Provider: - Institution: - Data provided by Europeana Collections- Metamorphoses 1: The Hunt focuses on hunting, in the structural as well as the substantive sense, but also captures the relation ...between human being and nature, culture and nature. The hunt is placed in the context of contemporary civilised society where it exists as a practice regulated by law within legally protected nature. But this does not mean that it is no longer a locus of powerful phantasms and desires. Bara Kolenc is interested in hunting as an empirical and material act that speaks of an uneasy and contradictory transgression and regulation of the borders between nature and culture. Proceeding from a newspaper article on a helicopter accident involving high political and humanitarian dignitaries on an illegal hunt of protected animals and the stories from Metamorphoses (Actaeon and the story about Erysichthon), the performance wants to examine our regulated, but still phantasmatic relation to animals and nature. At the social level, this is observed through the musealisation of nature, on the one and, and the barbarism of contemporary public and political passions, on the other. In this performance, the worlds of hunters, politicians and mythological figures – voracious and hungry, wild and unregulated – merge one into the other through numerous visual and auditive metamorphoses.- Predstava Metamorfoze 1: Lov je prva v seriji petih predstav Metamorfoze 1?–5?, ki želijo s pomočjo Ovidijevih Metamorfoz reflektirati nekatera temeljna vprašanja sodobnega človeka. Metamorfoze, imenovane tudi "poganska Biblija", so od svojega nastanka v Avgustovi dobi navdihovale zahodnoevropsko kulturo prav zaradi lucidnega prepletanja drobnih človeških osebnih lastnosti in velikih metafizičnih vprašanj, ki človeška dejanja vedno umeščajo v širši etični in kozmološki kontekst, a obenem puščajo prosto pot partikularnosti človeškega značaja. Ovidijeve Metamorfoze v večletnem projektu Bare Kolenc služijo kot podlaga za uprizarjanje aktualnih političnih in etičnih tem, skozi katere je mogoče uzreti temeljna nasprotja sodobnega zahodnega človeka, še posebej njegovega odnosa do narave, družbenih vezi in sočloveka. V središču predstav tako stojijo partikularne človeške strasti, ki zaradi sodobnega občutenja politične nemoči, razpada imaginarnih skupnosti, nemoči jezika in naraščajočih nasprotij med naravo in kulturo prevzemajo univerzalen značaj in tako radikalno posegajo v načine skupnega bivanja. Avtorico zanimajo predvsem "civilizirane" politične in moralne strasti sodobne družbe preobilja, ki z upravljalskim odnosom do narave in družbenih vezi dobiva vedno bolj uničujoč značaj. Zato vsaka od načrtovanih predstav vstopa v širši sklop Ovidijevih Metamorfoz na podlagi aktualnega posamičnega političnega ali družbenega dogodka, ki ga z značilnim vizualnim jezikom poveže z generalnimi, občečloveškimi temami in globokimi protislovji sodobnega človeka.
Predstava Metamorfoze 1: Lov postavlja v središče lov, in sicer tako v strukturnem, kot v vsebinskem smislu, širše pa zajema odnos človeka do narave, razmerje med kulturo in naturo. Lov je postavljen v kontekst sodobne civilizirane družbe, kjer obstaja kot zakonsko urejena praksa znotraj prav tako zakonsko zaščitene narave, kar pa ne pomeni, da ni več mesto silovitih fantazem in želja. Baro Kolenc zanima lov kot čutno in materialno dejanje, ki govori o nelagodnem ter protislovnem prehajanju in urejanju meja med naravo in kulturo. Izhajajoč iz časopisne zgodbe o helikopterski nesreči visokih političnih in humanitarnih dostojanstvenikov na ilegalnem lovu na zaščitene živali ter zgodb iz Metamorfoz (Zgodba o Aktajonu in Zgodba o Erizihtonu), želi predstava razpreti naš urejen, a še vedno fantazmatski odnos do živali in narave, ki ga na družbeni ravni opazujemo skozi muzealizacijo narave na eni strani in barbarstvo sodobnih javnih in političnih strasti na drugi. Svetovi lovcev, politikov, mitoloških figur, požrešnih in lačnih, divjih in reguliranih se v tej predstavi stekajo eden v drugega skozi številne vizualne in avditivne metamorfoze.- 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- The performance ROOM WITH NO ECHO takes the experience of an anechoic chamber (a no-echo-room) as a starting point of its ...exploration and development. The anechoic chamber is a content-removing structure. Allegedly humans can't bare to stay in it for longer periods of time.
Symptoms are irrational fear, anxiety and severe insecurity. The subject's environment is defined solely by the layer of one's own skin covering the carnal content that has no reflective capacity - the space of anechoic chamber has no walls that could reflect his mental environment and, by doing so, confront the subject with itself. Room with no echo is an experimental project assembling and re-destructing the contemporary human body: physical and social.
Miha Erman- Uprizoritev raziskuje in opredeljuje potelešanje kot proces popolnega izbrisa identitete. Zvočno-telesni performativ služi izrisu kože in tega, kar je pod njo.
Anechoic chamber je prostor stopitve s telesnim, prostor, kjer ni Drugega: rezultira v izločeno, nesocialno in golo telo. Je soba brez odmeva, prostor odstranitve komunikacije, v njej je subjekt (oseba) objektiviziran do skrajnosti - sreča se z lastno materijo in njeno funkcijo. Vrne se v svojo organsko bit, brez možnosti soočenja z okoljem. Anechoic chamberje vsebino-odvzemajoča struktura. Praviloma človek ne zdrži dalj časa v njej. Simptomi so neracionalen strah, panika in močno izražena negotovost. Performans se na eksperimentalen način ukvarja z iskanjem mogočih interpretacij izkušenj in stanj.
Miha Erman- 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- 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- The staging Uncle Vanya and the 12 bouquets follows the plot structure of Chekhov's play, but takes away the thick weaving of the ...social context of the time of its origin. This sets the play into contemporary times. The motives as propositions for the staging of the given human states and relations are connected by the text, the story, but in a discontinuity which sets asunder the time delays, introduces simultaneity of the layers of awareness and sentiment. The concentration and dynamics are focused on the stage image - a vignette whose rhythm is dictated by the inner flow of lines of force interwoven in the demonstrated relation. The staging primarily takes into account the innovation in the dramatics of Chekhov, which is negative dramaturgy. Chekhov announces it - yet undiscovered - in his earlier plays and manifests it in the replacement of classic dramaturgical forms with textual and discursive mechanisms. This is a historical and at the same time contemporary approach, for it is possible to apply it to the modern-day staging practices as well, enabling reduction (of characters, sceneries, words, secondary motives), with special attention placed on the selection and the right measure. In such a procedure, the fundamental principles and problems of Chekhov's dramatics and dramaturgy remain intact. The excerpt from the text Uncle Vanya and the 12 bouquets by Petra Tanko- Uprizoritev Striček Vanja in 12 šopkov sledi fabulativni zgradbi drame Čehova, a ji odvzema gosto tkanje družbenega konteksta časa njenega nastanka. S tem jo premešča v današnji čas. Motive kot predloge za uprizarjanje danih človeških stanj in odnosov, povezuje besedilo, zgodba, vendar v diskontinuiteti, ki razpira časovne zamike, uvaja hkratnost plasti zavedanja in čustvovanja. Koncentracija in dinamika sta osredotočeni na odrsko sliko - vinjeto, ki ji ritem narekuje notranji pretok silnic, ki se prepletajo v prikazovanem odnosu. Uprizoritev v prvi vrsti upošteva inovacijo v dramatiki Čehova, to je negativna dramaturgija. Čehov jo - še neodkrito - naznanja že v zgodnejših dramah in udejanja v nadomeščanju klasičnih dramaturških oblik z besedilnimi in diskurzivnimi mehanizmi. To je historičen in hkrati sodoben pristop, saj ga je možno aplicirati tudi v današnje uprizoritvene prakse, ki omogoča redukcijo (oseb, prizorišč, besed, stranskih motivov), s posebno pozornostjo na izboru in pravi meri. Pri tovrstnem postopku temeljna načela in problemi Čehovove dramatike in dramaturgije ostanejo neokrnjeni. Odlomek iz besedila: Striček Vanja in 12 šopkov, Petra Tanko- 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- The staging Uncle Vanya and the 12 bouquets follows the plot structure of Chekhov's play, but takes away the thick weaving of the ...social context of the time of its origin. This sets the play into contemporary times. The motives as propositions for the staging of the given human states and relations are connected by the text, the story, but in a discontinuity which sets asunder the time delays, introduces simultaneity of the layers of awareness and sentiment. The concentration and dynamics are focused on the stage image - a vignette whose rhythm is dictated by the inner flow of lines of force interwoven in the demonstrated relation. The staging primarily takes into account the innovation in the dramatics of Chekhov, which is negative dramaturgy. Chekhov announces it - yet undiscovered - in his earlier plays and manifests it in the replacement of classic dramaturgical forms with textual and discursive mechanisms. This is a historical and at the same time contemporary approach, for it is possible to apply it to the modern-day staging practices as well, enabling reduction (of characters, sceneries, words, secondary motives), with special attention placed on the selection and the right measure. In such a procedure, the fundamental principles and problems of Chekhov's dramatics and dramaturgy remain intact. The excerpt from the text Uncle Vanya and the 12 bouquets by Petra Tanko- Uprizoritev Striček Vanja in 12 šopkov sledi fabulativni zgradbi drame Čehova, a ji odvzema gosto tkanje družbenega konteksta časa njenega nastanka. S tem jo premešča v današnji čas. Motive kot predloge za uprizarjanje danih človeških stanj in odnosov, povezuje besedilo, zgodba, vendar v diskontinuiteti, ki razpira časovne zamike, uvaja hkratnost plasti zavedanja in čustvovanja. Koncentracija in dinamika sta osredotočeni na odrsko sliko - vinjeto, ki ji ritem narekuje notranji pretok silnic, ki se prepletajo v prikazovanem odnosu. Uprizoritev v prvi vrsti upošteva inovacijo v dramatiki Čehova, to je negativna dramaturgija. Čehov jo - še neodkrito - naznanja že v zgodnejših dramah in udejanja v nadomeščanju klasičnih dramaturških oblik z besedilnimi in diskurzivnimi mehanizmi. To je historičen in hkrati sodoben pristop, saj ga je možno aplicirati tudi v današnje uprizoritvene prakse, ki omogoča redukcijo (oseb, prizorišč, besed, stranskih motivov), s posebno pozornostjo na izboru in pravi meri. Pri tovrstnem postopku temeljna načela in problemi Čehovove dramatike in dramaturgije ostanejo neokrnjeni. Odlomek iz besedila: Striček Vanja in 12 šopkov, Petra Tanko- 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- Bartleby The Scrivener is a surprisingly current short story by the American classical writer, Herman Melville, known almost ...exclusively for his novel Moby Dick. Bartleby, or "the most famous story of Wall Street," is based on Bartleby's seemingly simple answer: "I'd prefer not to." This is his unexpected response to the request from his superior, the narrator, to help with some office work. After this initial defiance, Bartleby continues to counter all requests and demands with the compelling "I'd prefer not to" or "I'd rather not." This earns him the right to survive, that is to say, the right to passive insistence.- Bartleby, pisar je presenetljivo sodobna kratka zgodba ameriškega klasika Hermana Melvilla, znanega skoraj izključno po romanu Moby Dick. Bartleby ali t. i. "najslavnejša zgodba z Wall Streeta" temelji na preprostem (ki to ni) Bartlebyjevem odgovoru "Raje bi, da ne" ("I'd prefer not to."), ki ga nepričakovano poda na prošnjo nadrejenega, pripovedovalca, da pomaga pri nekem pisarniškem delu. Po tem prvem izpadu začne Bartleby na vse prošnje in zahteve odgovarjati z neobvladljivim "Raje bi, da ne" ali "Raje ne bi". Bartleby si tako pridobi pravico do preživetja, to pomeni do pasivnega vztrajanja.- 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- Metamorphoses 1: The Hunt focuses on hunting, in the structural as well as the substantive sense, but also captures the relation ...between human being and nature, culture and nature. The hunt is placed in the context of contemporary civilised society where it exists as a practice regulated by law within legally protected nature. But this does not mean that it is no longer a locus of powerful phantasms and desires. Bara Kolenc is interested in hunting as an empirical and material act that speaks of an uneasy and contradictory transgression and regulation of the borders between nature and culture. Proceeding from a newspaper article on a helicopter accident involving high political and humanitarian dignitaries on an illegal hunt of protected animals and the stories from Metamorphoses (Actaeon and the story about Erysichthon), the performance wants to examine our regulated, but still phantasmatic relation to animals and nature. At the social level, this is observed through the musealisation of nature, on the one and, and the barbarism of contemporary public and political passions, on the other. In this performance, the worlds of hunters, politicians and mythological figures – voracious and hungry, wild and unregulated – merge one into the other through numerous visual and auditive metamorphoses.- Predstava Metamorfoze 1: Lov je prva v seriji petih predstav Metamorfoze 1?–5?, ki želijo s pomočjo Ovidijevih Metamorfoz reflektirati nekatera temeljna vprašanja sodobnega človeka. Metamorfoze, imenovane tudi "poganska Biblija", so od svojega nastanka v Avgustovi dobi navdihovale zahodnoevropsko kulturo prav zaradi lucidnega prepletanja drobnih človeških osebnih lastnosti in velikih metafizičnih vprašanj, ki človeška dejanja vedno umeščajo v širši etični in kozmološki kontekst, a obenem puščajo prosto pot partikularnosti človeškega značaja. Ovidijeve Metamorfoze v večletnem projektu Bare Kolenc služijo kot podlaga za uprizarjanje aktualnih političnih in etičnih tem, skozi katere je mogoče uzreti temeljna nasprotja sodobnega zahodnega človeka, še posebej njegovega odnosa do narave, družbenih vezi in sočloveka. V središču predstav tako stojijo partikularne človeške strasti, ki zaradi sodobnega občutenja politične nemoči, razpada imaginarnih skupnosti, nemoči jezika in naraščajočih nasprotij med naravo in kulturo prevzemajo univerzalen značaj in tako radikalno posegajo v načine skupnega bivanja. Avtorico zanimajo predvsem "civilizirane" politične in moralne strasti sodobne družbe preobilja, ki z upravljalskim odnosom do narave in družbenih vezi dobiva vedno bolj uničujoč značaj. Zato vsaka od načrtovanih predstav vstopa v širši sklop Ovidijevih Metamorfoz na podlagi aktualnega posamičnega političnega ali družbenega dogodka, ki ga z značilnim vizualnim jezikom poveže z generalnimi, občečloveškimi temami in globokimi protislovji sodobnega človeka.
Predstava Metamorfoze 1: Lov postavlja v središče lov, in sicer tako v strukturnem, kot v vsebinskem smislu, širše pa zajema odnos človeka do narave, razmerje med kulturo in naturo. Lov je postavljen v kontekst sodobne civilizirane družbe, kjer obstaja kot zakonsko urejena praksa znotraj prav tako zakonsko zaščitene narave, kar pa ne pomeni, da ni več mesto silovitih fantazem in želja. Baro Kolenc zanima lov kot čutno in materialno dejanje, ki govori o nelagodnem ter protislovnem prehajanju in urejanju meja med naravo in kulturo. Izhajajoč iz časopisne zgodbe o helikopterski nesreči visokih političnih in humanitarnih dostojanstvenikov na ilegalnem lovu na zaščitene živali ter zgodb iz Metamorfoz (Zgodba o Aktajonu in Zgodba o Erizihtonu), želi predstava razpreti naš urejen, a še vedno fantazmatski odnos do živali in narave, ki ga na družbeni ravni opazujemo skozi muzealizacijo narave na eni strani in barbarstvo sodobnih javnih in političnih strasti na drugi. Svetovi lovcev, politikov, mitoloških figur, požrešnih in lačnih, divjih in reguliranih se v tej predstavi stekajo eden v drugega skozi številne vizualne in avditivne metamorfoze.- 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
