Magdalena Reiter, Milan Tomášik, Anja Golob
SOLO ZA DVA GLASOVA / SOLO FOR TWO VOICES
plesna predstava / a dance performance
Koreografija in ples / Choreography and Dance: Magdalena Reiter, Milan Tomášik
Dramaturgija / Dramaturgy: Anja Golob
Glasba / Music: Alen Sinkauz in Nenad Sinkauz
Kostumografija / Costume Design: Alan Hranitelj
Tehnično vodenje predstave / Technician: Aljaž Zaletel
Fotografija / Photography: Uroš Abram
Produkcija / Produced by: Zavod Mirabelka
Koprodukcija / Co-produced by: Cankarjev Dom, Plesni Teater Ljubljana
Partnerji / Partners: Mediteranski plesni centar Svetvinčenat (Hrvaška), Stara gara
Zahvale / Acknowledgement: Katja Somrak, CK Španski borci, Katja Šaponjić
Projekt sofinancira / Co-financed by: Mestna občina Ljubljana / Municipality of Ljubljana
INFO. / REZ.: 041-365-184, ptl@mail.ljudmila.org, info@ptl-lj.si, Moje karte
Vstopnice / Tickets: 8/6 €, predhodna rezervacija ali uro pred predstavo v našem gledališču / prior booking or an hour before the performance at our theatre
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
O predstavi
V pesniškem opusu mehiškega nobelovca Octavia Paza (1914–1998) ima Carta de Creencia [Pismo dognanja] posebno mesto – na svoj način zgošča klasične teme njegove poetike, obenem pa gre najbrž za avtorjevo najbolj znano pesem.
Odrski prevod iz pesniške v plesno govorico, poimenovan Solo za dva glasova, predstavlja našo interpretacijo mojstrove pesnitve, ki je zavestno vpeta v sedanjosti in v kateri smo na formalni ravni ohranili strukturo jasno ločenih enot, poimenovanih po glasbeni partituri (kantata, koda). Naš cilj je bil vzpostaviti jasen, natančen odrski jezik, ki vztraja v odprtem dialogu z besedilom, pomemben poudarek pa je bil v procesu dela namenjen tudi študiju sopostavitve dveh plesnih poetik, ki se na odru srečujeta prvič.
Pazova pesem prostoru in času že uvodoma spodmakne tla ter nato partikularni intimni odnos, v katerega vstopimo, skozi številne premene razpira proti ontologiji ljubezni, ki se izmika dojemu skozi (zgolj) bližino dvojine. V podivjanem, smisla izpraznjenem svetu, v kakršnem živimo, služi tako med drugim tudi kot učinkovit poudarek tega, kar je zares bistveno.
About the performance
Letter of Testimony [Carta de Creencia] holds a special place in poetic oeuvre of the Mexican Nobel laureate Octavio Paz (1914–1998). It namely epitomizes classical traits of his poetic expression, while also being possibly the author’s best known poem.
The staged translation from poetic into dance language, named Solo for Two Voices, is our interpretation of the masterpiece, willfully entrenched in the here-and-now, yet formally maintaining a structure of distinctly divided parts according to a musical score (cantata, code). Our aim was to establish a clear, precise stage language with the ability of holding an open dialog with the text; at the same time we have been examining, throughout the working process, into what form of co-existence the two poetics of dance meeting on stage for the first time might evolve.
Paz's poem, from the very beginning, shatters coordinates of space and time, and then goes on to – gradually and cutting through many layers – open the particular intimate relationship, on which we embark, to the ontology of love which is impossible to grasp by (mere) comprehension of togetherness of two. In this furiously disturbed world empty of meaning in which we live, it also insistently reminds us to keep asking ourselves this: what is truly essential.