us from real danger. The real problem arises when people react with fear not only to the actual danger, but also to expected, imaginary dangers. Poor body, it thinks it’s running away from the lion, but it’s just running away from itself. Interestingly, we are able to bring ourselves to high levels of adrenaline without having to face the real danger.
Unpredictable times, especially the ones we live in now, display different threats and fears. The performance explores fear as a concept framed in movement, dance, and elements of theatre. A humorous approach to one of the darkest emotions. The performance is self-reflective and addresses all those who are afraid of something, are aware of it, and may even find it unnecessary to be afraid, and yet they are. Feeling fear, really being afraid, and creating fear.
Izsek iz kritike
»V odlični dikciji in interpretaciji neustrašne junakinje, ki sočasno izraža lastna tovrstna stanja, tudi jih skuša dojeti, se jih rešiti, pač izničiti svoj nadležni strah … Prostorski plesni utripi, ki jih plesalka fluidno valovi tudi po tleh, delujejo kot balzam, kot sprostitev v tej zgoščenki besed in poslikavah strahovlade, ki kar (aktualno) vrtinči in segreva prostor, tudi zahteva neverjetno kondicijo neustrašne junakinje, ko se spopada sama s seboj.« Daliborka Podboj, Parada plesa
Excerpt from press review
“In the excellent diction and interpretation of the fearless heroine, who simultaneously expresses her own equivalent states, also tries to comprehend them, get rid of them, to simply eliminate her annoying fear… Spatial dance pulses, which the dancer also fluently waves on the floor, act as a balm, as a relaxation in this compilation of words and images of the Reign of Fear, which (thematically) swirls and warms the space and also requires an incredible fitness of the fearless heroine fighting with herself.” Daliborka Podboj, Dance Parade