Author: Martina Tomić
Choreography and performance: Martina Tomić and Marta Krešić
Dramaturgy: Nina Gojić
Sound design: Luka Vrbanić
Light design: Saša Fistrić
Costume design: Ana Mikulić
Grafic design: Petra Slobodnjak
Production: UO Genijator
Coproduction: Antisezona X-tenzija, PLATFORMA HR
Thanks: Jasna L. Vinovrški, ZPA, Anera Stopfer, Petra Chelfi, Koraljka Begović, Danijela Renić, Plesni centar Tala, Filip Despot, Iva Korenčić
Dance performance is a dance and an performance, as the title suggests. It dissolves the space for playing with the contradictions that accompany the work in dance art, but also its reception, which is often attached to the labels of incomprehensibility, interpretive inscrutability and elitism.
Martina Tomić and Marta Krešić, two collaborators, friends, dance artists deal with the attempts and impossibility of archiving and recording (the origin of) dance, and they do not succeed: they break down the idea of the dance body as performing and exposed, playing with the time of creation of dance and painting – they note, they forget and adapt the moment that disappears, becomes, remains and stops.
With a dance performance, we affirm our dance as a field of imagination in which mistakes are welcome, in which vulnerability produces meaning, for which passion, pleasure and silliness are prerequisites, in which asking questions is as invasive as it suggests openness to learning and questioning one’s positions. And since every Dance performance likes to have a quote in its announcement, here are the words of Jonathan Burrows:
You can grasp or try to commodify dance,
but its instability outwits everyone
as it wobbles its way sideways to somewhere else,
equally tenuous,
and resistant,
and hard to sell.
Which is maybe why everyone wants a bit of what we’ve got.
And Jim Jarmush:
I’m interested in imperfection because I’ve learned that mistakes are sometimes very valuable, even very beautiful. I think perfection is imperfect but imperfection is perfect.
Foto: Sindri Uču
Premiere:
13.05.2023. Tala ple(j)s