Liza Šimenc & Urša Rupnik
MEDUZA || zrcalo dvojnosti || / MEDUSA || the mirror of duality || - PREMIERA / PREMIERE
plesni performans / a dance performance
Avtorici in izvajalki / Authors and Performers: Liza Šimenc, Urša Rupnik
Avtor in izvajalec glasbe / Author and Performer of Music: Blaž Pavlica
Vokal / Vocal: Tea Vidmar
Zasnova in postavitev scene / Concept and Layout of Set: Tatiana Kocmur in Liza Šimenc
Oblikovanje svetlobe in tehnične rešitve / Lighting Design and Technical Solutions: Janko Oven
Video in fotografije / Video and Photos: AMBROSIA (Vesna Zorman in Uroš Cotman)
Produkcija / Produced by: Studio za svobodni ples
Koprodukcija / Co-produced by: Plesni Teater Ljubljana, Studio XXV
Sofinanciranje / Co-financed by: Mestna občina Ljubljana – Oddelek za kulturo, Ministrstvo za kulturo – Delovna štipendija za samozaposlene v kulturi
INFO. / REZ.: ursa.rupnik@gmail.com, 031 216-439, Moje karte
Vstopnice / Tickets: 7/5€ (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: DK
O predstavi
Znotraj konteksta mitologije, ki preko tisočletij vstopa v sodobni prostor in čas, združujeva obe Meduzini plati – igrava se tako z vlogo usodne zapeljivke kot nedolžne žrtve, iščeva njeno lepoto in pošastnost, odkrivava plasti njene maske in zrcaliva njeno dušo v odsevu ”Perzejevega ščita”. Ukvarjava se z dekonstrukcijo ženske miline, kreiranjem nekega novega – morda klasično ''ne-ospoljenega'' bitja, dvo- ali celo več-ličnostjo; igrava se s percepcijo, zaznavanjem, trajanjem, obstajanjem.
About the performance
Within the context of mythology, which for thousands of years enters into contemporary space and time, we unite both Medusa's sides – we play both, with the role of a fateful seductress, as well as an innocent victim, we look for her beauty and monstrosity revealing the layers of her masks and mirroring her soul in the reflection of "Perseus shield". We work on deconstruction of women's grace by creating a new one - perhaps a classical "non-gender" being, a two- or even more-hypocrisy personality; we play with perception, perceiving, duration, existence.