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