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INSIDE THE OUTSIDE

Premiera | Premiere:
7.6. 2023 - Stara mestna elektrarna - Elektro Ljubljana

Koreografija | Choreography: Deborah Hay
Izvedba | Performed by: Dragana Alfirević, DISKOlektiv, Jana Jevtović, Beno Novak, Jan Rozman, Dejan Srhoj
Kostumografija | Costume design: Dajana Ljubičić
Oblikovanje svetlobe | Lighting design: Špela Škulj
Produkcija | Production:  Jasmina Založnik in Dragana Alfirević
Odnosi z javnostmi | PR: Urška Comino
Fotografije | Photos: Sunčan Stone

Produkcija | Produced by:
Nomad Dance Academy Slovenija, 2023
Koprodukcija | Coproduced by: Bunker, Kino Šiška, DUM – Društvo Umetnikov

Predstava je nastala s finančno podporo | The project was supported by: Mestne občine Ljubljana – Oddelek za kulturo, Ministrstvo za kulturo RS, Ministrstvo za javno upravo RS, DANCE ON PASS ON DREAM ON, Ustvarjalna Evropa. | City of Ljubljana – Department for Culture, Ministry of Culture of the Republic of Slovenia, Ministrstvo za javno upravo RS, DANCE ON PASS ON DREAM ON, Creative Europe.
Skupina plesnih umetnikov, zbranih okoli Nomad Dance Academy Slovenija, se od leta 2017 pogovarja z Deborah Hay, ikono postmodernega plesa, o možnostih sodelovanja in o predstavitvi njenega bogatega opusa slovenskemu in regionalnemu občinstvu.

Na njihovo povabilo je Deborah Hay junija 2022 prišla v Ljubljano in odprla proces izmenjave in izkustvenega učenja z orodji iz svoje dolgoletne prakse. Na ta način jim je predstavila svoj pogled na ples in koreografijo, hkrati pa obogatila, izzvala in dodatno usmerjala njihove individualne umetniške procese.

Za nas kot plesalce je delo z Deborah Hay darilo, učna izkušnja, afirmacija plesa kot vsakodnevne prakse in raziskovanje oblik, formatov in fluidnost percepcije. V tem procesu je ples vzporeden z učenjem, individualnim in kolektivnim, koreografija pa struktura, ki plesalke in plesalce podpira in izziva. Njegovih možnih branj je neskončno – čvrsto in fluidno/spremenljivo hkrati.

“Inside the Outside v odnosu do časa prej deluje zgoščevalno: obilje heterogenih vzgibov, trzljajev in gibov poskuša zgostiti v nekaj dogodkov ali podob, tako da se gibalni material s posredovanjem gledalca začne stekati v nekaj ključnih točk, ki imajo potencial za pomenljivost, niso pa nujno (za vsakega gledalca enako) pomenljive. Ta vseskozi prisotna potencialnost ima v povezavi z afektivno podobo (izločitve, obrekovanja, govoričenja) in humornimi gestami, v katerih se podoba podvaja, učinek razpršitve podobe, ki kot multipliciteta prežame prostor. Kljub obilju dražljajev se vzpostavi (zelo) splošen okvir, katerega različni aspekti se udejanjajo in utelešajo v različnih prostorskih in telesnih konstelacijah. Ker se ne nizajo po predvidljivem vzorcu, gibi niso (že) v določeni kontinuiteti, ki jo lahko jasno predvidimo, ampak kontinuiteto šele vzpostavljajo, s tem ko se množijo in na ta način progresivno razvijajo. Gibi kot znaki, ki se skozi različne in v določenih vidikih medsebojno primerljive utelesitve postopoma naseljujejo v prostor, postanejo privilegirano merilo časa.”

Jaka Bombač v “Vaja v šelestenju“ (Neodvisni, https://www.neodvisni.art/refleksija/2023/07/vaja-v-selestenju/)


Since 2017, a group of dance artists and producers gathered around Nomad Dance Academy Slovenia have been in conversation with Deborah Hay, an icon of postmodern dance, about the possibilities of collaboration and about presenting her rich body of work to Slovenian and regional audiences.

At the invitation of NDA Slovenia, she came to Ljubljana in June 2022, opening up a process of exchange and experiential learning in conjunction with the tools from her long-standing practice. In this way, she introduced the participants to her perspective on dance and choreography, while enriching, challenging and further guiding our individual artistic processes.

For us as dancers, the work with Deborah Hay is a gift, a learning experience, an affirmation of dance as a daily practice and a research of forms, formats and the fluidity of perception. In this process, dance is paralleled with learning, individual and collective. Choreography comes as a structure, which supports and challenges the dancers. The possible readings of it are infinite – firm and fluid at the same time.

“In relation to time, Inside the Outside rather works in a condensing way: it tries to condense the abundance of heterogeneous stimuli, twitches and movements into a few events or images, so that the movement material, through the viewer's mediation, starts to converge into a few key points that have the potential to be meaningful, but are not necessarily (for every viewer equally) meaningful. This ever-present potentiality, in conjunction with the affective image (exclamations/exclusions, slanders, gossip) and the humorous gestures in which the image is duplicated, has the effect of diffusing the image, permeating the space as multiplicity. Despite the abundance of stimuli, a (very) general framework is established, the different aspects of which are realised and embodied in different spatial and bodily constellations. Since they do not follow a predictable pattern, the movements are not (already) in a certain continuity that can be clearly foreseen but only establish continuity by multiplying and thus progressively developing. Movements as signs, which gradually inhabit space through different and in certain respects comparable embodiments, become the privileged measure of time.”

By Jaka Bombač in “An Exercice in Rustling“ (Neodvisni, https://www.neodvisni.art/refleksija/2023/07/vaja-v-selestenju/)