23., 24.5. - 21.00 THE POLITICS OF DANCING - PREMIERA

Matjaž Farič

THE POLITICS OF DANCING/ POLITIKA PLESANJA

Koreografija/ Choreography: Matjaž Farič

Plešejo/ Dancers: Katja Legin, Barbara Kanc, Darren Anderson in drugi

Pripoveduje/ Narrator: Nada Vodušek

Glasba/ Music: Donna Summer, Re-Flex, Henry Purcell, Carl Maria von Weber/ Hector Berlioz, Flota

Kostumografija/ Costumography: Sanja Grcić

Vodja produkcije/ Head of Production: Urška Pleše

Produkcija/ Preoduced by: Flota, zavod, Murska Sobota

Koprodukcija/ Co-produced by: Flota Ljubljana, Plesni Teater Ljubljana

Predstava je nastala s pomočjo Ministrstva za kulturo Republike Slovenije in Oddelka za kulturo Mestne občine Ljubljana

The performance is supported by the Ministry of Culture of Slovenia and the Department of Culture of the Municipality of Ljubljana.

INFO./ REZ.: www. flota.si, plese@flota.si, 041- 691-177

O PREDSTAVI

Kakšno zvezo imata ples in politika? Ples je trdoživ, premaga vse vladarje, elite, njihova pravila, zapovedi in prepovedi. Zabava zaničevanih množic slej ko prej vstopi skozi velika vrata salonov in balkonov, s katerih izbranci zviška opazujejo "drhal".

V predstavi spremljamo premikajoče se skulpture, ki imajo izhodišče tako v utopičnem svetu diska, kot v valčku, s katerim čez parkete drsijo elite srednje Evrope že več kot dvesto let. Prej je bil valček, prav tako kot disko ples v sedemdesetih letih dvajsetega stoletja, ples divjega veseljačenja in razvrata. Doba diska se je končala z javno razstrelitvijo gore plošč disko glasbe na baseballskem stadionu v Chicagu. Ples je preživel in postal del dominantne medijske kulture, valček pa je že dolgo nazaj iz pohujšljivega   plesa "nemške vulgarnosti" postal orodje kulturne in politične nadvlade.

O AVTORJU

Plesalec, koreograf in gledališki režiser Matjaž Farič je eden ključnih soustvarjalcev slovenskega sodobno-plesnega prostora v zadnjih dvajsetih letih. Do sedaj je ustvaril naslednje predstave: solo Ghosts of my life (1986), Zlom (1988), Emotional (1990), Icht (1990), in Veter, pesek in zvezde (1991), »potoples« DERR in Solo (1993). Sledijo preinterpretacije baletnih klasik: Labodje jezero (1994), Romeo in Julija (1995), Posvetitev pomladi (1996), Trilogija, zadnje dejanje (1997). Leta 1997 v PTL sledi Klon in skrajšana različica RAM; leta 1998 predstava Otok. Jeseni 1999 ustanovi skupino Flota, s katero kot hišni koreograf Cankarjevega doma uprizori najprej Terminal (v tedniku Mladina razglašen za slovensko predstavo leta 1999), leta 2000 10 stopinj pod 0 in leta 2001 Pohujšanje. Leta 2002 nastaneta solistični projekt 3.oLo in predstava Govori mi svoje telo, leta 2003 ustvari Krog v telesu – kvadrat v glavi in leta 2004 Bari. Sledijo predstave Nemotelonemepesmi in Zakajbimekdoustavil 2006, Ukaz (z En-Knap Group) in Macbeth 2008, Odpotovani (s Compagnie Coline) 2008, Srh (2009) in Pustite otroke k meni (2011). Deluje tudi na tujem; v sezoni 1988/89 kot plesalec v amsterdamski Testworks, kot koreograf sodeluje s Studiem za sodobni ples iz Zagreba (Stravinski i ja, 1995, in Posvećenje proljeća, 2004) ter z Diversions Dance Company iz Cardiffa (From the Desert Through the Forest, 1997). Leta 2004 postavi predstavo BETA za francosko Compagnie Coline. Kot koreograf sodeluje pri nastajanju opernih in gledaliških predstav v Ljubljani, Novi Gorici, Celju, Mariboru, Celovcu, Zagrebu, na Reki in v Antwerpnu – najpogosteje v režijah Vita Tauferja, Eduarda Milerja in Matjaža Zupančiča. Kot plesalec in koreograf je prejel več nagrad doma in v tujini. Matjaž Farič je  umetniški vodja zavoda Flota in festivala sodobnega plesa Front@.​

ABOUT THE PERFORMANCE

How are dance and politics related? Dance is imperishable, it overcomes all rules, elites, their dictates and prohibitions. Sooner or later the entertainment of contemptible masses enters through the big door of saloons and balconies from where the chosen look down on the “rabble”.

The performance features moving sculptures which originate in both the utopian world of disco and in the waltz with which Central European elites glide on shimmering parquets for over two hundred years. Like disco dancing in the 1970s, the waltz used to be considered a dance of wild revelry and debauchery. The age of disco came to an end with a public blowing up of a pile of disco records at a baseball stadium in Chicago. The dance has survived, becoming part of the dominant media culture, while the waltz has long ago turned from an obscene dance of “German vulgarity” to a tool of cultural and political hegemony.

ABOUT THE AUTHOR

Dancer, choreographer and theater director Matjaž Farič is one of the key creators of Slovenian contemporary dance scene in the last twenty years. With his first company, the Eastern Dance Project, Farič performed a string of his early works: Sixth of April and Breakdown (1988), Red Alarm (1989), Emotional (1990), Icht (1991). In 1988, he danced in Ballet Observatory ZENIT within the scope of the Red Pilot group. Farič staged Wind, Dust and Stars in Slovensko mladinsko gledališče in 1991 and was awarded the Borštnik Prize for an original project. In 1993 he presented the »roam'o'dance« DERR, and Solo later that year. This was followed by re-interpretations of ballet classics The Swan Lake (1994), Romeo and Juliet (1995), Le Sacre du printemps (1996), Trilogy, Last Chapter (1997). In the season of 1997/98, Farič created Clone in the Dance Theatre Ljubljana, followed by its shorter version RAM; next year Island was staged. In the autumn of 1999 Flota was established with which Farič first staged Terminal (picked as the Slovene performance of 1999 in Mladina) as the resident choreographer of Cankarjev dom. In 2000 there followed 10 degrees below O, and in 2001 Temptation. In 2002 he created 3.oLo and Talk Me Your Body, while in 2003 A circle in the body – A square in the head, and in 2004 Bari. The following performances were Siletbodysilentsong and Whywouldanyonestopme in 2006, Command (with En-Knap Group) and Macbeth in 2008, Shiver in 2009 and Let The children Come To Me in 2010. Abroad Farič has asserted himself as a dancer with the Amsterdam group Testworks (season 1988/89), as a choreographer with Studio za suvremeni ples Zagreb (he staged Stravinsky and Me, 1995, and The Rite of Spring, 2004) and with Diversions Dance Company Cardiff (From the Desert Through the Forest, 1997). In 2004 he staged BETA for the French Compagnie Coline. As a choreographer he contributed to theatre and opera performances in Ljubljana, Nova Gorica, Celje, Maribor, Celovec, Zagreb, Reka and Antwerpen – most often in collaboration with the directors such as Vito Taufer (Odysseus and Son, Kraljevo, Timon of Athens, Tartuffe, Snow White and Seven Dwarfs), Eduard Miler (Magic and Loss, Susn, Miss Julie) and Matjaž Zupančič (The Threepenny Opera, The Corridor). During his career he won many awards at home and abroad. Matjaž Farič is the artistic coordinator of Flota and festival of contemporary dance Front@.