Provider: - Institution: - Data provided by Europeana Collections- Nenadoma Karla ne more več obvladovati jezika, ki vre iz njenega telesa. Besede bruhajo iz nje, silovito, vedno glasneje in vedno v ...višjih frekvencah, ob tem pa njeno telo ostaja zakrčeno kot kip, napeto, nepremično. Ob njej kleči njena sestra Štefi, s kozarcem prislonjenim na uho se dotika Karlinega telesa, prisluškuje mu, potuje po njej in ji nazadnje prisloni kozarec na usta in z njim ujame njene besede, roko položi na kozarec, kot da bi prevkar ujela nočno veščo na beli steni. /-/ V središču opisanega prizora iz predstave Atelje (2008) koreografinje Bare Kolenc je zvočna in ilokucijska moč jezika, ki si v neposrednem srečanju s telesom podredi in ukloni telo. Podreditev se zgodi prav v poroznem stiku telesa med znotraj in zunaj, tam, kjer zvok postane slišen in kjer se obenem slišnost spremeni v poslušnost.
Kunst, Bojana: Bi slišali mišico, če bi mogla govoriti? O plesu in jeziku, v: Drama, tekst, pisava; ur. Petra Pogorevc in Tomaž Toporišič, Knjižnica MGL (148), izšla letos z letnic
Predstava Atelje se navdihuje v nenavadni življenjski zgodbi in ustvarjalnosti prve slovenske kiparke Karle Bulovec, rojene grški materi in slovenskemu očetu na Bledu leta 1895. Karla se je po končani likovni akademiji v Pragi vrnila v Ljubljano in se poročila z enajst let mlajšim dramatikom Ivanom Mrakom, s katerim sta živela skrajno bohemsko življenje, ki se je zaradi umetnosti odpovedalo vsemu - udobju, urejenosti, domu, družini, celo ljubezenski izpolnitvi (Ivan Mrak je javno priznaval svoja homoerotična nagnjenja). Njena ustvarjalnost je bila nora, velikopotezna, ambiciozna, mazohistična, pretirana v vizijah, ki jih ni uspela realizirati. Predstava preiskuje ustvarjalnost kot gon, kot nenehno slo po ustvarjanju, ki je tako divja in rušilna, da včasih premaga celo željo po biološki izpolnitvi, da načenja zdravje, ker zanika fizično lakoto, in je v končni fazi lahko dobesedno smrtonosna. Skozi prizmo te divjosti umetnost ni relativna (kakor je z vidika kulturne politike in kulturne zgodovine), temveč je absolutna in nujna, ne glede na to, kako je in bo ocenjena, razvrščena, analizirana, mitizirana- Excerpt from rehearsal of the performance Atelier. Karla all of a sudden finds herself unable to control the language, bursting out of her body. Words come pouring in a violent and increasingly louder manner, rising up to ever higher frequencies, whereas her body remains to be paralysed as a statue, tense and still. While kneeling beside Karla her sister Štefi holds a glass to her ear to touch Karla’s body, to eavesdrop on it and to travel across it. Finally, she presses the glass next to Karla’s lips and catches her words with this gesture; her hand placed onto the glass as if catching a moth on the white wall. /-/ The focal point of the described scene, taken from performance Atelier by the choreographer Bara Kolenc, emerges on the basis of the sound and the illocutionary power of language, which manages to subordinate the body in direct encounter with the latter. The act of subordination occurs within the porous arena of contact between the body, the inside and the outside. It occurs where sound turns into silence and where audibility turns into obedience.
Kunst, Bojana: Would we hear the muscle if she could talk? Article in the book Drama, text, writing, MGL, 2009
A performance inspired by the extraordinary life and talent of the Slovenian sculptress Karla Bulovec. In the name of art, her extremely bohemian life with husband and dramatist Ivan Mrak renounced everything – comfort, home, family, even sexual gratification. Her creativity was mad, ambitious, masochistic, exaggerated in visions she could not realize
The performance explores artistic creativity as an impulse, as a relentless desire to create, so wild and destructive that it can overpower the need for biological fulfilment, threaten one’s health by denying physical hunger, and can even be fatal. In the light of such savageness, art cannot be relative (as it is in the eyes of cultural politics and history), but absolute and vital, no matter how we analyze, mythicize or objectify i- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Nenadoma Karla ne more več obvladovati jezika, ki vre iz njenega telesa. Besede bruhajo iz nje, silovito, vedno glasneje in vedno v ...višjih frekvencah, ob tem pa njeno telo ostaja zakrčeno kot kip, napeto, nepremično. Ob njej kleči njena sestra Štefi, s kozarcem prislonjenim na uho se dotika Karlinega telesa, prisluškuje mu, potuje po njej in ji nazadnje prisloni kozarec na usta in z njim ujame njene besede, roko položi na kozarec, kot da bi prevkar ujela nočno veščo na beli steni. /-/ V središču opisanega prizora iz predstave Atelje (2008) koreografinje Bare Kolenc je zvočna in ilokucijska moč jezika, ki si v neposrednem srečanju s telesom podredi in ukloni telo. Podreditev se zgodi prav v poroznem stiku telesa med znotraj in zunaj, tam, kjer zvok postane slišen in kjer se obenem slišnost spremeni v poslušnost.
Kunst, Bojana: Bi slišali mišico, če bi mogla govoriti? O plesu in jeziku, v: Drama, tekst, pisava; ur. Petra Pogorevc in Tomaž Toporišič, Knjižnica MGL (148), izšla letos z letnic
Predstava Atelje se navdihuje v nenavadni življenjski zgodbi in ustvarjalnosti prve slovenske kiparke Karle Bulovec, rojene grški materi in slovenskemu očetu na Bledu leta 1895. Karla se je po končani likovni akademiji v Pragi vrnila v Ljubljano in se poročila z enajst let mlajšim dramatikom Ivanom Mrakom, s katerim sta živela skrajno bohemsko življenje, ki se je zaradi umetnosti odpovedalo vsemu - udobju, urejenosti, domu, družini, celo ljubezenski izpolnitvi (Ivan Mrak je javno priznaval svoja homoerotična nagnjenja). Njena ustvarjalnost je bila nora, velikopotezna, ambiciozna, mazohistična, pretirana v vizijah, ki jih ni uspela realizirati. Predstava preiskuje ustvarjalnost kot gon, kot nenehno slo po ustvarjanju, ki je tako divja in rušilna, da včasih premaga celo željo po biološki izpolnitvi, da načenja zdravje, ker zanika fizično lakoto, in je v končni fazi lahko dobesedno smrtonosna. Skozi prizmo te divjosti umetnost ni relativna (kakor je z vidika kulturne politike in kulturne zgodovine), temveč je absolutna in nujna, ne glede na to, kako je in bo ocenjena, razvrščena, analizirana, mitizirana- Excerpt from rehearsal of the performance Atelier. Karla all of a sudden finds herself unable to control the language, bursting out of her body. Words come pouring in a violent and increasingly louder manner, rising up to ever higher frequencies, whereas her body remains to be paralysed as a statue, tense and still. While kneeling beside Karla her sister Štefi holds a glass to her ear to touch Karla’s body, to eavesdrop on it and to travel across it. Finally, she presses the glass next to Karla’s lips and catches her words with this gesture; her hand placed onto the glass as if catching a moth on the white wall. /-/ The focal point of the described scene, taken from performance Atelier by the choreographer Bara Kolenc, emerges on the basis of the sound and the illocutionary power of language, which manages to subordinate the body in direct encounter with the latter. The act of subordination occurs within the porous arena of contact between the body, the inside and the outside. It occurs where sound turns into silence and where audibility turns into obedience.
Kunst, Bojana: Would we hear the muscle if she could talk? Article in the book Drama, text, writing, MGL, 2009
A performance inspired by the extraordinary life and talent of the Slovenian sculptress Karla Bulovec. In the name of art, her extremely bohemian life with husband and dramatist Ivan Mrak renounced everything – comfort, home, family, even sexual gratification. Her creativity was mad, ambitious, masochistic, exaggerated in visions she could not realize
The performance explores artistic creativity as an impulse, as a relentless desire to create, so wild and destructive that it can overpower the need for biological fulfilment, threaten one’s health by denying physical hunger, and can even be fatal. In the light of such savageness, art cannot be relative (as it is in the eyes of cultural politics and history), but absolute and vital, no matter how we analyze, mythicize or objectify i- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Družba markantnih likov umetniške družine se v zaprašeni sobani z zaprašenimi mislimi preko trganja prta in zavezovanja oči ...postopoma podaja v zaprašen ples. Polurni prizor, posnet v enem kadru, ob naravni svetlobi, pri čemer je slika vse bolj temna, dokler se nazadnje povsem ne stemni, deluje kot osnova oz rdeča nit dogajanja, v katerega se vpletajo različne reminiscence oz. fragmenti posameznikov in odnosov. < and >Ekipa projekta Atelje je v času rezidence v Šmartnem v Goriških brdih septembra 2009 posnela material za plesni film, ki govori skozi jezik podob, znakov, občutkov, telesnih in materialnih dogodkov. Film je nastal brez finančne pod- "Atelje" (Atelier) is an artistic project that was firstly out-coming as a theatrical performance conceived by Bara Kolenc. On other hand here you can see a derived products of the project resulting from collaboration between Kolenc and Atej Tutta. The video works space from the rehearsal materials to a feature length experimental video.- La vicenda umana di Karla Bulovec Mrak, scultrice Slovena degli anni '20, e riproposta in teatro dalla regista/attrice Bara Kolenc. Rappresentando l'autrice come una donna posta di fronte alla scelta se definirsi come madre o come artista, la Kolenc approfondisce, con un lavoro teatrale simbolico-narrativo, il mondo che la scultrice ha condiviso con tutte le persone che hanno influito nel suo percorso, artistico e di vita. Il video ripropone solo alcuni elementi del lavoro teatrale e lo esplicita in un modo piu intimo ed astratto, attraverso il linguaggio cinematografico. Atelje (Atelier) risulta un lavoro a se stante, autonomo, che diluisce l'impianto narrativo a favore di quello simbolico. Della storia della scultrice e del precedente lavoro teatrale rimane solo una traccia latente, espressa soprattutto nella riflessione sul fine ultimo del nostro fare inteso come motore e soluzione dell'identita profonda dell'essere umano.- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- In Strindberg's play, the relationship between Julia and Jean comes to a head over her devotion to her finch, which she wants to ...take along with her as baggage. Strongly opposed to this idea, Jean kills the bird.
The concept of our show centres on how we are determined by our sense of inevitability. The little bird represents the time of reality. And reality is, as the finch says in its ending monologue: "We're all alive?"
Sanja Nešković Peršin- V Strindbergovi drami se odnos med Julijo in Jeanom središči v zvestobi do čižka, ki ga Julija vzame s seboj na beg, kot kos prtljage. Jean temu močno nasprotuje in ga umori.
Koncept naše predstave pa se veže na determiniranost z neizbežnostjo, ki jo nosimo s seboj.
Ptiček predstavlja čas realnosti. Realnost pa je, kot reče v sklepnem monologu čižek: "Vsi smo živi?"- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Iz publikacije, ki jo je ob 50-letnici izdalo Kulturno umetniško društvo Študent, Maribor, 2014- All metadata published by Europeana ...are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- 22. Odprta Plesna Scena. NAVIDEZNA RESNIČNOST, koreografija: Maya Milenović Workman in Tina Dobaj Eder- All metadata published by ...Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Neja Kos (1943)Diplomirana psihologinja, plesalka, plesna organizatorka, svetovalka, kritičarka in publicistka. Vzpostavila je ...široko mrežo plesnih pedagogov in državnih srečanj, skrbela za dostopnost informacij in stik s sočasnimi plesnimi dogajanji v svetu ter popularizacijo sodobne plesne umetnosti, obenem pa pisala plesne kritike in druge strokovne članke in knjige ter razvijala refleksijo.Postavila je temelje neformalnega plesnega izobraževanja po vsej Sloveniji. Poletne in zimske šole, delavnice in tečaji so bili v svojih začetkih edina možnost spoznavanja sodobnih plesnih tehnik in mnogih drugih gibalnih praks.Neja Kos je bila učenka Žive Kraigher in je plesala v njeni skupini. Leta 1973 je z Daliborko Podboj, Jasno Knez in drugimi ustanovila Studio za svobodni ples, prvo slovensko sodobno plesno skupino. Diplomirala je na Filozofski fakulteti v Ljubljani iz psihologije in na Vzgojiteljski srednji šoli poučevala psihologijo ter plesno vzgojo. Kot samostojna strokovna svetovalka na ZKOS (danes JSKD) je med letoma 1977 in 2006 sistematično in sistemsko razvijala področje sodobnega plesa.Je dobitnica Zlate plakete JSKD za življenjsko delo (2009). Več o tem…Je tudi dobitnica nagrade Ksenije Hribar za življenjsko delo (2017), ki jo podeljujejo na bienalnem festivalu sodobne plesne umetnosti Gibanica. Več o tem:Neja Kos: Naš cilj je bil profesionalizacija sodobnega plesaPortret Neje Kos- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain ...Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Nekdanje plesalke plesne skupine Magra so s plesno točko sodelovale na 50. obletnici Kud-a Študent Maribor, v okviru festivala Lent, ...junij 2014- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
Provider: - Institution: - Data provided by Europeana Collections- Nekdanje plesalke plesne skupine Point/Magra/Nero so s plesno točko sodelovale na 50. obletnici Kud-a Študent Maribor, v okviru ...festivala Lent, junij 2014- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
