Tina Valentan
KALIPSO / CALYPSO - PREMIERA / PREMIERE
uprizoritev / performance
Avtorica in izvajalka / Author and Performer: Tina Valentan
Avtor glasbe in zunanje oko / Music and Outside Eye: Tian Rotteveel
Dramaturginja / Dramaturg: Aleksandra Blagojević
Umetniško usmerjanje / Artistic Advisory: Snježana Premuš
Kostumografka / Costume Designer: Urška Recer
Oblikovalka luči / Lighting Designer: Urška Vohar
Teoretska refleksija / Theoretical Reflection: Tea Hvala
Izvršna producentka / Executive Producer: Amela Meštrovac
Produkcija / Produced by: Mesto žensk, Društvo za promocijo žensk v kulturi / City of Women, Association for the Promotion of Women in Culture
Koprodukcija / Co-produced by: Plesni Teater Ljubljana, Plesna Izba Maribor
S podporo / Supported by: JSKD / Public Fund for Cultural Activities of RS, Zavod Maska / Maska Institute
Posebne zahvale / Special thanks to: Luka Martin Škof, Andreja Kopač, Vesna Juvan, Nina Meško, Zavod za kulturo, turizem in šport Murska Sobota / Institute for Culture, Tourism and Sport Murska Sobota
INFO / REZ.: Moje karte, info@cityofwomen.org
Foto / Photo: Luka Martin Škof
O predstavi
Kaj je bilo prej, kokoš ali jajce? Jajce v kokoši, kokoš v jajcu.
Kalipso je neumnost. Kalipso je boginja. Kalipso je nočni bar za samce vseh vrst. Kalipso postavlja nove horizonte zabavni industriji s pomočjo ustvarjalne seksualnosti in vam zagotavlja: navaden pleh se lahko spremeni v čisto zlato! Kalipso (orig. zvijačno, skrito) so individualni in družbeni vzorci, ki se nevidno in skrito prenašajo tako v prostoru in času, kot v življenju posameznice_ka. Neumnost je vedno znova orodje elite; kdor ne pozna zgodovine, ne ve, čemu se upira.
(Andreja Kopač, Tina Valentan)
Iz česa nastane umetniško delo? V tej predstavi je odgovor na dlani, a vendar skrit. Skriva se v dveh zlatih jajčecih, ki prepotujeta dolgo pot od komaj zaznavnega občutka v trebuhu do odrske stvaritve. Plesalka v njej nagovarja nič manj kot vesoljno stvarstvo, rekoč: »Dobrodošli na postaji Mir!«
Kalipso Tine Valentan ni iz Homerja, je pa – tako kot nesmrtna nimfa Kalipso – iz samotne dežele senc. Moč črpa iz črnine svojega notranjega vesolja, ki se previdno izoblikuje v gib in glas ter se nerada prezgodaj razkrije očem smrtnikov. Z mitološko Kalipso jo tako druži predvsem ime: καλύπτω (kalyptō) je grški izraz za pokrivanje ali zakrivanje, v prenesenem pomenu pa prikrivanje: zvijačnost, a tudi zaščito. Skrb zase.
Kalipso in Kalipso: zapeljivki, obdani s simboli izobilja. Svoje bogastvo razdajata z velikodušnostjo tistih, ki nimajo ničesar razen zavedanja, da se iz zlatega jajca – preden ga stremo – lahko izvali karkoli. Vse možnosti so odprte. Toda Kalipso Tine Valentan se mora po sili razmer odločiti za eno samo pot, še preden razbije jajce. Bo iz njega prišel umetniški ali biološki čudež? Predstava ali otrok? V njeni podobi sveta vsaka celica vsebuje ves kozmos in vse je povezano, drevo, dinozaver in človek, zato se ustvarjanje in materinstvo ne izključujeta. Toda v svetu, v katerem živi, ni denarja za oboje. Ni prostora za mnogoterost, po kateri z užitkom vijuga Kalipso: vesoljka, plesalka, kozmonavtka, pop zvezda, kokoška in mistična vizionarka v enem.
Od tod bolečina in renčanje. Prikrivanje, kajti v tako sploščenem svetu smeš biti samo eno. Zdi se, da celo čarobna moč zlatih jajčec odpove. Naj jih Kalipso še tako čuva in greje, ostajajo nema. Samozadostna. Zaman skuša obuditi staro mitopoetsko podobo sveta kot kozmičnega jajca, v katerem se vse začne in konča in v katerem je resnično dovolj prostora za vse. Tukaj in zdaj se mora Kalipso iz boginje spremeniti v pop zvezdo, vse svoje razsežnosti pa stlačiti v eksotičen klobuk. Kot sodobna Carmen Miranda, ki je kalipso in sambo zamenjala za sintetične ritme, poplesuje in se bolj iz navade kot želje nesramno spogleduje s publiko, ki je vse to že videla, a ji zato ni nič manj nerodno.
Da bi bila mera polna, Kalipso zlati jajčeci s svojih oči preloži naravnost na jajčnike in se iz vesoljke-kozmonavtke na postaji Mir spremeni v navadno zemljanko, obsojeno na biologijo. Toda preden kot njene/njeni gostje razočarano zavzdihnemo, se velja ozreti nazaj in naprej ter si zapomniti, od kod so pripotovala zlata jajčeca in kam se odpravljajo. Ali jajčniki res vodijo Kalipso, ali pa jih nemara usmerja ona? Je to ujetništvo ali svoboda? Da ni oboje hkrati? Mistiki kimajo. Baročni pesnik Angel Silezij bi se morda vprašal, kaj je bilo prej, kokoš ali jajce, in kar sam odgovoril: »Jajce v kokoši, kokoš v jajcu«. Ni si težko predstavljati, da bi mu Kalipso v plesni dvorani Miru veselo nazdravila z jajčnim likerjem in z ekstravagantnim klobukom na glavi vzkliknila: »Naj živijo tutti frutti!«
Tea Hvala
About the performance
Which came first, the chicken or the egg? The egg in the chicken, the chicken in the egg.
Calypso is ridiculously unimportant and thick-headed. Calypso is goddess. Calypso is a night club for all sorts of males. Calypso unveils new horizons for the entertainment industry by capitalizing on creative sexuality, reassuring you that plain scrap iron can be turned to gold! Calypso (orig. to deceive, to hide) represents individual and collective patterns that are being transmitted invisibly and secretly through space and time, affecting also individual lives. Thick-headedness proves to be the tool of the elite again and again. Those unknowing of the history don’t know what they are resisting against.
(Andreja Kopač, Tina Valentan)
What is an artwork made of? In this performance the answer is obvious but hidden. It is hidden in two golden eggs that travel a long way from barely perceived feeling in the womb to the staged performance. In it, the dancer addresses nothing less than all creation saying: “Welcome to the Peace space station!”
Calypso by Tina Valentan isn't from Homer yet it is – the same as the immortal nymph Calypso – from a solitary land of shadows. It draws strength from the blackness of its inner universe which carefully forms into a movement and voice and reluctantly reveals secrets to the mortals too soon. What she shares with the mythological Calypso is mainly the name: καλύπτω (kalyptō) is a Greek word for covering or concealing and in the figurative meaning hiding, deceiving but also protection. The care of the self.
Calypso and Calypso: two seducers surrounded by symbols of opulence. They give away their wealth with the generosity of those who have nothing but the awareness that before we break it anything can hatch from the golden egg. All possibilities are open. But Tina Valentan's Calypso is compelled to choose only one way before breaking the egg. What will come out of it: an artistic or biological miracle? A performance or a child? In her picture of the world, every cell holds the entire cosmos and everything is connected, a tree, a dinosaur and a human – therefore creativity and art and motherhood are not mutually exclusive. But in the world she lives in there is not enough money for both. There's no place for the diversity that Calypso takes immense pleasure in: an astronaut, a dancer, a cosmonaut, a pop star, a bimbo and mystical visionary all in one.
This is the origin of pain and snarling. Disguising because you can only pick one in such a flattened world. It appears that even the magical power of the golden eggs fails. No matter how Calypso protects and hatches them, they remain speechless. Self-sufficient. She tries in vain to revive the ancient mythopoetic picture of the world as a cosmic egg where everything begins and ends, and where there’s truly plenty of room for everybody. Here and now, Calypso has to transform from a goddess into a pop star, and stuff all her dimensions into an exotic hat. Like a contemporary Carmen Miranda who traded calypso and samba for synthetic rhythms, she dances around and more out of a habit than desire she impertinently flirts with the audience which despite seeing it all still feels embarrassed.
To make matters worse, Calypso removes golden eggs from her eyes from where they move directly to the ovaries and converts from an astronaut-cosmonaut at the Mir space station into an ordinary mortal condemned to biology. But before we sign out in disappointment as her guests, we should look back and forth and remember where the golden eggs came from and where they are going. Do ovaries really direct Calypso or could it be that she directs them? Is this captivity or freedom? What about both at the same time? Mystics nod assent. Baroque poet Angelus Silesius might have wondered which came first, the chicken or the egg, and gave an answer himself: “The egg in the chicken, and the chicken in the egg.” It is not difficult to imagine that in the Piece dance hall, Calypso would cheerfully propose him a toast with egg liqueur and with an extravagant hat on her head call out: “Long live tutti frutti!”
Tea Hvala
O avtorici
Tina Valentan je diplomirana plesalka in koreografinja, ki že vrsto let deluje na polju sodobnega plesa. V zadnjem času je predvsem aktivna kot performerka v predstavah drugih koreografov. S skupino Milan Tomášik & Co uspešno gostuje s predstavama Sezona lova (2014) in Železnomodra (2015) po evropskih plesnih festivalih. S Snježano Premuš, pod vodstvom katere je nazadnje ustvarjala Fizične manifestacije (2015) , pa vztrajno poglablja svoje znanje o telesu z Body Mind Centering metodo. Vidimo jo lahko tudi v predstavi za otroke Krickrac, to sem jaz!. Po predstavitvi svojega avtorskega prvenca na prvi Platformi v Mariboru, iz katerega se je razvil prepoznaven solo Ko luna raste (2008), prav tako v produkciji Mesta žensk, se tokrat na oder vrača z naslednjim samostojnim projektom, ki v središče postavlja žensko v njeni polni moči.
About the author
Dancer and choreographer Tina Valentan has graduated from the School for New Dance Development in Amsterdam. She has been active in the field of contemporary dance for many years. Over the last years she has been focusing on performing for other choreographers. She is currently touring European dance festivals with Milan Tomášik & Co with performances Hunting Season (2014) and Silver Blue (2015). She is also working closely with Snježana Premuš, a Body Mind Centering practitioner and choreographer, with whom she is expanding her knowledge of the body and co-creating performances, lastly Physical Manifestations (2015). She is also appearing in the children’s performance Doodledee, It’s Me!. After presenting her choreographical debut at the first edition of Platforma Festival in 2007, which she later on developed in an acclaimed solo When the Moon Is Increasing (2008), also produced by City of Women, Tina is now returning to the stage with her new solo project, which is putting centre stage a woman in possession of her full powers.