29. avgust/August 29

ob 18.00 (odprti oder*)

at 6 PM (open stage*)

vstop prost/free entrance

NASTOPI PLESNIH ŠOL IN AKADEMIJ

PERFORMANCES OF DANCE SCHOOLS AND ACADEMIES

(AT/HR/SI)

Arts High School in Ljubljana – Department of Contemporary Dance

S šolskim letom 1999/2000 so v Sloveniji prvič uvedli program umetniška gimnazija, plesna smer: sodobni ples. Izvaja se na Srednji vzgojiteljski šoli in gimnaziji Ljubljana. Program dijakom omogoča, da nadarjenost za ples razvijajo s strokovno preverjenimi in kakovostnimi vzgojno-izobraževalnimi pristopi, s poudarkom na razvoju individualnih kvalitet. Program se konča z maturo.

The programme Arts High School, module contemporary dance, was first established in Slovenia in the 1999/2000 study year. It is organised at the Pre-School Education and Grammar School Ljubljana and enables students to develop their dance talents based on professionally verified and quality educational approaches with emphasis on developing students’ individual qualities. The programme finishes with a matura exam.

LASTNA SOBA – odlomka iz predstave, produkcije SVŠGL 2013

Excerpts from the performance A ROOM OF ONE'S OWN

Plesalke/Dancers: Nika Ajdnik, Neva Bedenik, Anamarija Klajnšček, Maja Koražija, Alja Lacković, Mojca Lukan, Petra Peček, Julija Pečnikar, Nika Prosen, Gordana Stojković, Julija Šuštar, Karin Vrtar.

Mentorici/Menthors: Sinja Ožbolt, Maja Delak

Glasba/Music: Matjaž Predanič

Odlomka iz predstave Pred-premiera 13: Lastna soba se ukvarjata z vprašanjem kulturno in zgodovinsko vzpostavljenih  stereotipnih vlog žensk. Kakšne so vloge, v katerih se nehote znajdemo in kako le-te nastajajo.

The two excerpts from the performance Pre-Premiere ’13: A Room of One’s Own deal with the question of culturally and historically constituted stereotypical roles of women. What roles do we unwillingly assume and how are they constituted?

School of Contemporary Dance of Ana Maletić, Zagreb

Šola za sodobni ples Ane Maletić iz Zagreba od leta 1954 deluje na področju osnovnega in srednjega plesnega izobraževanja. S programom, ki temelji na edinstvenem spoju gibalnih principov Rudolfa Labana in J. Dalcrozeja, že vrsto let usposabljajo izvajalce, ustvarjalce ter pedagoge sodobnega plesa, ritmike in rehabilitacije z gibom. Med drugim z domačimi in tujimi pedagogi organizirajo številna predavanja ter seminarje za učitelje in učence. Že več let zapored pa ustvarjalnost svojih učencev prikazujejo tudi na festivalu sodobnega plesa Front@. Tokrat se bo šola predstavila z odlomkom iz predstave Interface:

The Zagreb-based Ana Maletić School of Contemporary Dance is active in the field of elementary and secondary dance education since 1954. With its programme based on a unique fusion of movement principles of Rudolf Laban and J. Dalcroze, the school trains performers, choreographers, and pedagogues in the area of contemporary dance, rhythmic, and movement rehabilitation for a number of years. The school also organises numerous lectures and seminars by national and international lecturers for its pedagogues and students, and since 2009 also collaborates with the Front@ Festival. This year, the school will present an excerpt from the piece Interface:

INTERFACE

Koreografija/Choreography: Snježana Abramović Milković

Asistent koreografije/Assistant choreographer: Ognjen Vučinić

Nastopajo/Performed by: učenci 3. in 4. letnika srednje šole – smer:  plesalec sodobnega plesa

Mentors/mentorici: Nataša Jurišić, Adrijana Barbarić Pevek     

The School Of Art Franjo Lučić

Umetniška šola Franja Lučića je bila ustanovljena leta 1972 v Veliki Gorici v okolici Zagreba. Od leta 2002 na šoli potekajo programi osnovnega in srednješolskega plesnega izobraževanja. Šola je članica mreže DACI in drugih profesionalnih združenj. Dosega dobre rezultate na regionalnih in državnih tekmovanjih ter deluje kot ustvarjalec in spodbujevalec kulture in izobraževanja na Hrvaškem.

The school of art Franjo Lučić is founded in 1972 in Velika Gorica, a town in the Zagreb district. From 2002 the school offers primary and secondary dance education. The school is member of DACI, as well as other professional associations and achieves success in regional and state competitions as well as acts as a cultural generator and a promoter of culture and education in Croatia.

LETNI ČASI

SEASONS

Koreografija/Choreography: Jasna Čižmek Tarbuk

Plesalci/Dancers: Grigor Baždar, Rebeka Kardoš, Josipa Kukor, Mateja Mrmić, Ivana Oršolić, Ana Putrić, Anja Raić, Dora Stepušin, Tea Vlahović

Izhodišče za predstavo so skladbe o spreminjanju letnih časov, ki so kot okvir, s pomočjo katerega smo pričarali spremembe v medosebnih odnosih. Ob spremembah razpoloženj spremljamo različne usode in zgodbe v družbi, ki so lahko harmonične ali osamljene. Glasba izbranih dveh skladateljev ne bi mogla biti bolj kontrastna, kar izhaja iz razlik v kulturah, v katerih sta ustvarjala: Piazzolla je pisal lahkotne melodije, ki so se napajale iz hipnotičnih melodij tanga, medtem ko Kanno podaja razpoloženja na podlagi premen ritma.

Koreografija poudarja spremembe v glasbi oziroma kontinuiteto giba glede na kratek odrezav ostenato ansambla. S tem kontrastom, ki hkrati služi kot dramaturgija predstave, se izriše tudi problematika posameznika v skupini.

The compositions about changes of seasons served as a starring frame to conjure up changes in human relationships. Through changes of moods we follow different destinies in a society which can vary from harmonious to loneliness. The music of those two composers is entirely in contrast, because of the difference in cultures they emerge from: Piazzolla developing reckless melodies based on the hypnotic melodies of tango while Kanno transfers moods in changes of rhythmical patterns.

The choreography tries to transfer the difference in music, the continuity of movement in contrast to short sharp ostinato of the ensemble. Trough this contrast emerges also the controversy of being individual in the group, and a dramaturgy of the peace.

IDA – Institute of Dance Arts at the Anton Bruckner Privatuniversität Linz

Šolanje na Inštitutu za plesne umetnosti (IDA) je raznoliko in dinamično kot samo polje sodobnega plesa. Inštitut sodeluje s skupino mednarodno uveljavljenih pedagogov, ki poučujejo tehniko sodobnega plesa, razvijajo študentovo individualno ustvarjalnost in umetniško fleksibilnost, hkrati pa imajo študentje priložnost za sodelovanje z različnimi gostujočimi učitelji, ki trenutno delujejo in so prepoznavni na sodobnoplesnem prizorišču. Na Inštitutu se trenutno izobražuje okoli 60 študentov iz različnih držav, med katerimi so Avstrija, Nemčija, Češka, Poljska, Srbija, Francija, Kitajska, Kolumbija in ZDA.

Training at the Institute of Dance Arts (IDA) is as diverse and dynamic as the contemporary dance scene.

A committed team of internationally distinguished instructors teaches students comprehensive dance technique, individual creativity and artistic flexibility. Links with the present-day dance scene are intensified through fluctuation of guest instructors. The Institute currently has some 60 students from countries including Austria, Germany, the Czech Republic, Poland, Serbia, France, China, Colombia and the USA.

RE-CILKIRATI PROMETEJA

RE-CYCLING PROMETEUS

Plesalci/Dancers: Neža Hribar, Rafał Pierzyński, Nadine Horvath, Leon Marič, Martyna Lorenc, Hygin Delimat, Barbara Vuzem, Michael Gross, Solaja Rechlin

Predstava Re-Ciklirati Prometeja obuja antični mit o Prometeju, ki je bogovom ukradel ogenj ter si zoper njihovo voljo drznil porajati nove oblike in bitja, zato so ga kaznovali. Ogenj mističnih elementov v mitu o Prometeju se je razplamtel s pomočjo različnih interesov plesalcev, ki so izbrane teme raziskali ter ob tem v svoj plesni material skušali vključiti različne lastnosti in premene ognja kot elementa. Iz stika mita o Prometeju s sodobnoplesno interpretacijo je tako nastala reciklaža, katere namen ni odrska postavitev tega znanega mita, temveč želi spet pridobiti … Oglejte si predstavo in izvedeli boste.

The antic myth „Prometheus“  who was punished by the gods for his brazenness of behaving as a creator of new creatures and the bringer of fire is relumining in “Re- Cycling Prometheus”. The fire of the mystic traces of Prometheus is fanned by the different and individually chosen focuses of the dancers who were researching on possible characteristics and motions of fire to transform those blazing traces into an individual material of dance. The scorching meeting point of the Myth of Prometheus and a contemporary dance interpretation were causing a recycling that is not trying to reenact this known myth itself but to achieve the possible retrieval of… ? See yourself.

* Ob dežju v preddverju gledališča/In the event of rain in theatre entrance hall