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7/8/2007
Sv. Donat / 21:30
Gospođice Rice,
puno prije geopolitike bila je glazba
Miss Rice, long before geopolitics there was music
Autor i redatelj / Author and director: Oliver Frljić
Izvode / Performers: Ana Karić, Senka Bulić, Nina Violić
Glazba / Music by: Damir Šimunović
Kostimografija / Costume designer: Zorana Meić
Maska / Aristic make-up: Iva Dežmar
Oblikovatelj svjetla / Light designer: Miljenko Bengez
Majstor tona / Sound design: Vlado Horvatić
Produkcija / Production: Kultura promjene SC, Teatar ITD
Koprodukcija / Coproduction: Banana Guerilla
Gospođica Rice je ekskluzivni televizijski program u kojem Brigitte Bardot, Condoleezza Rice i Vanessa Redgrave, ispijajući čaj, iznose svoja razmatranja o trenutno najaktualnijim pitanjima svjetske političke scene. Nalik stvarnom životu njihov je politički govor oslobođen svake akcije i lišen potencijalnih aspiracija za konkretnim učincima.
Motiv za predstavu, oblikovan i naslovom, proizašao je iz biografije američke državne tajnice Condoleeze Rice koja, potpuno ignorirajući svoju političku moć, strastveno govori o razlozima koji su je nagnali da glazbenu karijeru zamijeni političkom. Na isti se način i predstava stalno koleba u tome čemu dati prvenstvo - političkom realitetu koji obrađuje ili vlastitoj strukturi.
Kao tekstualni predložci poslužili su brojni filmski citati, biografije i intervjui. Efekt je gusta intertekstualna mreža kroz koju se predstava stalno žanrovski i izvedbeno izmješta.
Prisutnim damama povremeno se pridružuju Susan Sarandon, Geena Davis i Nick Nolte, a sve je to redatelj Oliver Frljić mudro uprizorio angažirajući renomirane hrvatske glumice, samo za Vas, dame i gospodo, s nama su i večeras Ana Karić, Senka Bulić i Nina Violić.
Miss Rice is an exclusive talk show in which Brigitte Bardot, Condoleezza Rice and Vanessa Redgrave express their analysis on the most recent issues of global politics, over a cup of tea. Similar to a real life their political speech is freed from any action and deprived from any possible aspiration in reaching concrete results.
Motive for the play, shaped also by the title, came from the biography of the American State Secretary, Condoleezza Rice, who, completely ignoring political power she possesses, passionately talks about reasons which forced her to switch from career in music to a political one. In the same manner the play continuously dithers on what priority to take - political reality it deals with or to its own structure.
Text uses numerous films’ quotes, biographies and interviews. An outcome is a thick inter-textual net which constantly transforms the show in genre and performativity.
The ladies are occasionally visited by Susan Sarandon, Geena Davis and Nick Nolte, all of whom the director, Oliver Frljić, has wisely staged by casting the leading Croatian actresses, for your eyes only, ladies and gentlemen, our guests tonight, are Ana Karić, Senka Bulić and Nina Violić.
8/8/2007
Sv. Nikola / 21:30
Kvartet
Quartet
Autor / Author: Heiner Müller
Redatelj / Director: Ivica Buljan
Igraju / Actors: Ana Karić, Robert Waltl
Glazbenik / Musician: Tvrtko Dujmović
Prijevod / Translation: Milan Štefe, Snježana Rodek
Kostimografija / Costume designer: Ana Savić-Gecan
Scenografija / Set designers: Ben Cain, Tina Gverović, Slaven Tolj
Glazba / Music by: Mitja Vrhovnik Smrekar, Tvrtko Dujmović
Oblikovanje svjetla / Light design: Miljenko Bengez
Majstor tona / Sound design: Vlado Horvatić
Maska / Make up artist: Iva Dežmar
Produkcija / Production: Teatar ITD, Mini teater
Sve bitne karakteristike de Laclosovih Opasnih veza sačuvane su u Kvartetu Heinera Müllera. Dok se radnja Laclosovog romana odvija u 'velikom kazalištu svijeta', u Kvartetu se svijet priziva, a u stvari je odsutan. Taj 'bunker poslije Trećeg svjetskog rata' kako ga u didaskaliji opisuje autor, priziva ideju zatvorenog prostora, tajnih društava, mjesta realizacije sadističke predstave u kojoj je sve dopušteno, gdje se sve može reći i učiniti.
Daleko od stranih pogleda, u potpunom povjerenju, Merteuil i Valmont predaju se ritualu kojeg poznaju samo njih dvoje, a svoja tijela i duše podaju perverznim igrama. Užitak manifestiraju u volji za uništenjem drugoga (jedne djevice i druge, kreposne supruge), uništenjem Boga i Crkve preko radikalnog ateizma i volje za žrtvovanjem, uništenjem ljudske vrste kroz auto-destrukciju i sterilne seksualne odnose.
All essential properties of Dangerous Liaisons are preserved in Heiner Müller's Quartet. While the story from de Laclos' novel discloses within 'the big theatre of the world', in Quartet the world is invited, yet not actually present. That 'bunker after World War III', as defined by the author in his drama instructions, indicates an idea of a closed space, of secret societies, places of sadistic performances where everything is allowed, where everything can be said or done.
Far from the eye of strangers and in full faith, Merteuil and Valmont bestow themselves to a ritual known only to the two of them, with their bodies and their souls served onto a path of pervert games. Their pleasure is manifested in their will for destruction of another (one a virgin and the other, a virtuous spouse), destruction of God and the Church through radical atheism and through a will to sacrifice, to destruct human kind through self-destruction and sterile sexual liaisons.
9/8/2007
Providurova palača / 21:30
Scattered
Koreografija / Choreography: Anđela Herenda
Izvode / Dancers: Anđela Herenda, Josipa Štulić, Matea Bilosnić
Glazba / Music: Percussa
Hvala / Thanks to: Gary Glass, Edi Paleka, Srđan Babić
Trajanje / Duration: 25’
Rasprsnuto staklo bruji mantru ispod svake misli kojom naglavačke okrenem postelju. Nudi mi da se sjetim kako je nekada bilo.
Vjetar će vam reći da unutar svakog plamena ima jedna hladna oaza, u samom srcu gdje se čini da je najtoplije. Tamo se odlažu snovi. Krajeve im vežem svilenim vrpcama. I kad se sve utiša, u tom jednom zastoju srca - ja znam kako krug pokrenuti u suprotnom smjeru.
Kad buljiš u jednu točku pred sobom i gledaš je zauvijek bez treptaja, jesi li tu ili pored sebe?
Broken glass is chanting a mantra below every thought which I use to turn the bed upside down. Offering me a remembrance of what had happened before. The wind will tell you that inside every flame there is a cold oasis, in the very middle, where it seems to be the warmest. That is where the dreams are laid. I’m binding them with silk ribbons. And when everything goes to silence, in that one held heartbeat – I know how to turn the circle around. When you stare in one dot in front of you and watch it forever without a flicker of an eye, are you here or next to yourself?
9/8/2007
Sv. Donat / 22.00
Čovjek i njegov stroj
The Man and his machine
Mario Županović
Beta verzija - tehnološki performans / Autodiktat
Projekt je vezan uz intimno propitivanje pojmova: izvedba, performans i kazališna predstava. U njemu autor izlaže vlastito medijalno razmišljanje o osnovnim počelima izvedbe kroz autodiktirani nastup i upotrebu produkcijskih alata: tehnike, tijela i teksta kao informacije.
Izvedba je strukturirana kroz četiri dijela:
Izvedba igre: u kojoj prevladavaju glasovne eskapade, software i video isječci
Izvedba teksta: jest autodiktat autora kroz projekciju i glas
Izvedba stroja: segment lišen tijela, predstavlja se tehnika i produkcijski alati
Nazad ka ritualu: segment napuštanja strojnog i autodiktiranog kroz živi zvuk bubnjeva, minimalnu elektroniku i svjetlo
U verziji beta izlaže se suživot izvođača i tehnike, dokumentarnog materijala i osobne teorije. Izložen kao autodiktat, performans je tek uvodni izvedbeni čin za buduće strukture: predstavljanje tehnološke realnosti izvedbe, teoretski oblikovana izvedba i napuštanje kazališne proizvodnje.
Projekt je nastao na osnovi depersonalizacije kazališnog stanja, potrebe dekontekstualizacije pojma izvođač i izvođenje.
Beta version - technological performance / Auto-dictate
Project is associated to an intimate inquest of expressions: performing, performance and theatre piece. The author there displays his own media reflection on principals of performing through an auto-dictated act and by using instruments for creation: method, body and text as information.
The performance is structured in four parts:
Play display: dominated by voice escapades, software and video clips
Text display: author's auto-dictate through a projection and voice
Machine display: segment deprived of body, presenting technical and production tools
Return to ritual: segment of abandoning of the machine and the auto-dictated through a live sound of drums, minimal electronics and light.
Beta version exposes the co-living of a performer and technique, documentary material and personal theory. Presented as an auto-dictate, a performance is merely an introductory act for future structures: presentation of technical reality of a performance, a theoretically formatted act and deserting of the theatre production. Project has derived from depersonalization of a theatre state, a need for de-contextualization of terms performer and performance.
9/8/2007
Sv. Donat / 23:00
INVAZIJA MEĐUNARODNOG KRATKOMETRAŽNOG FILMA
INVASION OF AN INTERNATIONAL
SHORT FILM SELECTION
Dobrodošli na prvi od četiri dana invazije međunarodnog kratkometražnog filma. Program su iskreirali organizatori Tabor Film Festivala, jedinog te vrste u Hrvatskoj, koji je u 2007 obilježio petu godinu postojanja. Selekcija najmoćnijih kratkometražnih filmskih ostvarenja može početi.
We welcome you to the first of a four day invasion of international short film selection. Program is created by the organizers of the Tabor Film Festival, the only of that kind in Croatia, which has celebrated its 5th anniversary this year. The selection of the most powerful of short films may begin.
Dan prvi / Strike one
Cabaret Tabor
Leptirica
La Femme Papillon
Virgine Bourdin
Francuska – Belgija / France – Belgium, 2002, 10', animacija / animation
Leptirica je svojom magičnom ljepotom oduševila gledatelja koji ju je pokušao izbaviti iz konopaca marionetske predstave.
With her magic beauty a butterfly delighted a spectator who tried to rescue her from the ropes of a puppet show.
Priča sa Zapadne Obale
West Bank Story
Ari Sandel
SAD / USA, 2005, 21', igrani / fiction
Glazbena komedija o zabranjenoj ljubavi izraelskog vojnika Davida i palestinske blagajnice Fatime u svijetu bespoštednog sukoba lanaca brze prehrane na Zapadnoj obali.
Dobitik Oskara 2006 za najbolji igrani kratkometražni film.
A musical comedy about the forbidden love between Israeli soldier David and Palestinian cashier Fatima placed in world of ruthless battle of fast-food chains on the West Bank .
2006 Academy award winner for the best live-action short film.
Vijci i matice
Hochbetrieb
Andreas Krein
Njemačka / Germany, 2003, 6', igrani / fiction
Visoko na građevinskoj skeli vrijeme je za marendu, no neki su ipak ostali gladni.
Up high on a building slab a snack time begins, yet some were left in hunger.
Rez
Cut
Royston Tan
Singapur / Singapore, 2004, 13', igrani / fiction
Mjuzikl o redatelju i cenzuri u filmskoj industriji.
A musical about the director and censorship in film's industry.
Migracija Bigoudenki
La Migration Bigouden
Alexandre Heboyan, Eric Castaing
Francuska / France, 2004, 2', animacija / animation
Priča se odvija na obalama Bretagne. Dok pada noć, Bigoudenke izvode misteriozni ritual. Ples palačinki počinje.
Story is taking place on the shores of Bretagne. While night falls, Bigoudens are performing a mysterious ritual. Dance of the pancakes begins...
Najsretniji oraščić na svijetu
The luckiest Nut in the World
Emily James
Velika Britanija / Great Britain, 2004, 23', animirani dokumentarni / animation documentary
Film o oraščićima, trgovini, ekonomiji, globalizaciji.
Film about nuts, trade, economy, globalisation.
Čovjek bez glave
L'Homme Sans Tete
Juan Solanas
Franuska / France, 18', igrani animacija / fiction, animation
Sramežljiv čovjek poziva djevojku koju voli na prvi romantični izlazak. Za tu posebnu priliku, lijepo se uredio, kupio je cvijeće, i glavu, koju nikad nije imao.
Zlatna palma 2003 za najbolji kratki film.
A shy guy invites a girl he loves to a first romantic rendezvous. For that special occasion he dresses nicely, buys flowers, and a head, he has never had.
Grand Prix Jury for the best short film, Cannes 2003.
10/8/2007
Providurova palača / 21:00
Večer s četvrtka na petak
An Evening from Thursday to Friday
Autorica i koreografkinja / Author and choreographer: Sanja Petrovski
Izvođači / Performers: Sanja Petrovski, Josipa Štulić, Matea Bilosnić
Oblikovatelj svjetla / Light designer: Igor Petrovski
Produkcija / Production: Zadarski plesni ansambl, Zadar snova
Plesna predstava 'Večer s četvrtka na petak' inspirirana je biografijom američke pjesnikinje Emily Dickinson (1830-1886). Izolirana i daleko od glavnih umjetničkih strujanja svoga doba, pronašla je originalan pjesnički izraz vrlo blizak suvremenom senzibilitetu. Svakodnevne pojave u kući, najsitniji događaji, promjene stanja i zbivanja u užoj okolini proživljeni u samoći, osnovna su tema njene poezije.
Ovim djelom autorica istražuje privatnost. Oslikana je atmosfera tišine i čekanja. Sveprisutna unutarnja tuga ne ogleda se na vanjskoj razini. Samoća i tjeskoba ne mogu potisnuti nevidljiv i krhak intimni svijet brižljivo stvaran u svakome od nas.
‘An Evening from Thursday to Friday' is a dance piece inspired by the biography of the American poet Emily Dickinson (1830-1886) . Isolated, far away from the main artistic streams of her lifetime, she managed to discover an original lyric style which is very similar to nowadays sensibility. Everyday activities around the house, the smallest proceedings, circumstantial changes and nearby situations experienced in solitude are basic themes of her poetry.
In this piece the author is researching privacy. The impression of silence and anticipation is conveyed. Omnipresent inner sorrow does not show on the outside. Loneliness and anxiety can not suppress the fragile intimate world which is created with care inside of us all.
10/8/2007
Providurova palača / 22:00
Sjedi, 1
Jane Doe
Autorica i koreografkinja / Author and choreographer: Petra Hrašćanec Herceg
Izvodi / Performer: Lada Petrovski
Glazbenik / Musician: Domagoj Mišković
Autor videa / Video: Petar Petrovski
Scena / Set design: P. Hrašćanec Herceh, L. Petrovski and family
Produkcija / Production: dance_lab collective
Koprodukcija / Coproduction: Zadar snova
Kada dobro nije dovoljno... Trud žena perfekcionistica često nije dovoljno zapažen... Ljubav nije dovoljno ljubljena... Nije dovoljno reći samo 'Vrti mi se'...
Prosvjetarima nije dovoljno loše... Kad tijelo nikada nije dovoljno mršavo...
U američkom izvještaju se kaže da BiH još uvijek nije dovoljno... Biti na prvoj stranici nije dovoljno... Hrvatska Vlada nije dovoljno podržala projekte... Škola nije dovoljno naučila mlade što je to... Nije dovoljno skuhan... Koliko se god trudio njoj to nije bilo dovoljno... Nije dovoljno samo navijanje za naše, zar ne?... On nije dovoljno pametan da shvati... Ponekad savršeno jednostavno nije dovoljno...
Nije dovoljno promijeniti samo naše... Reći ne, nije dovoljno... Nije dovoljno moliti i čekati... Nije dovoljno ni to što smo svjesni.... Biti prirodan nije dovoljno dobro za pozornicu...
U ovom kolažu pokušavamo još malo prokopati onu staru dilemu o tome što je dovoljno, odnosno nedovoljno, za predstavljanje publici i koji su to stari obrasci na koje se spotičemo pri predstavljanju sebe/izvođača/autora drugima. Koncept sola učinio se izvrsnim za ovo istraživanje. Ranjivost pri razotkrivanju izvođača kao običnog čovjeka, prirodnog i sa svojim manama upravo daje okus ovakvom jelu. Ujedno razotkriva da je ovo nedovoljno samo proizvod našeg uma i očekivanja koje donosimo sa sobom u bilo koju životnu predstavu.
Pokušati ćemo testirati svoju granicu onoga –biti nedovoljan– i nadamo se da ćemo samo –biti–
When good is not good enough… The effort of perfectionist women is often not recognized enough… Love isn’t beloved enough… Saying only ‘I feel dizzy’ isn’t enough….
Educators are not in a bad enough situation.... When body is never slim enough…
American report says that Bosnia and Herzegovina still isn’t enough… Being on the title page is not enough… Croatian government has not sufficiently supported projects…School has not sufficiently tutored the young on what that is…. Not cooked enough… No matter how hard he tried for her it was not enough…. Supporting our team is barely enough, isn’t it? ... He is not smart enough to comprehend… Sometimes perfection is simply not enough…
Altering only ours isn’t enough… Saying no, is not enough… Praying and waiting is not enough… Being aware is also not enough… Being natural is not good enough for the stage…
In this collage we once again dig through that old dilemma about what is enough or is not enough for interacting with an audience and what old patterns we keep slipping upon while presenting ourselves / performers / authors to others. Concept of a solo act seemed perfect for this research. Vulnerability in disclosing of a performer as a common person, normal and with all his flaws certainly provides taste to a dish like this. It also reveals that ‘not enough' is merely something our mind has created along with expectations that we bring into any play of life.
We shall test our boundaries of –being not enough–, as we hope we may simply –be-
10/8/2007
Sv. Donat / 23:00
INVAZIJA SHORTOVA
Filmovi Jana Švankmajera
Jan Svankmajer's films
'Svijet kojeg pokreće filmsko stvaralaštvo podjeljen je u dva nejednaka kampusa: oni koji nikad nisu čuli za Jana Švankmajera i oni koji su se susreli s njegovim radom i znaju da su se našli licem u lice s genijem'. Anthony Lane, The New Yorker
Jan Švankmajer jedan je od najcjenjenih svjetskih redatelja i animatora. Rođen je u Pragu 1934., gdje i danas živi. Svoj prvi film snimio je 1964. i već preko 40 godina stvara nezaboravne i jedinstvene animirane filmove ikad napravljene. Njegovo filmsko stvaralaštvo utječe na mnoge generacije filmaša od Tim Burtona do braće Quay.
‘The movie-going world is split into two unequal camps: those who have never heard of Jan Svankmajer, and those who happen upon his work and know that they have come face to face with a genius’. Anthony Lane, The New Yorker
Jan Svankmajer is one of the world's foremost filmmakers and animators. Svankmajer was born in 1934 in Prague where he still lives. He made his first film in 1964 and for over forty years has created some of the most memorable and unique animated films ever made. His career has influenced many filmmakers from Tim Burton to The Brothers Quay.
Program
Hrana
Food
1992, 17'
Nadrealni doručak, ručak i večera.
Surreal breakfast, lunch and supper.
Dolje u podrumu
Down to the Cellar
1983, 15'
Djevojčica nailazi na mnoge teškoće donoseći krumpire iz podruma.
A little girl is facing many difficulties while bringing potatoes from a basement.
Njihalo, jama i nada
The Pendulum, the Pit and the Hope
1983, 16'
Zastrašujuća živa akcija preuzeta iz klasične priče E. A. Poa o sputavanju i mučenju.
A horrifying live-action inspired by the classic E. A. Poe story about suppression and torture.
Mesna ljubav
Meat Love
1988, 1'
Priča o iznenadnoj strasti i tragediji dvaju mesnih odrezaka.
The story about sudden passion and tragedy of two meat stakes.
Biljni svijet
Flora
1989, 0:20'
Mračna ekološka tragedija.
Dark ecological tragedy.
Smrt staljinizma u Češkoj
Death of Stalinism in Bohemia
1990, 15'
Švankmajerov prvi film nakon pada komunizma, u kojem nas vodi kroz kratku povijest Čehoslovačke od Drugog svjetskog rata, prikazujući besmislene užase staljinizma.
Svankmajer's first film after the end of communism in which he takes us through a brief history of Bohemia from the Second World War, presenting the absurd horror of Stalinism.
Muška igra
Manly Games
1988, 15'
Humoristična priča o nogometu koja prije sliči gruboj tučnjavi nego sportskoj igri.
Funny story about football which resembles more a tough fight then a sport game.
Mrak, svjetlo, mrak
Dimensions of Dialogue
Dimenzije dijaloga) - 1989, 8'
Vrtoglav, strastveni kaleidoskop o prepirkama što onemogućuju svaki dijalog i razumijevanje.
Giddy, passionate kaleidoscope about quarrels that block any dialog and understanding.
11/8/2007
Sv. Dominik / 21:30
Da je Pedro Almodóvar upoznao engleski bend The Tiger Lillies na projekciji Kubrickove Paklene naranče, otišli bi u zloglasni bar na periferiji Madrida i napravili ovu predstavu.
Had Pedro Almodóvar met the English band Tiger Lillies at the projection of Cubric's 'Clockwork Orange' they would have gone to an infamous bar in the suburbs of Madrid and would have made this show.
Cabaret
Patty Diphusa, Ispovijedi porno dive
Patty Diphusa, Confessions of a porn star
Autor / Author: Pedro Almodóvar
Režija i adaptacija / Adaptation for stage and direction by: Ivana Đilas
Igraju /Performers: Boštjan Gombač (vokal, klavir, klarinet, usna harmonika, glazbena pila / vocal, piano, clarinet, whistles, trumpet call harmonica, musical saw); Žiga Golob (kontrabas, ukulele, prateći vokal / contrabass, ukulele, back vocal); Sergej Ranđelović (bubnjevi, udaraljke, prateći vokal / drums, percussions, back vocal)
Autorska glazba / Music by: Boštjan Gombač, Žiga Golob, Sergej Ranđelović
Kostimografija i maska / Costume designer and make-up artist: Jelena Proković
Scenografija / Set design: Petra Veber
Oblikovatelj svjetla / Light designer: Brane Šulc
Produkcija / Production: Familija
Koprodukcija /Coproduction: Gradsko kazalište Ljubljana / Ljubljana City Theatre
Patty Diphusa, ispovijedi porno dive je cabaret nastao iz niza priča Pedra Almodóvara koje su u nastavcima izlazile u madridskom časopisu La Luna osamdesetih godina. To su priče s ruba urbanog života, bezobrazne priče koje veličaju sve ljudsko: seks, užitak, nasilje, ljubav, romantiku, želje. Patty je djevojka iz snova, puna života, koja nikad ne spava, projekcija želja čitalaca, alterego pisca.
Patty: Reci mi nešto više o meni i ja ću nešto uraditi za tebe.
Almodovar: Ti si tipična devojka našeg vremena.
Ti si proizvod mašte gledatelja.
Ti si takva kakvi bi gledatelji voljeli da su.
Patty: Ti si isto gledatelj?
Almodovar: Volio bih imati tvoju spontanost i pozitivan odnos prema životu.
Voliš se jebati i dopada ti se da te ljudi obožavaju.
(P. Almodóvar iz posljednje epizode 'Intervju s Patty')
Patty bježi od samoće i sebe same i to radi s mnogo humora i zdravog razuma. Njena pripovijedanja imaju amoralni i istovremeno bistar ton. Ona je istovremeno vulgarna i krajnje nježna i jednostavna devojka. Ili možda uopće nije devojka?
Patty Diphusa, Confessions of a Porn Star is cabaret created from series of stories written by Pedro Almodóvar which were in sequels published in Madrid’s magazine La Luna, in (during) the eighties. Those stories are from the edge of urban life, rude stories which glorifies everything (all) human: sex, pleasure, violence, love, romantic, whishes. Patty is a girl from dreams, full of life, who never sleeps, projection of spectator's desires, writter's alter-ego.
Patty: Tell me more about me, and I will do more for you.
Almodovar: You are typical girl of our time.
You are creation of viewer's fantasy.
You are what viewers would love to be.
Patty:
You are also a viewer?
Almodovar: I would love to have your spontaneity and positive attitude towards life.
You love to fuck and enjoy being adored.
(P. Almodóvar from the last series 'Interview with Patty')
Patty elopes from solitude and herself and doing so with lots of humor and common sense. Her story telling is in amoral and at the same time in clever manner. She is at the same time vulgar and ultimately kind simple girl. Or maybe she is not girl at all?
I am Patty Diphusa. My profession? International sex symbol or international porn star. According to critics specialized in the field, my erotic interpretations have a certain something that makes me unique. When I perform fellatio the only thing the spectator pays attention to is the expression of my mouth and my eyes.
11/8/2007
Sv. Donat / 23:00
INVAZIJA SHORTOVA
Baskijski novi film
Basqian new film
Ekosustav
Ecosystem
Tinieblas Gonzalez / 2003 / 9'
Muha, pauk, zec i djevojčica su bića urbanog ekosustava, čiji zakoni su isti kao i u prirodnom ekosustavu. Vlada zakon jačega.
A fly, a spider, a rabbit and a little girl are creatures of the urban ecosystem, laws of which are similar to the ones of the natural ecosystem. The stronger one will prevail.
Superfrendice Protiv Profesora Vinila
Superfriends Meet Professor Vynil
Domingo Gonzalez / 2003 / 15'
Tri Superfrendice postaju Superheroji nakon čudnovatog pada meteora na zemlju koji im daje snagu da se odupru najopakijem DJ-u u gradu. Vješta i originalna parodija 'Čarlijevih anđela'.
Three super friends turn into Superheroes after the mystical fall of a meteor on Earth which gave them the power to fight the meanest DJ in town. Skillful and original parody of the 'Charlie's angels'.
Noćni Ekspres
Night Express
Imanol Ortiz Lopez / 2003 / 8'
Izuzetno miran čovjek djeli spavaća kola noćnog ekspresa sa hipohondričnim tipom.
Zabrinut za svoj dobar polažaj i kako bi se osigurao od mogućih smetnji tijekom sna, neurotičar započinje sa svojim bedastim ispitivanjima.
Extremely peaceful guy shares a sleeping vehicle of a midnight express with a hypochondriac. Concerned of his wellbeing and in order to secure himself from a possible disturbance during sleep, the neurotic begins his silly interrogations.
Kuća Strave
The Spook House
Koldo Serra / 2003 / 17'
Dobrovoljac se prijavio za eksperiment u kojem se proučavaju njegove reakcije u situaciji suočavanja sa ekstremnim terorom.
A volunteer applies for an experiment where his reactions, while confronting conditions of an extreme terror, are being
examined.
Šal
The Scarf
Safy Nebbou / 2003 / 23'
Tereza se nadala da će je njen sin posjetiti ovaj Božić. Pripremila je bogatu gozbu, no on se nije pojavio. Jedina joj je utjeha bila da se pretvara kako je tu sa njom.
Teresa has hoped that her son would visit her this Christmas. She has prepared a rich banquet, yet he did not show up. Her only consolation was to pretend that he is here with her.
12/8/2007
Sv. Nikola 21:30
premijera
Inner World Theatre: Medea
by S & M Jurcer
Redatelj / Director: Sašo Jurcer
Izvodi / Performer: Mojrtina Jurcer
Produkcija / Production: Jurcer, Zavod za kulture Maribor
Koprodukcija / Coproduction: Zadar snova
Redatelj Sašo Jurcer i glumica Mojtina Jurcer 2005. godine osnovali su Inner World Theatre. Grupa je odmah počela s brojnim međunarodnim aktivnostima predstavljajući svoje produkcije na kazališnim, plesnim te festivalima suvremenih izvedbenih i video umjetnosti u Austriji, Grčkoj, Slovačkoj, Rusiji, Hrvatskoj, Italiji, SAD, Armeniji, Egiptu i Mađarskoj. U njihovim predstavama Self/portrait (Auto/portret, 2005), Hamlet/Dreams (Hamlet/Snovi, 2006) i Anatomy of Loneliness (Anatomija usamljenosti, 2007) oni izmještaju granice između kazališne, suvremene plesne, operne i umjetnosti performansa.
U svojoj najnovijoj predstavi Medea (Medeja), koja će premijerno biti izvedena na festivalu Zadar snova, kreatori smjeraju povezati i otkriti nepoznati te gotovo zaboravljeni pradavni ritual činjenja kazališta. Inner World Theatre ‘plešući na okomitoj osi ljudskog postojanja’ preuzima jednu od najtragičnijih priča svih vremena kako bi se preko osobnih dilema zauputili u duhovni krajolik Medeje.
Theatre director Sašo Jurcer and actress Mojtina Jurcer founded Inner World Theatre in 2005. Company has immediately started with extensive international operations and presented productions on theatre, dance, contemporary art and video dance festivals in Austria, Greece, Slovakia, Russia, Croatia, Italy, USA, Armenia, Egypt and Hungary. In their performances Self/portrait (2005), Hamlet/Dreams (2006) and Anatomy of Loneliness (2007) they were crossing boundaries between theatre, contemporary dance, modern opera and performance art.
In actual performance Medea, which will be premiered in Zadar snova festival they intend to connect and uncover the hidden and almost forgotten ancient ritual dimension of making theatre. Inner World Theatre “acting on vertical axis of human existence” takes one of the greatest tragic stories of all times to make a journey into spiritual landscape of Medeas over human dilemmas.
12/8/2007
Sv. Donat / 23:00
INVAZIJA SHORTOVA
Vikinška magija
Magic of the Vikings
Noćna priča
Night story
Maja Lindstrom
Švedska / Sweden, 2005, 15', animacija /animation
Roditelji pokušavaju svoju djecu poštedjeti zlokobnih istina koje nam donosi život.
Parents are trying to spear their children from evil
realities
that life brings.
Zadnje riječi Hreggvidura
Hreggvidur’s last words
Grimur Hakonarson
Island 2004, 22' , igrani / fiction
Hreggvidura je je spriječila smrt da dovrši tekst za konzervativne novine.
Death stopped Hreggvidur from finishing an article for conservative newspapers.
Dobrodošli u Evropu
Welcome to Europe
Andreas Forsman
Švedska / Sweden, 2004, 9', dokumentarni / documentary
Film govori o pravilima i restrikcijama koje očekuju nove članice EU.
Movie talks about laws and restrictions that are expecting new EU members.
Zauvijek vjeran
Faithful forever
Trond Fausa Aurvig
Norveška / Norway, 2004, 7', igrani / fiction
Apsurdan film o destruktivnoj moći ljubavi
Absurd film about destructive power of love.
Vani se igraju djeca
Children are playing outside
Per Hanefjord
Švedska / Sweden, 2002, 8 ', igrani / fiction
Čangrizavom i usamljenom starcu jednog dana netko pokuca na vrata.
One day someone knocks at a door of a grumpy and lonely old man.
Iz sobe u sobu
From room to room
Risto-Pekka Blom
Finska / Finland, 2003, 10', eksperimentalni /experimental
Vizualni prigovor uniformiranosti.
A visual abjection to
uniformity.
Sranje
Shit
Mattias Sjostedt
Švedska / Sweden, 2003, 5 ', igrani / fiction
Gosta ima problem. Njegov dvorišni WC je pun, a komunalno spremište kilometrima udaljeno.
Gosta has a problem. His courtyard toilet is full and utility warehouse is miles away.
13/8/2007
Sv. Dominik / 21:30
premijera
Via Negativa: Ne kao ja
Not like me
Scene su kolektivno zamislili i razvili redatelj i izvođači.
Scenes were collectively created and developed by the director and performers.
Koncept i režija / Concept and direction by: Bojan Jablanovec
Autori teksta / Written by: Boris Kadin, Bojan Jablanovec
Izvođači / Performers: Boris Kadin, Iva Burčul, Kristian Al Droubi, Ivana Bašić
Produkcija / Production: Via Negativa, Zalet, Zadar snova
Trajanje / Duration: 60'
U šestoj godini predmet istraživanja projekta Via Negativa je zavist. Zavist je uvijek priča o drugome. O njegovim kvalitetima, dostignućima, vještinama, o tome koliko on vrijedi u društvu. Zavist je jedan od najdublje ukorijenjenih i najdestruktivnijih osjećaja koji pokreće naše djelovanje. Cilj zavisti nije biti kao taj drugi kome se zavidi. Njezin jedini cilj je uništiti drugoga. Priča o Abelu i Kajnu paradigmatska je priča o zavisti: zbog božje ljubavi brat ubija brata.
Kazalište je prostor snažno izraženih komparacija na različitim nivoima: fikcije u odnosu na realnost, predstave u odnosu na druge predstave, izvođača u odnosu na druge izvođače... U kazalištu poziciju boga preuzima publika. Sa predstavom izvođač na sceni daruje (žrtvuje) sebe za ljubav publike. U tom takmičenju za ljubav publike (uspjeh) on se, boreći protiv vlastite zavisti ili protiv zavisti drugih, stalno nalazi između pozicije Abela i Kajna.
Predstava je ostvarena kroz radionicu Via Negative koja se, u organizaciji udruge Zalet, održavala u Zadru, od studenog 2006. do kolovoza 2007. godine.
In the sixth year the object of Via Negativa’s research s envy. Envy is always a story about another. About his qualities, achievements, talents, about how much he is appreciated in society. Envy is one of the deepest rooted and most destructive emotions which motivate our actions. The objective of envy is not becoming like that another who is being envied. Its only goal is in defeating another. Story of Abel and Cain is a paradigmatic tale of envy: for the love of God a brother kills a brother.
Theatre is a place of strongly expressed comparisons in a variety of levels: fantasies in relation to real, plays compared to other plays, performers in relation to other performers... In theatre position of God is taken over by the audience. By playing, performer gives away (sacrifices) himself for the love the audience. In that competition for the love of viewers (success) he, while fighting against his own envy or resisting envies of others, constantly finds himself between position of Abel and Cain.
The play was realized by Via Negativa’s workshop, organized in Zadar by Zalet, from November 2006 till august 2007.
Via Negativa je međunarodna grupa izvođača sa sjedištem u Ljubljani. Projekt započinje redatelj Bojan Jablanovec 2002. godine. VN otkriva kazalište kao medij komunikacije više no prostor estetike. Osnovna propitivanja naših performansa su kako biti stvaran pred gledateljem. Prvih sedam godina Via Negative posvetili smo istraživanju ljudskih osobina poznatih kao sedam smrtnih grijeha. Naše je stajalište da ljutnja, proždrljivost, pohlepa, požuda, lijenost, zavist i oholost u potpunosti determiniraju našu osobnost. Svaka izvedba otvara sukob između društvene potrebe da ih se kontrolira i vlastite želje da im se podaje. U osmoj godini ovaj će izvedbeni ciklus zatvoriti projekt Via Nova, koji će povezati sve materijale i izvođače od 2002. do 2008.
Via Negativa is an international group of performers based in Ljubljana, Slovenia. The project was begun in 2002 by Bojan Jablanovec as director. VN explore theatre as a medium of communication rather than as a space of aesthetics. The basic question we are dealing with in our performances is how to be real in front of the spectator. First seven years of Via Negativa we have devoted to the exploration of the human characteristics generally known by the name of the seven deadly sins. Our position is that anger, gluttony, greed, lust, sloth, envy and pride decisively mark our individual identities. Each performance opens the conflict between a social demand to control them and a personal urge to indulge in them. In the eighth year, this performance circle will be concluded with the project Via Nova, which will bring together all the material and the performers that participated from 2002 to 2008.
14/8/2007
Providurova palača 21:00
Dis
Koreografija / Choreography: Anđela Herenda
Izvode /Dancers: Anđela Herenda, Marin Lemić
Glazba / Music: Tuxedo moon
Hvala /Thanks to: Edi Paleka, Srđan Babić
Ne mogu zamisliti kako bi dva Sunčeva sustava izgledala
jedan pored drugog
u nekom većem svemiru gdje ih stane i više od dva, poanta je
da su razlike još veće nego između dva planeta, nepojmljivo različite, a ne zna se ni da postoje razlike pošto se ne zna ni za te sustave jer
sve naizgled ide dobro, s obzirom na dostupna znanja,
sve se čini kako treba, ali tko zna što je zapravo istina,
tko zna koliko uopće toga ima za znati,
mora biti da ništa nije onako kako se čini.
Svaki odgovor jednom susretne pitanje. Predstavi se.
I onda se začuje vjetar.
I can't imagine how two Solar systems would look like
placed right next to each other
in a bigger space where there might be even more than two, the point is that the difference is bigger then between two planets, unbelievably bigger, but they are not known, for nobody even knows about those systems because
all seems to work, considering the known points of view,
all seems just right, but who really knows what is true,
who really knows how many things to know there are,
it must be that nothing is what it seems.
Every answer once meets a question. Introduces itself.
And then you hear the wind.
Dis
- grčki prefiks koji označuje negiranje, odricanje
- latinski prefiks koji označuje raznostranost, suprotnost
Dis
- Greek prefix refering to denial, abandonment
- Latin prefix refering to versatility, contrariety
14/8/2007
Providurova palača 22:00
Stanje br. 2
Gravidation
Koreografija / Choreography: Pravdan Devlahović
Izvode / Performers: Pravdan Devlahović, Zrinka Užbinec
Asistent koreografa / Assistant to choreographer: Nikolina Pristaš
Dramaturgija / Dramaturgy: Goran Sergej Pristaš, Ivana Ivković
Zvuk / Sound: Višeslav Laboš
Svjetlo / Light design: Miljenko Bengez
Produkcija / Production: BADco.
Plesna predstava Stanje br. 2 nastala je iz koreografskog prakticiranja promjenljivosti i nesigurnosti slike tijela u transformaciji, njegovog živog prolaska kroz specifično fokusirani spektar izraza, mišljenja (vlastitog) tijela u plesu kroz poimanje njegove neodređenosti tj. njegove stalne otvorenosti za neko drugdje i drugačije od onog koje jest u datom trenutku. Naboj kojeg podrazumijeva ta neodređenost neodvojiv je od tijela, on se podudara s njime i to u mjeri u kojoj je tijelo uvijek u prolasku ili u procesu (u mjeri u kojoj je ono dinamično i živo).
Aluzija na drugo stanje prisutna u naslovu proizlazi iz interesa za transformativnu snagu koju proces trudnoće, doslovno i metaforički, donosi ženskom tijelu, odnosno, interesa za koreografiju koja se na apstraktnijoj razini bavi uvjetovanostima koje izbacuju tijelo muškog plesača - izvođača u neko drugo 'drugo stanje', trenucima u kojima tijelo postaje bremenito samo sobom.
Gravidation is a result of the choreographic praxis of variableness and uncertainty of image of the body in transformation, its live passage through a specifically focused spectrum of expression, thought of (own) body in dance through the notion of its indeterminateness, that is, its constant openness to another and different from what it is in the moment. A charge resulting from that indeterminateness is inseparable from the body, it coincides with it in the sense that the body is always in transition or in process (being dynamic and alive).
The allusion to being gravid in the title of this work correlates to the interest in the transformative power that the process of pregnancy, literally and metaphorically, implies for a woman's body; an interest for a choreography that, on an abstract level, deals with the constraints that expel the body of a male dancer-performer into a 'laden state', the moments when the body becomes ponderous of itself.
