VEČER PLESNIH SOLOV II

Premiera: 17.12.2025 - Galerija ŠKUC

Koncept, koreografija, izvedba: Dejan Srhoj
Zasnova prvega sola: Silvan Omerzu
Glasbena kompozicija: Tomaž Grom
Koreografija tretjega sola: Leon Marič
Glasba v živo: Ana Kravanja
Dramaturgija: Katarina Pejović
Kostumografija: Dajana Ljubičić
Oblikovanje svetlobe in tehnična podpora: Borut Cajnko
Izdelava maske: Silvan Omerzu, Žiga Lebar
Odnosi z javnostmi: Urška Comino, Goran Pakozdi
Foto: Nada Žgank

Produkcija: Dejan Srhoj in Nomad Dance Academy Slovenija

Predstava je nastala s finančno podporo: Mestna občina Ljubljana – Oddelek za kulturo, Ministrstvo za kulturo Republike Slovenije

Partnerji: Društvo Škuc, Maska, Društvo za sodobni ples Slovenije

Zahvala: Nina Meško, Liana Kalčina ter Dragana, Doroteja in Dimitra
Leta 2022 je Dejan Srhoj ustvaril Večer plesnih solov, plesno sestavljanko treh sodelovanj in raziskav z umetniki iz različnih medijev, poetik in estetik. Tri leta pozneje pred publiko prihaja Večer plesnih solov II. Forma, kakor tudi paradoksi sodelovanj, sta si podobni, a v vmesnem času je svet zagorel in človeštvo se je razklalo. Obenem se – včasih z noro hitrostjo, drugič z neznosno počasnostjo – dogajajo najhujši padci v brezno pošasti in najčudovitejši kvantni preskoki. Vsi smo ta hip akrobati na žici, ki je meja med koncem in novim začetkom.

Zakaj razširjati kader opazovanja Večera plesnih solov II v takšen total? Zato, ker je vsako resno in resnično poglabljanje v lastno srce teme – z namero iskanja njenega jedra luči – en košček v mozaiku skupnega začetka, ki nas čaka. In Dejan skupaj s svojimi sodelavci in so-raziskovalci počne ravno to.

V začetnem solu na nek način nadaljuje tam, kjer se je prejšnji Večer ustavil: pri iskanju novega pogleda na lastno preteklost. Kot izhodišče jemlje sodelovanje z lutkovnim umetnikom Silvanom Omerzujem pri predstavi Svetnik Krespel, v kateri je pred 22 leti igral naslovni lik. Tokrat stopa v dialog s patriarhalnim in avtoritarnim principom arhetipa moškega, se mu prepušča in se hkrati sprašuje, katere – če sploh – stične točke ima njegova lastna identiteta z njim.

Skladatelj in kontrabasist Tomaž Grom je za Dejana ustvaril konceptualni zvočni okvir, ki izhaja iz načrtovane eksistencialne nuje ter raziskuje, kaj je materialna vsebina prelomnega trenutka, ko se življenje zreducira na le nekaj predmetov. Kakšen je zvok vsakega predmeta, kaj govori tišina vmes?

S plesalcem in koreografom Leonom Maričem razkrajata določen stereotip moške identitete ter ga razpirata v njegovo specifiko – osvobojeno predalčkanja in omejevanja. Na tej točki pa se pojavi vprašanje: kako preprosto in hkrati kako zahtevno si je prisvojiti svobodo ter v njej vztrajati?

Cel večer je zajet in prežet s čudovito glasbo multiinštrumentalistke Ane Kravanja, ki teče vzporedno z Dejanovim potovanjem – včasih se srečujeta, včasih pa potujeta vsak po svojih poteh. Tako se gibalno raziskovanje različnih plati identitete ves čas zrcali in odmeva v hiši zvokov, ki jih ustvarja Ana. In obratno.

Pred temi nepopisljivo kratkimi in dolgimi tremi leti je Dejan ob prvem Večeru zapisal naslednje:
“Vsak v plesu bere, kar rabi sam prebrati. Jaz sem medij branja obiskovalca. Zakaj je ranljivost tako univerzalna? Kako biti ranljiv, a ne ranjen? Na odru, za začetek.”
Tokrat so ta vprašanja tehtna na povsem drugačen način.

Katarina Pejović
AN EVENING OF DANCE SOLOS II

Premiere: 17.12.2025 - Galerija ŠKUC

Concept, choreography, performance: Dejan Srhoj
Design of the first solo: Silvan Omerzu
Music composition: Tomaž Grom
Choreography of the third solo: Leon Marič
Live music: Ana Kravanja
Dramaturgy: Katarina Pejović
Costume design: Dajana Ljubičić
Light design and technical support: Borut Cajnko
Mask making: Silvan Omerzu, Žiga Lebar
Public relations: Urška Comino, Goran Pakozdi
Photography: Nada Žgank

Production: Dejan Srhoj in Nomad Dance Academy Slovenija

The performance was realised with the financial support of: the City of Ljubljana, Ministry of Culture of the Republic of Slovenia

Partners: Društvo Škuc, Maska, Društvo za sodobni ples Slovenije

Thanks to: Nina Meško, Liana Kalčina as well as Dragana, Doroteja and DimitraIn 2022, Dejan Srhoj created An Evening of Dance Solos, a dance puzzle composed of three collaborations and research processes with artists from different media, poetics, and aesthetics. Three years later, An Evening of Dance Solos II comes before the audience. The form, as well as the paradoxes of collaboration, remain similar, yet in the meantime the world has caught fire and humanity has split apart. At the same time – sometimes at insane speed, other times with unbearable slowness – the deepest plunges into the abyss of monstrosity and the most wondrous quantum leaps are taking place. We are all, at this moment, tightrope walkers balanced on the line between an ending and a new beginning.

Why expand the frame of observation of An Evening of Dance Solos II into such a totality? Because every serious and truthful descent into one’s own heart of darkness – with the intention of seeking its core of light – is a small piece in the mosaic of the common beginning that awaits us. And this is precisely what Dejan, together with his collaborators and co-researchers, is doing.

In the opening solo, he in a way continues where the previous Evening left off: in the search for a new perspective on his own past. As a point of departure, he takes his collaboration with puppet artist Silvan Omerzu on the production Svetnik Krespel, in which he played the title role 22 years ago. This time, he enters into dialogue with the patriarchal and authoritarian principle of the male archetype, yielding to it while simultaneously questioning what points of contact – if any – his own identity has with it.

Composer and double bassist Tomaž Grom created a conceptual sonic framework for Dejan that stems from an anticipated existential necessity and explores the material substance of a decisive moment when life is reduced to just a few objects. What is the sound of each object, and what does the silence in between say?

Together with dancer and choreographer Leon Marič, they dismantle a particular stereotype of male identity and open it up into its specificity – freed from pigeonholing and limitation. At this point, however, a question arises: how simple, and at the same time how demanding, is it to claim one’s freedom and to persist in it?

The entire evening is held and permeated by the beautiful music of multi-instrumentalist Ana Kravanja, which runs parallel to Dejan’s journey – at times they meet, at other times they travel along their own paths. Thus, the movement exploration of different facets of identity is continuously mirrored and echoed in the house of sounds that Ana creates – and vice versa.

Three indescribably short and long years ago, after the first Evening, Dejan wrote the following:
“Everyone reads in dance what they themselves need to read. I am the medium of the visitor’s reading. Why is vulnerability so universal? How can one be vulnerable without being wounded? On stage, to begin with.”

This time, these questions carry weight in a completely different way.

Katarina Pejović