PTL PREMIERA / PTL PREMIERE
DEMI UKREP - 2. epizoda / DEMI UKREP - 2nd episode
Platforma mladih koreografov na odru Plesnega Teatra Ljubljana / Platform of young choreographers on the stage of Dance Theatre Ljubljana
F: Drago Videmšek, BEŽNI DELCI
Zarja Ferlinc, Daša Resnik
BEŽNI DELCI
Fugitive Particles
plesni prvenec / dance debut
Avtorici in izvajalki / Authors, Performers: ZARJA FERLINC, DAŠA RESNIK
Glasba / Original Music: EVA MULEJ VRABIČ, TINE VRABIČ
Mentorstvo / Mentorship: NATALIJA MANOJLOVIĆ VARGA
Besedilo / Text: JAKA BRAČIČ
Produkcija / Produced by: PLESNI TEATER LJUBLJANA - MLADI AVTORJI (Alja Lacković)
About project:
In this creative process, we deal with the transfer of energy from one body to another.
Something entirely physical, almost anti-material. Two bodies in the same space, progressively inventing—through each other—ways to raise energy, to gain strength, to find momentum for movement.
The search for the physical between us has always been chemistry, still present—a nonverbal context that emerged through shared action and dance. It is a force we elevate to a level that can be felt by those present. It is a desire for life, an impulse that materializes, something omnipresent that creates through transformation. It is movement that arrives, a moment in time and space that happens. It is fleeting, just as our matter is fleeting—the physicality we embody in that moment. It comes and goes. What remains is the longing for what was; we are always searching for that same peak we once experienced. Such a peak is unrepeatable—it escapes our bodies.
The inspiration comes from three of Newton's laws, which we explore for the method of movement: 1. The law of inertia (it comes from Galileo's claim that there are two types of movement; perfect and imperfect). We explore how an external force acts on a body, in our case a dancer who is persistent in her action... 2. The law relates to the relationship between the acceleration of a body, the forces on the body and the mass of the body. We explore what the environment can affect the power of movement and the texture of movement. 3. The law of mutual effect or the law of action and reaction, which we also observe on our bodies, to look for a lever for movement.
The lever for movement is the primary property of what we call dance. According to the article One: ANTIMATERIALIST WORLDS, we discover the importance of matter in two forms: particles and antiparticles. The assumption of the theory stated in the article mentions the possible existence of another world – an anti-world, built of antimatter. Through corporeality, we access our anti-world from which the most authentic power that moves our bodies originates. In researching this, we are looking for a dimension where it is infinite, immortal, even if the body undergoes constant change to withstand the forces of the anti-world. In search of their power, bodies need transformation, a change of form – shapeshifting, to adapt to the needs of the inner, immaterial world. We witness and support each other in change, we keep each other in power and in motion. Such movement is always unrepeatable, even if it is seemingly similar, in the anti-material world the physical is only fleeting. One of the leading statements in the article is: “If two worlds collided, they would annihilate each other in a blinding flash.” This performance should be a demonstration of the mutual support and/or collision of two powerful worlds and the result of this.
About authors:
Zarja Ferlinc is a creator and dancer working in the field of contemporary dance. She studied dance at the AMEU Academy of Dance in Ljubljana and spent one semester in Budapest at the Budapest Circus Arts and Contemporary Dance College. During these years, she performed as a dancer under the guidance of many choreographers from Slovenia and abroad, participating in various festivals such as the TanzArt Festival in Germany, Ple(j)s za Ples in Zagreb, Caravane and TheBestOn in Spain, Opus 1, Živa in Ljubljana, and others. In 2025, with the support of JSKD and alongside fellow dancer Jana Bungurova, she created an original performance—a duet titled Imidž, which premiered in October at the youth theatre Nova Pošta. In recent years, she has collaborated on Rosana Hribar’s production Žalostna misel, ki jo lahko plešeš, performed a solo at the Fronta Festival upon invitation by Matjaž Farič, and took part in the Prešeren celebration at Cankarjev dom in collaboration with Primož Ekart and RTV Slovenia. Her artistic work Intertwine was selected for the 5th Dance Film Festival under the direction of Matjaž Mrak. In 2026, she is creating a duet performance titled Fugitive Particles in collaboration with Daša Resnik and Dance Theatre Ljubljana. That year also includes preparations for participation in the Ples za vse festival in April in Ljubljana and the Contemporary Dance Platform in September in Maribor, while she is simultaneously pursuing further education at the Faculty of Education in Ljubljana.
Daša Resnik began to gain serious experience in her dance career in 2013, when she began participating in ballet and contemporary dance performances under the direction of the local dance school Šinšin in Kamnik and the Kamnik Music School. Between 2021 and 2025, she studied contemporary dance at the AMEU Dance Academy in Ljubljana, where she performed at two national celebrations under the direction of Primož Ekart and Rosana Hribar, at the Ukrep festival in year 2021, and three times at the foreign TanzArt festival in Germany. A six-month study exchange as part of the Erasmus+ program at the MUK (Vienna, 2022-23) upgraded the dancer with exceptional ballet technique. Among other things, she has participated in several international dance workshops with top teachers, including the MoveMentors course at SEAD in 2020, Tanzwerkstatt Europa 2022 in Munich, Deltebre Dansa 2023 and 2025, Summer Intensive Portugal 2024 and a workshop at the Contemporary Dance Academy in Copenhagen (2024). She has participated in many dance performances; local high school (GSŠRM Kamnik) celebrations, recitals, charity events and national celebrations, Mirrors of Truth by Marija Lukas (2015), How long does a moment last? – Tina Habun (2016), Generations – Tanita Rose (2019), Underneath the clouds – Johanna Greiner (2023), performance at Kino Šiška Komuna in October 2023 and January 2025 with the Asterie ensemble under the direction of Jan Kopač, A Sad Thought You Can Dance – Rosana Hribar (2024), Monuments – Saša Božić, Zagreb 2024, and most recent Veronika: from stone to body – Patricija Crnković (2025). She has performed several times at Finesa, Namig and at the festival of youth dance creativity – Živa in Španskih borci. In 2025 and 2026, she choreographed two 7-minute pieces for her students from the Šinšin Dance School, with which they also qualified for Živa 2025.
O projektu:
V tem ustvarjalnem procesu se ukvarjava s prenosom energije iz enega telesa na drugega.
Nekaj popolnoma fizikalnega, kot antimaterialnega. Dve telesi, ki v istem prostoru s pomočjo drug drugega stopnjevano izumljata načine kako dvigniti energijo, kako dobiti moč, kako dobiti zagon za premik.
Iskanje fizikalije med nama je kemija, ki je še vedno prisotna, neverbaliziran kontekst, ki se je pojavljal ob skupnem delovanju in plesu. Je moč, ki jo dvigneva na nivo, da jo začutijo vsi prisotni. Je želja po življenju, je impulz, ki se materializira, je tisto vseprisotno, ki preko transformacije ustvarja. Je gibanje, ki pride, je moment v času in prostoru, ki se zgodi. Je bežen, kot je bežna najina materija, telesnost, ki jo v tem trenutku upodabljava. Pride in gre. Ostane želja po tem kar je bilo, vedno iščeva enak vrhunec, kot sva ga doživeli takrat enkrat. Tak vrhunec je neponovljiv, beži pred najinimi telesi.
Inspiracija prihaja iz treh Newtonovih zakonov, ki jih raziskujeva za način gibanja: 1. Zakon o vztrajnosti. Raziskujeva kako na telo deluje zunanja sila, v najinem primeru soplesalka, ki je vztrajna v svojem delovanju. 2. Zakon se navezuje na razmerje med pospeškom, silo in maso. Raziskujeva kaj okoljskega lahko vpliva na moč premikanja in teksturo gibanja. 3. Zakon o akciji in reakciji, ki ga prav tako opazujeva na najinih telesih, da iščeva vzvod za premik.
Vzvod za premik je primarna lastnost tega, kar midve poimenujeva ples. Odkrivava pomembnost materije v dveh oblikah: delcev in antidelcev. Raziskujeva možni obstoj še enega sveta – antisveta, zgrajenega iz antimaterije. Midve preko telesnosti dostopava do najinega antisveta iz katerega izvira najbolj pristna moč, ki premika najina telesa. V raziskavi tega iščeva dimenzijo kjer je ta neskončna, tudi če telo doživlja nenehno spremembo, da vzdrži sile antisveta.
Telesa v iskanju svoje moči potrebujejo transformacijo, spremembo oblike – shapeshifting, da se prilagodijo potrebam notranjega, nematerialnega sveta. Druga drugi sva priča in podpora spremembi, druga drugo ohranjava pri moči in v gibanju. Takšno gibanje je vedno neponovljivo, tudi če je na videz podobno, v antimaterialnem svetu je telesno samo bežno. Vodi naju misel: »Če bi dva svetova trčila, bi se izničila v zaslepljujočem blisku.«, zato cilj ni trk, vendar nenehno prehajanje in poigravanje s fiziko gravitacije, da se v snopu delcev materializira pendulum.
O avtoricah:
Zarja Ferlinc je ustvarjalka in plesalka, ki deluje na področju sodobnega plesa. Ples je študirala na AMEU Akademiji za ples v Ljubljani in en semester v Budimpešti na Budapest Circus Arts and Contemporary Dance College. V teh letih je kot plesalka pod vodstvom mnogih koreografov iz Slovenije in tujine sodelovala na raznih festivalih kot je TanzArt festival v Nemčiji, Ple(j)s za Ples v Zagrebu, Caravane in TheBestOn v Španiji, Opus 1, Živa v Ljubljani in drugih. V letu 2025 je s podporo JSKD-ja in soplesalko Jano Bungurovo ustvarila avtorsko predstavo, duet z naslovom Imidž, ki je bil oktobra premierno uprizorjen v mladinskem gledališču Nova Pošta. V zadnjih letih je sodelovala pri predstavi Rosane Hribar z naslovom Žalostna misel, ki jo lahko plešeš, se s povabilom Matjaža Fariča s solom udeležila festivala Fronta, sodelovala pri Prešernovi proslavi v Cankarjevem domu s Primožem Ekartom in RTV Slovenija. Njeno umetniško delo Intertwine je bilo izbrano za 5. festival plesnih filmov pod vodstvom Matjaža Mraka. V letu 2026 ustvarja duet, predstavo z naslovom Bežni delci, s sodelovanjem Daše Resnik in Plesnim Teatrom Ljubljana, v tem letu pa potekajo še priprave za sodelovanje na festivalu Ples za vse, aprila v Ljubljani in Platformo sodobnega plesa, septembra v Mariboru, ob tem pa pridobiva dodatno izobrazbo na Pedagoški fakulteti v Ljubljani.
Daša Resnik je skozi svojo plesno kariero izkušnje začela resno pridobivati z letom 2013, ko je začela sodelovati pri baletnih in sodobnih plesnih predstavah pod vodstvom domače plesne šole Šinšin v Kamniku in Glasbene šole Kamnik. Med leti 2021 in 2025 je študirala sodobni ples na AMEU Akademiji za ples v Ljubljani, v okviru katere je nastopila na dveh državnih proslavah pod vodstvom Primoža Ekarta in Rosane Hribar, na festivalu Ukrep leta 2021 ter trikrat na tujem festivalu TanzArt v Nemčiji. Polletna študijska izmenjava v okviru programa Erasmus+ na MUK-u (Dunaj, 2022-23), je plesalko nadgradila z izjemno baletno tehniko. Med drugim se je udeležila več mednarodnih plesnih delavnic z vrhunskimi učitelji, med katerimi so bile leta 2020 MoveMentors tečaj na SEAD-u, Tanzwerkstatt Europa 2022 v Munchen-u, Deltebre Dansa 2023 in 2025, Summer Intensive Portugal 2024 in delavnico na Sodobni plesni akademiji v Kopenhagnu (2024). Sodelovala je v plesnih performansih in predstavah; lokalne srednješolske (GSŠRM Kamnik) proslave, recitali, dobrodelne prireditve in državne proslave, Ogledala resnice Marije Lukas (2015), Koliko časa traja trenutek? – Tina Habun (2016), Generacije – Tanita Rose (2019), Underneath the clouds – Johanna Greiner (2023), nastop v Kino Šiški Komuni oktobra 2023 in januarja 2025 z ansamblom Asterie pod vodstvom Jana Kopača, Žalostna misel, ki jo lahko plešeš – Rosana Hribar (2024), Monuments – Saša Božić, Zagreb 2024, in najnovejše Veronika: iz kamna v telo – Patricija Crnković (2025). Večkrat je nastopala na Finesi plesa, Namigu in na festivalu plesne ustvarjalnosti mladih – Živa v Španskih borcih. Leta 2025 in 2026 je koreografirala dve 7-minutni točki za njene učenke iz Plesnega kluba Šinšin, s katero so se leta 2025 uvrstile tudi na Živo.
F: Drago Videmšek, TRANSFORMACIJE 0.1
Beti Polanec, Alja Turk Hvala
TRANSFORMACIJE 0.1
Transformations 0.1
plesni prvenec / dance debut
Avtorici in izvajalki / Authors, Performers: BETI POLANEC, ALJA TURK HVALA
Glasba / Original Music: KAJA JANJIĆ - FRAW BLANKA
Mentorstvo / Mentorship: VITA OSOJNIK
Oblikovanje luči / Light Design: LEON CURK
Produkcija / Produced by: PLESNI TEATER LJUBLJANA - MLADI AVTORJI (Alja Lacković)
About project:
And so it yields. Not in defeat, but in transformation. It does not disappear, nor does it give up; it simply changes the way it carries its weight. Beneath the weight of a cold breath, a different order begins to emerge — slow, quiet, endless. Not escape, but transformation.
Transformations 0.1 originated from a duet concept that, due to unforeseen circumstances, was compelled to reshape itself into a new form. The work opens a space for states between presence and absence, between touch and distance, between what is, and what is yet to emerge.
In the interval, the process does not come to a halt; rather, it condenses. What has been established begins to soften its edges and shift into a state that is no longer fixed, but open. The idea does not seek a conclusion, but persists in motion, where every form already contains the possibility of its own transformation.
What was initially conceived as a relationship between two gradually flows into the inner landscape of a single body that carries the trace of the other — as an imprint, as tension, as an absent presence. Movement no longer arises from an immediate response, but from the memory of contact, from an echo that settles into the muscles and the breath.
The body thus becomes a space of transition between the known and the unknown, between control and surrender; space is not established externally, but through the body itself — in breath and tension, where each movement simultaneously dissolves and reconstitutes an order grounded in constant adaptation.
The continuation does not follow linear growth, but circulation — a returning that is not repetition, but shift. Each subsequent moment carries the trace of the previous one, while simultaneously reshaping and displacing it.
About authors:
Beti Polanec (Slovenia, 2002) is a contemporary dancer and artist whose dance journey began at SVŠGUGL – Secondary School for Contemporary Dance. There, she first performed on stage in projects such as Gesta upora and the Transgeneracije festival. Between 2021 and 2024, she studied contemporary dance at the Institute of the Arts Barcelona, where she collaborated with internationally recognized choreographers and further developed her practice through numerous workshops and intensives. During her studies, she performed in works by Sita Ostheimer, Lali Ayguadé, Kennedy Muntanga, Jacob Gomez Ruiz, Magnus Westwell, Beatrice Panero, and Thomas Noone. She also appeared in the dance film I Can Handle The Kick, Dear (Albert Garrell), presented at the Sitges Film Festival. She has further developed her artistic practice through international programs, including DART and b12, as well as various artistic residencies and projects. Her collaboration with Alja Turk Hvala began during their studies in Spain. In 2024, they presented their first joint work Inevitable Impact at the Barnes Crossing SoloDuo Festival in Cologne and at the Catalan festival Premis Òrbita. In 2025, they premiered the piece Traces at Živa Festival. In 2026, they are creating a new work under the umbrella of the Ljubljana Dance Theatre. Alongside her performing and creative work, Beti has been working as a contemporary dance teacher in two dance studios for the past two years, sharing her knowledge with younger generations. Her work focuses on developing her own movement language and creating original choreographic projects through collaboration with other artists.
Alja Turk Hvala is a contemporary dancer and creator whose dance journey began at the Conservatory of Music and Ballet Ljubljana. Upon graduation she received the Bronze Plaque of Meta Vidmar for artistic achievements. Afterwards she joined the Association for the Development of Ballet Art and Ballet Dancers under the direction of Katarina Škrjanc. From 2021 to 2024, she studied contemporary dance at Institute of the Arts Barcelona, where she collaborated with internationally established choreographers and further developed her practice through workshops with leading companies such as Skånes Dansteater, Komoco, Humanhood, Ballet BC, Flock, and VIM VIGOR. After graduating, she worked as an apprentice with MN Dance Company, where she also created her first short dance film, Human Algorithm, presented at the Slovenian Cinematheque and at Patras Festival 2025. She also collaborated with Exis Dance Company on an inclusive project for Athens City Festival 2025. She is currently collaborating with Balkan Dance Project on a piece for NEB Festival 2026. Her artistic collaboration with Beti Polanec began during their studies in Spain. In 2024, they presented their first joint work, Inevitable Impact, at Barnes Crossing SoloDuo Festival in Cologne and at the Catalan festival Premis Orbita. At Živa Festival 2025, they premiered their work Traces. In 2026, with support from Plesni Teater Ljubljana, they are creating a new work. Alongside her artistic practice, Alja is also completing a degree in psychology, which strongly informs her research about body, relationships, and human experience. In the future, she aims to create projects that open space for inclusive, accessible, and socially responsive art.
O projektu:
In tako popušča. Ne v porazu, ampak v preobrazbi. Ne izgine, ne odneha, le spremeni način, kako nosi svojo težo. Pod težo hladnega diha nastaja drugačen red — počasen, tih, neskončen. Ne pobeg, temveč transformacija.
Transformacije 0.1 izhajajo iz duetne zasnove, ki je zaradi višje sile dobila drugačno obliko. Delo odpira prostor za stanja med prisotnostjo in odsotnostjo, med stikom in razdaljo, med tem, kar je, in tem, kar šele nastaja.
V razmiku se namreč proces ne ustavi, temveč zgosti. Kar je bilo vzpostavljeno, začne mehčati svoje robove in prehajati v stanje, ki ni več določeno, ampak odprto. Ideja ne išče zaključka, temveč vztraja v gibanju, kjer vsaka oblika že vsebuje možnost svoje spremembe.
Kar je bilo sprva mišljeno kot odnos dveh, se postopoma prelije v notranjo krajino enega telesa, ki nosi sled drugega — kot odtis, kot napetost, kot odsotno prisotnost. Gib ne izhaja več iz neposrednega odziva, temveč iz spomina na stik, iz odmeva, ki se naseljuje v mišicah in dihu.
Telo tako postane prostor prehajanja med znanim in neznanim, med nadzorom in prepuščanjem; prostor se ne vzpostavlja zunaj, temveč skozi telo samo — v dihu in napetosti, kjer vsak premik hkrati razkraja in na novo vzpostavlja red, ki temelji na neprestanem prilagajanju.
Nadaljevanje ne sledi linearni rasti, ampak kroženju — vračanju, ki ni ponavljanje, temveč premik. Vsak naslednji trenutek nosi sled prejšnjega, a ga hkrati preoblikuje in premakne.
O avtoricah:
Beti Polanec (Slovenija, 2002) je sodobna plesalka in ustvarjalka, katere plesna pot se je začela na SVŠGUGL – umetniški gimnaziji za sodobni ples. Tam se je prvič predstavila na odru v projektih, kot sta Gesta upora in festival Transgeneracije. Med letoma 2021 in 2024 je študirala sodobni ples na Institute of the Arts Barcelona, kjer je sodelovala z mednarodno uveljavljenimi koreografi ter svoje znanje nadgrajevala na številnih delavnicah in intenzivih. V času študija je nastopila v delih avtorjev, kot so Sita Ostheimer, Lali Ayguadé, Kennedy Muntanga, Jacob Gomez Ruiz, Magnus Westwell, Beatrice Panero in Thomas Noone. Sodelovala je tudi pri plesnem filmu I Can Handle The Kick, Dear (Albert Garrell), predstavljenem na festivalu v Sitgesu. Svoje umetniško raziskovanje je poglabljala na mednarodnih programih, med drugim DART in b12, ter v okviru različnih umetniških rezidenc in projektov. Njeno sodelovanje z Aljo Turk Hvala se je začelo že med študijem v Španiji. Leta 2024 sta se predstavili s prvim skupnim delom Neizogibni vpliv na Barnes Crossing SoloDuo Festivalu v Kölnu ter na katalonskem festivalu Premis Orbita. Na Živa Festivalu 2025 sta premierno predstavili delo Sledi. V letu 2026 pod okriljem Plesnega teatra Ljubljana pripravljata novo delo. Poleg ustvarjalnega in izvajalskega dela Beti že dve leti deluje tudi kot pedagoginja sodobnega plesa v dveh plesnih studiih, kjer svoje znanje prenaša na mlajše generacije plesalcev. V svojem delu raziskuje lastni gibalni izraz ter razvija avtorske projekte v sodelovanju z drugimi umetniki, s ciljem oblikovanja prepoznavnega in sodobno usmerjenega umetniškega jezika.
Alja Turk Hvala je sodobna plesalka in ustvarjalka, katere plesna pot se je začela na Konservatoriju za glasbo in balet Ljubljana, kjer je ob zaključku za dotedanje umetniške dosežke prejela Bronasto plaketo Mete Vidmar. Pridružila se je Društvu za razvoj baletne umetnosti in baletnih plesalcev pod vodstvom Katarine Škrjanc, nato pa med letoma 2021 in 2024 študirala sodobni ples na Institute of the Arts Barcelona, kjer je sodelovala z mednarodno uveljavljenimi koreografi ter svoje plesno znanje nadgrajevala na delavnicah z vrhunskimi ansambli, kot so Skånes Dansteater, Komoco, Humanhood, Ballet BC, Flock in VIM VIGOR. Po zaključku študija je delovala kot pripravnica pri MN Dance Company, kjer je ustvarila tudi svoj prvi kratki plesni film Človeški algoritem, predstavljen v Slovenski kinoteki in na Patras Festivalu 2025. Sodelovala je z Exis Dance Company pri inkluzivnem projektu za Athens City Festival 2025. Trenutno sodeluje tudi z Balkan Dance Project pri projektu za NEB Festival 2026. Njeno sodelovanje z Beti Polanec se je začelo že med študijem v Španiji. Leta 2024 sta se predstavili s prvim skupnim delom Neizogibni vpliv na Barnes Crossing SoloDuo Festivalu v Kölnu ter na katalonskem festivalu Premis Orbita. Na Živa Festivalu 2025 sta premierno predstavili delo Sledi. V letu 2026 pod okriljem Plesni Teater Ljubljana pripravljata novo delo. Alja ob umetniškem delu zaključuje tudi študij psihologije, ki pomembno vpliva na njeno raziskovanje telesa, odnosov in človeškega doživljanja. V prihodnosti želi ustvarjati projekte, ki odpirajo prostor za inkluzivno, dostopno in družbeno odzivno umetnost.
