SLO | EN
Premiere: 7.6. 2023 - Stara mestna elektrarna - Elektro Ljubljana
Choreography: Deborah Hay
Performed by: Dragana Alfirević, DISKOlektiv, Jana Jevtović, Beno Novak, Jan Rozman, Dejan Srhoj
Costume design: Dajana Ljubičić
Lighting design: Špela Škulj
Production: Jasmina Založnik in Dragana Alfirević
PR: Urška Comino
Photos: Sunčan Stone
Produced by: Nomad Dance Academy Slovenija, 2023
Coproduced by: Bunker, Kino Šiška, DUM – Društvo Umetnikov
The project was supported by: 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.
CoFinences of the postproduction:
Life Long Burning
Funded by the European Union. The views and opinions expressed are those of the author(s) only and do not necessarily reflect the views and opinions of the European Union or the Education, Audiovisual and Culture Executive Agency (EACEA). Neither the European Union nor the EACEA can be held responsible for them.
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/)