ČETIRI SMRTI i NE KAO JA

Teatar:
Via negativa je međunarodni projekat savremenih umjetnosti, osnovan u Ljubljani 2002. Naša polja rada su teatar i performans, sa fokusom na njihovu međusobnosu povezanost..

Mi smatramo da je pozorišna predstava veza između gledaoca i glumca u realnom prostoru i vremenu. Mi se odnosimo prema ovome kao prema kompleksnom toku gledišta, očekivanja, sudova, zaključaka, prepoznavanja, stereotipa, grešaka, predrasuda, tolerancije ili netolerancije, znanja ili nedostatka znanja; sve ovo potiče različite emotivne, racionalne ili iracionalne odgovore. Mi smo na sceni da bismo potakli odnos i izumili strategije dinamičnosti odnosa. Mi radimo sa konkretnom sadašnjošću, i zato je komunikacija na čelu ovog odnosa, ispred estetike; tačke gledišta i razmišljanja i prije same vještine.  Mi osjećamo da smo najstvarniji kad dođemo u dodir sa nečim što se više ne može racionalizirati, kada se više ne moramo pretvarati da razumijemo nešto što zapravo ne razumijemo.

Mi radimo kao kolektiv u kojem se svaka individua bori sa svojim razlozima, sa svojim tijelom i hrabrošću, svojom maštom i umom, svojim vještinama i energijom za svoj vlastiti osjećaj i poziciju na sceni. Zbog toga je svaki izvođač u VN ujedno i autor svoje vlastite predstave.

Režiser:
Bojan Jablanovec (rođen 1961), diplomirao 1989 na AGRFT, Ljubljana. Od 1988. je režirao u većini slovenačkih pozorišta i danas je pozorišni reditelj sa izuzetno originalnim pristupom.  Njegov rad je zaradio dvije nagrade Borπtnik (slovenačka nacionalna nagrada za dramske umjetnosti).

Sinopsis

ČETIRI SMRTI
 Kao što se u Bibliji Kain i Abel nadmeću za Božiju ljubav, izvođači se nadmeću za ljubav publike. Teatar je prostor prikrivenog rivalstva i oštrih poređenja na različitim nivoima: na nivou fikcije kako se odnosi prema stvarnosti, performansa kako se odnosi prema drugima, izvođača - drugih izvođača...
U teatru, publika je Bog, a na sceni i iza scene mi neprestano izmjenjujemo uloge Kaina i Abela. U našoj priči o zavisti pitali smo: Ko je naš Abel? Koga moramo ubiti za ljubav publike?
“Konačno, neko se usudio biti glasan I to bez restrikcija: Publika je BOG!” (radio Student Ljubljana, 6.10.07)

“Umjetnici, nedovršene kopije, kreću se unutar nesigurnog balansa, uhvaćeni između fikcije I realnosti. strategija za Slovence prikazuje da je zavist jasna: ponavljaju djela majstora koja glumeći kroz svoja tijela postaju groteskna I besmislena. (Gazzeta di Modena, 17.10.07)

“Uspješan I uzbudljiv pokušaj da se razvije ne-konvencionalno instraživanje forme predstave.” (Gazzeta Modena, 18.10.07)

“4 smrti je performans o posmatraču I njegovoj želji; jedna težnja da se “pogleda iza”... (Večer Maribor, 23.11.07)

Sinopsis

NE KAO JA
Predstava o predstavi koja se uništava. „Ne kao ja“ predstavlja zavist na dominantni odnos među izvođačima koje gledamo. Predstava se završava na igri sa noževima, dijelu gdje je još jedino krv važna.
„Hrvat i Srbin se izrežu na sceni. Rezultat „Ne kao ja“ ? Jedna osoba bez svijesti, decilitar ljudske krvi, četiri hirurška reza i deseci šokiranih gledaoca.“ (Slobodna Dalmacija Split, 16.8.07.)
„Logično: zar nije zavist političara ta koja vodi u pokolj? I zar nije body-art politika bukvalno urezana u živo tijelo.“ (Dnevnik Ljubljana, 19.11.07)
“Neobično, nepredvidljivo, bolno. Efekat ovoga je jednostavan i apsurdan, ali igra sa  naglašenim komandama (sa noževima) na jedan način – bar je takvo bilo piščevo iskustvo – slično katarzi iskustva Grčke tragedije.“ (Delo Ljubljana, 21.11.07) 

4 DEATHS and NOT LIKE ME

Theatre:
Via negativa is an international project of contemporary performing arts, based in Ljubljana since 2002. Our fields of work are theatre and performance, with a focus on the connections between the two.

We consider a theatre performance to be a relationship between the spectator and actor in real space and time. We deal with this relationship as a complex flow of points of view, expectations, judgments, conclusions, recognitions, stereotypes, fallacies, prejudices, tolerance or intolerance, knowledge or lack thereof; all these trigger various emotional, rational or irrational responses. We are on stage in order to trigger this relationship and invent strategies with which to get the relationship’s dynamic running. We work with an actual presence, which is why communication is at the fore of this relationship, before aesthetics; points of view and thought before craft. We feel we are most real when we touch upon something that can no longer be rationalized, when we no longer have to pretend to understand something we do not.

We work as a collective in which each individual fights with his reasons, his body and courage, his imagination and mind, his skills and energy for his own sense and position on stage. This is why each performer in VN is also the author of his or her own performance.

Director:
Bojan Jablanovec (born 1961), graduated in 1989 from AGRFT, the performing arts academy in Ljubljana. Since 1988 has directed in the majority of Slovenia’s theatres and established himself as a stage director with a strikingly original approach. His work has earned him two Borπtnik prizes (Slovenia’s national prize for the dramatic arts).

Synopsis

FOUR DEATHS
Like Bible’s Cain and Abel compete for god’s love, performers compete for the love of the audience. The theatre is a space of concealed rivalry and sharp comparisons on various levels: that of fiction as it relates to reality, the performance as it relates to others, the performer other performers... In theatre, the audience is god, and on stage or behind it we constantly switch the roles of Cain and Abel. In our story on envy we asked: who is our Abel? Who must we kill for the love of the audience?

“Finally, someone dares say it out loud and with no restrictions: the Audience is GOD!” (radio Student Ljubljana, 6.10.07)

“Artists, the imperfect copies, move in a precarious balance, caught between fiction and reality. The strategy four Slovenes use to point at envy is clear: they repeat the actions of the masters which, acted through their bodies, become grotesque and senseless.” (Gazzeta di Modena, 17.10.07)

“A successful and exciting attempt to develop an anti-conventional research of the form of representation.” (Gazzeta Modena, 18.10.07)

“Four deaths is a performance about the viewer and his desire; an attempt to “see beyond”... (Večer Maribor, 23.11.07)

Synopsis

NOT LIKE ME
A performance about a performance destroying itself. “Not like me” presents envy as the dominating relationship among the performers we’re watching. The show closes on a knife-game, the point when only blood is important anymore.
“A Croat and a Serb cut each other up on stage. The sum of “Not like me”? One fainted person, a deciliter of human blood, four surgical sutures and dozens of shocked spectators.” (Slobodna Dalmacija Split, 16.8.07)
“Logical: isn’t politician’s envy that which leads into slaughter? And isn’t body-art politics literally written into a live body.” (Dnevnik Ljubljana, 19.11.07)
“Unusual, unpredictable, painful. The effect of this simple and absurd, but basically very commanding game (with knives) is in a way – at least that was this writer’s experience – similar to the catharsis of experiencing a Greek tragedy.” (Delo Ljubljana, 21.11.07)