Fizične manifestacije /
Physical Manifestations

Fizične manifestacije so raziskovalen sodobnoplesni projekt, ki ga avtorica z različnimi sodelavci razvija od leta 2012. S kinestetično-plesnim sistemom (s principi »body-mind centering«) se osredotoča na študij koreografskih situacij, opazovanja, refleksije (z različnimi občinstvi, umetniki in strokovnjaki) ter na generiranja specifičnih partitur in predstavitvenih formatov, ki bi posameznemu študijskemu segmentu raziskave najbolj ustrezali. V osebni, družbeni in javni prostor s sodelavci vnaša premislek o telesnosti.
            Nasproti discipliniranemu telesu postavlja dinamično telo, ki se disciplinarnosti telesa (kodirane plesne tehnike in drugi vzorci) izmika, ker svoje gibalne in čutne procese zaznava, proizvaja in artikulira onstran predpostavljenih telesnih kodov in oblik. Zanima ga gledalska soudeležba, skupnost in identiteta, ki jih vselej razume kot časovno določene, umeščene in utelešene.
            Od leta 2012 s sodelavci razvija umeščenost gledalca v laboratorijskih situacijah ali v različnih oblikah plesnih predstav: od raziskovanja telesne časovnosti znotraj klasične odrske postavitve (Fizične manifestacije 2015) do situacijskih partitur (Poiesis sebstva 2016), v katerih gledalci skupaj s performerjema sodelujejo pri proizvodnji telesne izkušnje in plesne instalacije.
            Avtorica je leta 2018 k sodelovanju povabila ekipo izkušenih umetnikov, Dragano Alfirević, Dejana Srhoja, Tino Valentan, Anjo Bornšek, Gregorja Zorca, Špelo Škulj in Boštjana Perovška, da bi se skupaj soočali z relevantnimi vprašanji, kako zaznavamo telo, o percepciji v današnjem hiper-produktivnem svetu in o odprtih načelih sodelovanja, ki se širijo tudi na publiko, torej na obiskovalce kot aktivne so-ustvarjalce dogodka.
            Vidik skupnega v Vsak zdaj je čas, prostor (2019) ne ustvarjajo družbeni ali kulturni protokoli običajnega gledališkega dogodka, temveč pogoji in predlogi, v katerih se lahko telesnost gledalcev senzorialno ali kinestetično ponastavi (re-set), tako da se zapre in razprostre (uvajanje simultanih prostorov). Prav v zadnjem projektu se izrazi gledalčeva dejavnost, ki se udejanja skupaj s celotno umetniško ekipo.

“Zvočnočutna percepcija, ki je na vsaki koordinati prostora edinstvena, je poleg zvoka sestavljena tudi iz možnosti, da sami odločamo, kje in kako bomo del tega doživetja." 

Premuševa s sodelavci namreč skonstruira večplastno instalacijsko okolje s pomočjo posebnih hypersonic usmerjenih zvočnikov, svetlobo in kinestetičnimi akcijami, ki soustvarjajo mikro-prostore, ki jih obiskovalci razkrivajo in zasedajo, te so predhodno označene na zemljevidu, ki jih obiskovalec dobi ob vstopu. Vsak zdaj je čas, prostorne ponuja linearne strukture, temveč razprostre pokrajino hkratnih dogodkov, mogočih povezav in percepcijskih doživljanj, ki jih gledalec ne »montira« zgolj v lastno »zgodbo«, temveč v odzivnost in povezovanje možnih oblik doživljanja, pomenov in izkustva.

»Zanimivo je opazovati, kako močno na občutljivost naših osebnih senzorjev vpliva navzočnost večjega števila ljudi; dešifriranje njihovih intenc ali prepoznavanje potencialnih situacij je veliko kompleksnejše, saj gre za usklajevanje neprimerljivo večjega obsega individualnih osebnih poti in dejanj, ki potekajo na različnih časovnih premicah.«

Physical manifestations is a research project in contemporary dance which the author has been developing with various collaborators since 2012. With a kinesthetic-dance system (with the principles of Body-Mind Centering) it focuses on the study of choreographic situations, observations, reflexions (with different audiences, artists, and professionals), as well as on generating particular scores and presentation formats which best suit a specific segment of the broader research. Together with colleagues, she introduces a reflection on physicality into the personal, social, and public space. 
            In contrast to the disciplined body, it sets up a dynamic one which shifts away from the disciplined (coded dance techniques and other patterns) by detecting, producing, and articulating its movement and sensory processes beyond the presumed bodily codes and forms. It is interested in audience participation, community, and identity, which it understands as always affected by time, positioned, and embodied.  
            Since 2012 together with her collaborators she has developed the position of the spectator in laboratory situations or in various forms of dance performances: from exploring embodied temporality within a classic type of staging (Physical Manifestations 2015), to situational scores (Poiesis of Self 2016), in which the public work together with the performers in producing the physical experience and the installation itself. 
            In 2018 the author invited a group of experienced artists to collaborate (Dragana Alfirević, Dejan Srhoja, Tina Valentan, Anja Bornšek, Gregor Zorc, Špela Škulj and Boštjan Perovšek) in order to tackle together the relevant issues, and namely, how we perceive the body, perception in today's hyper-productive world, and principles of open collaboration that extend even to the audience as visitors as well as active co-creators of the event.
            The aspect of the common in Every now is time, space (2019) is created not by the social or cultural protocols of the usual theatrical event, but by conditions and propositions in which the physicality of the spectator can be sensorially or kinesthetically re-set by being closed or spread out (introduction of simultaneous spaces). This very project asserts the viewer's activeness, which is realized together with the entire artistic team. 

»Sensory perception, which is unique at each coordinate of the space, in addition to sound offers us the possibility to decide for ourselves where and how we will be part of this experience.«

Premuš and her colleagues design a multi-layered installation environment with the aid of special hypersonic directional speakers, light, and kinesthetic actions, which co-create the micro-spaces that the visitors discover and occupy, and which are pre-marked on the map that the visitor receives upon entry. Every now is time, space does not offer a linear structure but expands the landscape of simultaneous events, possible connections, and perceptual experiences that the viewer not only "fits" into his own "story", but also into the responsiveness and connection of potential forms of experience and meanings.

»It is interesting to observe how strongly the sensitivity of our personal sensors is influenced by the presence of more people; deciphering their intentions or identifying potential situations is much more complex as it means coordinating an incomparably broader range of individual personal trajectories and actions that take place across different timelines.«