A Man with a Knife / Composition
- A Ballet Evening to an Original Music by Slovenian ComposersI
- Premiere 8. 11. 2018, a ballet evening is dedicated to the centennial of the professional ballet ensemble in Ljubljana
Composition
The performance draws from our conscious access to the spaces, which seem to elude us, which we are many times unable to imagine and which we are only able to realise in our dreams. In the conditions, in which the multitude of images seem to evade us and at the same time stand for the chaotic state of the world in which we live, all we wish for is a clear view to portray our imagination of the world with a fragmented story and thus offer a desired clarity of where and who we are. It is, however, rather difficult to implement darity when the world around us is falling apart. Could we understand it better, if we withdrew from the real-life situations and fled in a surreal world, a realm, where we have no idea what is close and what is far to us. The dramaturgy of the performance is looking for inspiration in an assumption of an intuitive cutting, deleting of a structure that seems logical. The dance and theatrical performance opens up an opportunity for poetic language of dance, thus establishing patterns, where dreams are allowed. And even more, where they are becoming inevitable.
Text: Sanja Nešković Peršin
A Man with a Knife
The choreography is based on the works by Slovenian painter Rihard Jakopič, capturing the moments that witness a remarkable sense of movement and drama. When it comes to interpretation of a certain work of art, it by all means depends on the observer’s personal view, complementing its entirety with his or her experience. Still, Jakopič's studies and paintings are designed to make a call for a careful consideration of the broader context of what we see and offer at the same time an exceptional starting point for the development of a series of events that may lead to a dynamic stage action. The interpretation of the works of art offered by the performance itself, occurs within the seemingly unrelated transitions between the positions in space, physical gestures and forms. The compositional entireties are not literal depictions of Jakopič's works, but rather serve as a basis for creating a new – dance whole, in which neither the dance interprets the music, nor the music plays for the dance, although both of the mentioned elements are drawing from the same source material.
Text: Matjaž Farič