Emma Murray
MOTHER*FUCKERS / MATERE*LJUBIMKE - PREMIERE / PREMIERA
plesni performans / a dance performance
Zasnova / Concept: Emma Murray
Koreografija in izvedba / Choreography and Performance: Emma Murray, Nadine Fuchs, Leja Jurišić
Dramaturgija / Dramaturgy: Johanna Hilari
Scenografija / Set Design: Jasmin Wiesli
Oblikovanje luči / Light Design: Ursula Degen
Montaža zvoka / Soundedit: Till Hillbrecht
Tehniki / Technicians: Lola Rosarot, Janko Oven, LCLights
Producenta / Producers: Michael Röhrenbach, Katja Somrak
Soprodukcija / Co-produced by: em-R Productions, Dampfzentrale Bern & Plesni Teater Ljubljana
S podporo / Supported by: City of Berne, Canton of Berne, Burgergemeinde Berne, Migros Kulturprozent, Schweizerische Interpretenstiftung, Ernst Göhner Stiftung
INFO. / REZ.:
041-365-184, ptl@mail.ljudmila.org, info@ptl-lj.si, Moje karte
Vstopnice / Tickets: 12/8€ (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: Nicole Pfister
O predstavi
Tri ženske iščejo subverzivne vzporednice med svojim delom kot matere in kot ustvarjalke predstav in koreografije, pri tem pa predstavljajo telo matere kot mesto spraševanja o identiteti, neodvisnosti in ljubezni.
Avtoričino raziskovanje trenj med konceptoma »materinstva« in »delovanja« predstavlja oseben, zabaven, ekspliciten in drzen poskus razčlenitve istočasne izkušnje materinstva ter ustvarjanja predstav in koreografskega dela, ki jo je bila deležna skupaj s svojimi sodobnicami.
Ob soočenju s fizičnimi popačenji pošastnega / materinskega telesa občinstvo izkusi radikalno intimnost z materinskim prostorom ter občutek lastne singularnosti oziroma »drugosti«.
Zato smo vabljeni, da sodelujemo v premikajočem se in dinamičnem med‑telesnem prostoru, v vmesnem »mi‑prostoru« drugačnosti in istosti.
Tukaj se meje lastništva telesa stalno premikajo in izkazujejo za porozne.
Predstava stremi k širšemu razumevanju tega, kar naj bi nam bilo mar, in k medsebojnemu razumevanju, ter pri tem razkriva in slavi izzive »odvisnosti« kot sredstva za doseganje ustvarjalnosti. S ponovnim vrednotenjem pojmov skrbi in negovanja predstava osvetli kreativno preobrazbo materinskega ter predlaga novo erotiko, kjer bosta upoštevani intersubjektivnost in vzajemnost – mesta, kjer sta 'jaz' in 'drugi' medsebojno prepletena in obenem ločena.
Prek iskanja vzporednic med delovnimi praksami umetnic in izkušnjami materinstva avtorica najde fizične translacije brezkončnih in fluidnih »procesov postajanja« ter si obenem prizadeva za takšne oblike ljubezni in nege, ki imajo potencial stalnega spreminjanja sveta.
About the performance
Three women seek subversive parallels in their work as mothers, and makers of performance and choreography - presenting the maternal body as a site from which to question identity, independence and love.
Murray’s foray into the frictions of ‘motherhood’ and ‘making’ is a personal, funny, explicit and irreverent attempt to unpack her and her contemporaries' experience as both mothers and makers of performance and choreographic work.
Confronted with the physical distortions of a monster/mother body the audience encounters a radical intimacy with a maternal space and the sense of their own singularity or ‘otherness’.
As a result, we are invited to take part in a shifting and dynamic inter-corporeal space, an in-between ‘we-space’ of difference and sameness.
It is here boundaries of corporal ownership are continually negotiated and discovered to be porous.
In reaching for a wider understanding of what it is to care for and with others, Mother*Fuckers exposes and celebrates the challenges of 'dependency' as a means for creativity. By re-elevating notions of care and nurture Mother*Fuckers makes visible the creative transformation of the maternal, proposing new erotics in which to consider intersubjectivity and reciprocity - spaces where the self and other are simultaneously entwined and separate.
By searching for parallels between the working practices of artists and the experience of motherhood Mother*Fuckers finds physical translations for the endless and fluid 'process of becoming' while at the same time, striving for versions of love and care-giving that have the potential to continually remake the world.
O avtorici
Emma Murray je plesalka in koreografinja, ki živi v švicarskem Bernu. Kot solistka je od 19. leta plesala pri plesnem podjetju Royal New Zealand Ballet. Leta 1997 se je preselila v Evropo ter v obdobju 1999–2008 plesala v gledališču Konzert Theater Bern. Od leta 2008 deluje kot svobodna umetnica in koreografinja. Poleg nastopanja in produkcije lastnih umetniških del se še naprej ukvarja tudi s poučevanjem in igranjem ter deluje kot asistentka pri koreografskih in gledaliških projektih po vsej Švici.
V obdobju 2013–2015 je dobila naziv pridružene umetnice v kulturnem centru Dampfzentrale Bern, ki redno nastopa v vlogi koproducenta njenih projektov. Od leta 2013 dalje kot priznanje za svojo vse večjo prepoznavnost tako doma kot v tujini prejema podporo mestne občine Bern in švicarske fundacije ProHelvetia Switzerland za pomoč pri širjenju in umetniškem razvoju svojega dela.
Zaradi zanimanja za kreativne prakse je leta 2014 ustanovila platformo za izmenjevanje WORKING SESSIONS, ki omogoča sodelovanje ter multidisciplinarno delovanje umetnikov na področjih plesa, koreografije, pisanja in glasbe. Njena dela se pojavljajo ob boku številnih drugih umetnic in umetnikov, kot so Wendy Houstoun, Simone Aughterlongy, Martin Schick, Jacob Wren, Nicole Seiler, Marie-Caroline Hominal, Jessica Huber, Julian Satorius, Marysia Stoklosa in Simon Lenski.
Posledično Emma Murray umetniški proces vidi kot prakso, ki ob ustvarjanju tudi arhivira, in ki jo je mogoče videti ne kot ločeno, ampak kot prepleteno s samim izvajanjem. Njena umetniška dela vključujejo predstave, kot so My Body Is an Island (»Moje telo je otok«) iz leta 2008, You Should Have Seen Me (»Moral bi me videti«; 2009), Natural Causes (»Naravni vzroki«; 2010), MADE TO ORDER (»IZDELANO
PO NAROČILU«; 2011), This is the Beginning (»To je začetek«; 2012) in The Way You Look Tonight (»Kot si videti danes«; 2014) in MOTHER*FUCKERS (»Matere*Ljubimke«; 2017). V svojih delih si prizadeva najti fizične translacije, ki utelešajo in razkrivajo absurdnejša protislovja človeških življenj.
About the author
Emma Murray is a dancer/choreographer living in Bern, Switzerland. She danced as a soloist with the Royal New Zealand Ballet from the age of 19 before moving to Europe in 1997. She then danced with the Konzert Theater Bern for 8 years, leaving in 2008 to establish herself as a Swiss based choreographer and performer. As well as performing and producing her own work she continues to teach, act and assist in choreographic and theater projects throughout Switzerland.
She was appointed Associated Artist at the Dampfzentrale Bern from 2013-2015 where her work is regularly co-produced. Since 2013, and in recognition of her emerging presence in both national and international settings, she has been the recipient of support from the City of Bern and ProHelvetia Switzerland, to aid in the distribution and artistic development of her work.
Murray’s interest in creative practices led to the launch of WORKING SESSIONS in 2014, an exchange based research platform which facilitates the collaboration and curation of artists, working across disciplines in performance, choreography, writing and music. It has seen her work alongside diverse artists such as Wendy Houstoun, Simone Aughterlongy, Martin Schick, Jacob Wren, Nicole Seiler, Marie-Caroline Hominal, Jessica Huber, Julian Satorius, Marysia Stoklosa and Simon Lenski.
As a result, Murray sees artistic process as a practice that archives at the same time as doing, and can be seen, not separate to, but interwoven into performance itself. Her performance work includes; My Body is an Island (2008), You Should Have Seen Me (2009), naturalcauses (2010), MADE TO ORDER (2011), This is the Beginning (2012), the way you look tonight (2014) and MOTHER*FUCKERS (2017). The works endeavors to find physical translations that embody and expose the more absurd contradictions of being human.