Rekonstrukcije # tragovi, valorizacije, fantazmi

7.7.2015. | 18-21h

kombinirane operacije / Željka Sančanin

Doživljavajući obljetnicu 15ogodišnjeg autorskog rada kao mjesto u vremenu koje redefinira i briše osobne autorske prakse, dokumentira ostatke, snimke i tragove koreografija, izvedbi, ideja i struktura, mjesto u vremenu u kojem radovi postaju radovi u nestajanju, a autori, publika i suradnici pamte samo najintenzivnije emocije i boje, grupa kombinirane operacije ovu obljetnicu oformljava kao suradnički salon, predstavu i instalaciju: '15 GODINA # TRAGOVI, VALORIZACIJE, FANTAZMI'.

Ulaz je slobodan te je moguć od 17:30-18:00 sati te ponovno od 19-21 sati


Izvedba: Marko Jastrevski, Željka Sančanin
Zvuk: edit 2000-2015 Damir Šimunović
Video: Damir Gamulin, Željka Sančanin
Dizajn, Dokumentacija: Damir Gamulin, Željka Sančanin
Kisssalon: Martina Granić, Pavle Heidler, Bruno Isaković
'Rekonstrukcije#Tragovi,Valorizacije,Fantazmi' se događaju unutar programa KISSSALON.ORG
Podržano od strane : Zaklada Kultura Nova, Grad Zagreb



What Again?

So what can / should we re-perform? Is it the “facts” of the dance that are accessible or available to us to retrieve? The steps? The "actual" dances? Perhaps only the original theme or narrative, in libretto or memory, remains. Do we look for the work in itself, or, given its origins in historical personal and cultural impulses and its reanimation in a new socio-political landscape, is there no such thing? Can we recover intention, in the psychological or aesthetic sense, of the maker's original motive or some broader notion of cultural or historical intention and do we want to? Do we retrieve, as has been suggested, the most characteristic aesthetic and, hence cultural, political, and historical, concerns at the moment of a work's origin? Do we seek to engage the multiple and endless possibilities of meaning that reside within a work, awaiting their tapping now and at some future moment? Is it possible that a dance might be reenacted or re-substantiated in a different form? Do we re-present the presence of the past performance as witness to itself and its socio-historical context as well as our own?

Linda Caruso Haviland 'Repetition Island: Some Thoughts on Restaging, Reconstruction, Reenactment, Re-performance, Re-presentation, and Reconstruction in Dance'