Eun-Me Ahn
LET ME CHANGE YOUR NAME / NAJ TI SPREMENIM IME
plesna predstava / a dance performance
Koreografija in umetniško vodenje / Choreography & Artistic Direction: EUN-ME AHN
Plesalci / Dancers: EUN-ME AHN, JIHYE HA, YOUNGMIN JUNG, HYEKYOUNG KIM, KYUNGMIN KIM, SIHAN PARK, HYEJI YI
Glasba / Music: YOUNG-GYU JANG
Kostumografija in scenografija / Costume and Set Design: EUN-ME AHN
Oblikovanje svetlobe / Lighting Design: ANDRĖ SCHULZ
Produkcija / Produced by: EUN-ME AHN COMPANY
Gostovanje je podprlo / Tour supported by: KAMS / CENTER STAGE KOREA
INFO. / REZ.: 041-707-475, ptl@mail.ljudmila.org, info@ptl-lj.si, Moje karte
Vstopnice / Tickets: 15/10€ (dijaki, študenti, upokojenci / scholars, students, seniors), predhodna rezervacija ali uro pred predstavo v gledališču / prior reservation or an hour before the performance at the 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
Foto / Photo: EUNJI PARK
O predstavi
Naj ti spremenim ime ...
V tej predstavi z naslovom, ki deluje kot povabilo, južnokorejska umetnica Eun-Me Ahn prek igranja s ponavljanji in kontrasti prevprašuje identiteto in posameznikovo mesto v naših sodobnih družbah.
Med temo in utripajočimi lučmi, kostumi črno belih in živahnih barv, med šamanskim ritualom in modno revijo, med resnobnostjo in humorjem, se odvija gibanje, ponavljajoče se, včasih hipnotično, dokler ne doseže transa.
V divjem ritmu nastopajoči – med njimi tudi sama Eun-Me Ahn – menjujejo preobleke in s tem svojo kožo, svoj spol. Plešejo, dokler se ne izgubijo v gibanju ter skupaj ustvarijo eno edinstveno telo. Izgubljajo se, stapljajo se v skupino, a vendarle so tu, s svojimi osebnostmi, in to tudi jasno in glasno izražajo.
Morda se je vmes spremenilo tudi njihovo ime … Morda tudi ne …
Kaj pa ti?
About the performance
Let me change your name...
With this title, like an invitation, South-Korean Eun-Me Ahn questions identity and the place of individuals in our modern societies by playing with repetition and contrasts.
Between darkness and flashy lights, black and white and bright colors costumes, between shamanistic ritual and fashion show, gravity and humor, the movement imposes itself, repetitive, sometimes hypnotic until transe.
In a frantic rhythm, the performers – including Eun-Me Ahn herself – exchange costumes as they change skin, as they change gender. They dance until forgetting themselves in the movement to create together one unique body. They fade, blend into the group but yet, they are here with their personality and they state it out loud and clear.
Maybe their name has changed along the way… Maybe not…
What about you ?
O avtorici
Ah, to slavno nasprotje »med tradicijo in sodobnostjo« …
Preštevilni ustvarjalci so se trudili najti način, da bi opisali to, kar je v končnem smislu cilj vsakega umetnika: na eni strani vedeti, razumeti in vključiti to, kar so vedeli stari; in na drugi strani, preseči jih in upati, da najdemo nekaj novega. Kar obsežna naloga.
Na tem področju je Eun-Me Ahn, ki jo je Francija odkrila leta 2013 zahvaljujoč poletnemu festivalu Paris Quartier d'été, odkrila nove, nepričakovane in razburljive načine. To je v prvi vrsti zasluga njenega urnika, ki ga zaznamuje učenje in raziskovanje šamanskih tradicij, v enaki meri pa tudi leta, preživeta v New Yorku, ter globoko prijateljstvo s pokojno Pino Bausch (ki jo je večkrat povabila v Wuppertal). Korejka in svetovljanka Eun-Me Ahn je avantgardna umetnica, a tudi koreografinja same uradne otvoritve svetovnega prvenstva v nogometu leta 2002 v Daeguju, ki je sodelovala na največjih mednarodnih festivalih in ve, kako izboljšati lepoto kontrastov, kako ravnati s pikčastimi, črtastimi in rožnatimi vzorci, kako se igrati z najbolj živahnimi barvami in takoj nato preiti na najbolj resnobno asketskost, kako se igrati z najbolj subtilnimi odtenki androginije, ali pa uporabiti počasnost, da izbruhne ritem trancea …
Eun-Me Ahn je stroga, natančna, zahtevna in po korejsko disciplinirana, obenem pa drzna performerka, pripravljena na najraznovrstnejše podvige. Videti jo je bilo mogoče skočiti z vrha žerjava, pa napasti klavir s sekiro in škarjami, si strgati s sebe pravljično obleko iz belih kravat in razdeliti njene kose med občinstvo, medtem ko je plesala medvedkov ples, se v klovnovem kostumu zakopati pod kup balonov, se skupaj s piščancem zakleniti za rešetke, ali pa preobleči se v gobo … A pri vsem skupaj ne gre za provokacijo, temveč za izražanje radovednosti in svobode, ki slonita na delu in slogu in sta prignani do svojih najbolj nepričakovanih meja.
About the author
Ah, the famous custard pie that is the confrontation “between tradition and modernity”…
How many creators have struggled to find the way to describe what is finally the lot of every artist: on the one hand to know, understand, integrate what the ancients did ; on the other to forgot them, overcome them and hope to find something new. Quite a vast program…
On this level, Eun-Me Ahn that France discovered in 2013 and 2014 thanks to Festival Paris Quartier d’Eté, has found new, unexpected and exciting ways. This comes first from her own itinerary, marked as much by the learning and exploration of shamanic traditions as by the many years spent in New York or a profound friendship with the missed Pina Bausch (who invited her many times in Wuppertal). Korean and cosmopolitan, figure of the avant-garde but also choreographer of the very official opening ceremony of the FIFA World Cup in Daegu in 2002 and presented in the most important international festivals, she knows how to improve the beauties of contrast, mix polka dots, stripes and flowers, how to play with the most pop colors before switching to the most solemn austerity, how to play with the most subtle shades of androgyny, or use slowness to make trance rhythm burst…
Educated at the school of rigor, precise, demanding and of an all Korean discipline, Eun-Me Ahn is also a daredevil performer, ready for all kind of piracies. One have seen her jump from the top of a crane, then attack a piano with axe and scissors, rip off herself her fairy dress made of white ties to distribute the pieces to the audiences while performing a teddy bear dance, bury herself with a clown costume under a rain of balloons, locked up behind bars in a duet with a chicken, or dressed up as a mushroom… But one would be wrong thinking it is provocation. It is rather the affirmation of a curiosity and a freedom held by work and style pushed to their most unexpected limits.