|
| ... | . |
Vlado R. Gotvan LUFTBALLETT 2.2 Automatic Performance samodejna predstava — 50. Borštnikovo srečanje 2015: nagrada Društva gledaliških kritikov in teatrologov Slovenije za najboljšo uprizoritev v pretekli sezoni (25. oktober 2015) — 50th Maribor Theatre Festival: award by the Association of Theatre Critics and Researchers for the best performance in 2014/15 (25 October 2015) World Premiere svetovna premiera 12th International Puppettheatre Festival 2014 15 September 2014 at 9 PM; Kino Šiška - Centre for Urban Culture, Ljubljana, Slovenia 15. septembra 2014 ob 21. uri; Kino Šiška - prostor urbane kulture, Ljubljana, Slovenija [Vimeo] 
VLADO R. GOTVAN scenarij in režija | script and directing DAVID CVELBAR avtomatizacija | automatisation IGOR ŠTROMAJER intimni mobilni komunikator | intimate mobile communicator MARTINA RUHSAM sodelovanje | collaboration SIMON KARDUM supervizor | supervisor video MATJAŽ MRAK, MARKO CAFNIK [Vimeo] Primož Jesenko: Samodejna predstava Luftballett (promet luči brez zgodbe in zgodovine) odpihne prah z eksperimentalnega elana na našem gledališkem prizorišču, ki obsedeno kapitalizira »novo in originalno« a proizvaja predstave, ki zlagoma postajajo brezstrastno enake; preseže ga z osamosvojenim plesom krmiljenih luči. Jela Krečič: Prav zato, ker Luftballett dobro deluje, kolikor da osrednje mesto lučem – temu novemu subjektu umetnosti –, se zdijo prizori, ki vpeljujejo človeške elemente: predvsem lubenico in vlečenje stolov čez dvorano, odveč. Polona Balantič: Ko Repnik žive igralce na oder pošlje popolnoma nestilizirane oziroma kot najbolj običajne smrtnike (igralci brez neke posebne vloge in brez vsakršnih kostumov), jih pravzaprav izloči iz časa, kateremu pripadajo mehanizirani, samodejni stroji. Pia Brezavšček: Gledalec je ob glavo, njegova privilegirana pozicija je raztreščena kot lubenica. Primož Jesenko: Avtor zažene neživo tvar, sprosti igrivi potencial avtomatona in počaka, da ta oživi, celo zapoje in pokaže, da so utopične ideje povsem uresničljive. Pia Brezavšček: Potujitev tehnike od njene primarne minorne vloge do stanja subjekta je zastrašujoča – odtegne nam lastno privilegirano pozicijo subjekta in nas pusti brez tal pod nogami. Po tleh pa taca velik pes, ovohava površine in se mirno sprehaja. Primož Jesenko: Tehnološke grdosije ne imitirajo ničesar, kot obračajoča se telesa se dogajajo po sebi (kot se spodobi za »samodejno predstavo«), plešejo svetlobo in s svojim stišanim rentačenjem ustvarjajo zvoke, ki prav tako ne pomenijo nič več od tega, kar so. Pia Brezavšček: Pes kot poslednja relikvija gledališča iz mesa in kosti. Primož Jesenko: Tudi ta avtorski projekt ne forsira ambicije ali prelomnosti, je nastavek, gesta, ki nakaže smer delovanja in se zdi blizu Schlemmerju, ki napoveduje prihod popolnega inženirja, ki bo dirigiral odrsko pašo za oči od daleč. V duhu časa. Valerija Zabret: Mene še vedno zanima zakaj piše nad lubenico "A CAMEL" (kamela) :) Sprašujem se zakaj ravno kamela, zakaj ne krava recimo? Jedrt Jež Furlan: Also sprach Repnik. – – – Primož Jesenko: The automatic performance Luftballett (Traffic of Lights without Story and History) blows away the dust from the experimental verve in our theatrical arena, which obsessively capitalises the “new and original” but at the same time produces performances which are gradually becoming passionlessly the same – it overcomes this with an emancipated dance of guided lights. Jela Krečič: Exactly because of that, as Luftballett works well insofar as it gives the central role to the lights – to this new subject of art -, it seems that the scenes which are introducing human elements: especially the watermelon and the act of pulling chairs through the hall, are too much. Polona Balantič: When Repnik is sending live performers in an utterly unstilized manner or like the most common earthlings on the stage (actors without any special role and without any costumes), he is actually eliminating them from a time, to which mechanized, automatic machines belong. Pia Brezavšček: The spectator looses the head, his/her priviledged position is smashed like a watermelon. Primož Jesenko: The author initiates the inanimate matter, releases the playful potential of the automaton, and waits for it to come to life, to even sing and shows that utopian ideas are completely realisable. Pia Brezavšček: The alienation of technique from its primary minor role to the state of subject is terrifying – it namely detracts our privileged position of a subject and leaving us without ground under our feet. But on the ground there is a big dog lumbering, sniffing the surfaces and walking around calmly. Primož Jesenko: Technologic leviathans imitate nothing, as rotating bodies they move on their own (as it should be in an “automatic performance”), they dance the light, creating sounds with their hushed grumbling which similarly mean nothing more than what they are. Pia Brezavšček: The dog as the last relic of a theatre of meat and bones. Primož Jesenko: This project similarly does not force ambition or pretense of being groundbreaking; it is a starting point, a gesture which indicates a certain direction and appears to be close to Schlemmer, announcing the arrival of the perfect engineer, who will conduct the spectacle for the eye from a distance. In the spirit of the times. Valerija Zabret: I am still curious why ''A CAMEL'' is written above the melon :). I am asking myself why exactly a camel and not a cow for example? Jedrt Jež Furlan: Also sprach Repnik. LUFTBALLETT II 9 December 2013 at 8 PM; Kino Šiška - Centre for Urban Culture, Ljubljana, Slovenia 9. decembra 2013 ob 20. uri; Kino Šiška - prostor urbane kulture, Ljubljana, Slovenija Produced by | Produkcija: GVR babaLAN & Kino Šiška, 2013/2014 The project was co-financed by the Ministry of Culture of the Republic of Slovenia and the Municipality of Ljubljana. Projekt sta sofinancirala Ministrstvo za kulturo RS in MOL Ljubljana. GVR babaLAN | +386 31 589 877 www.babalan.org | gvr[at]babalan.org |