In cooperation with GRIP, Cankarjev dom is hosting a free workshop for professional dancers, choreographers and performers to be held on the day of the performance, 6 May, between 10.00 and 13.00 in Duša Počkaj Hall. The workshop will be conducted by Jan Martens, the founder of the touring dance company. 

The workshop is full. No more places available.
 

In this workshop, the participants will revisit together with the workshop leader a part of the creative process of Martens' latest production, any attempt will end in crushed bodies and shattered bones, working with the complex score of Gorecki's Concerto for Harpsichord and Strings Op.40, which acts as a unifying pillar for the 17 movement solos in any attempt. Each participant will be invited to create their own short solo movement phrases by translating the music (its rhythm, energy, and general feeling) into their own body. The workshop will focus on precision, coordination, rhythm, musicality, and the feeling of moving together with a group in the most individual way possible.

The work of Jan Martens (1984, Belgium) is nurtured by the belief that each body can communicate, that each body has something to say. That direct communication expresses itself in transparent forms. His work is a sanctuary in which the notion of time becomes tangible again and in which there is room for observation and emotion as well as reflection. To achieve this result he creates not so much a movement language of his own, but shapes and reuses existing idioms in a different context to enable emergence of new ideas. In each new work he tries to redraw the relation between the public and a performer.
Martens studied at the Fontys Dance Academy in Tilburg and graduated in 2006 from the Dance Department of the Artesis Royal Conservatoire of Antwerp. Since 2010 he has been making his own choreographic work which, over the years, has been performed with increasing regularity before the domestic and international audiences. 

Since 2011, Jan Martens has been making work that talks about how people relate to each other and to the here and now. This resulted in a wide array of pieces: a duet (Sweat Baby Sweat - 2011), solos (Ode To The Attempt & lostmovements – 2014 & 2018), meetings between people who never saw each other before (The Common People - 2016), group pieces that are buzzing with surrender and ecstasy (The Dog Days Are Over with 8 dancers & Rule Of Three - 2014 & 2017), a work for young people that tackles issues such as gender diversity and gender equality (Passing The Bechdel Test – 2018).

In cooperation with Ultima Vez & KVS, Cankarjev dom is hosting a free workshop for professional dancers, choreographers and performers to be held on the day of the performance, 14 April, between 10.00 and 13.00 in Duša Počkaj Hall. The workshop will be conducted by Wim Vandekeybus, the founder of the touring dance company, and dancer Maria Kolegova. Vandekeybus' reflection provides the starting point for the workshop: 
“Dancing for me is being guided by a strong inner intuition rather than by technique. Movements are to communicate, with yourself as an honest expression and with others to communicate. Movement is like talking, singing, laughing… As long as it tells something that has to be told as an urge, like an impulse, unstoppable. Therefore, dancing is close to theater. A carrier of inner states which are shared to tell stories.”

The workshop is full. No more places available.

Wim Vandekeybus (1963) 
A choreographer, dancer, filmmaker, and photographer. He founded his dance company, Ultima Vez, in the mid-eighties. Vandekeybus has created a language of movement wherein he juxtaposes intuition, impulse and instinct with energy, risk and danger, which exemplifies a dramatic Weltanschauung, full of dynamics and conflict, through the medium of dance. A central focus in his work is the irreconcilable conflict between body and mind, feeling and intellect, man and woman, nature and culture, man and animal, group and individual, illusion and reality. 
Among his most recent pieces, Mockumentary of a Contemporary Saviour (2017) and TrapTown (2018) reveal his disquiet about the current political state of the world. While Traces (2019) focuses on the troubling relation between humanity and nature, his creation Hands do not touch your precious Me (2021) dives back into the ancient Mesopotamian myths. In 2022, for the 35th birthday of Ultima Vez, he made Scattered Memories, with past dancers of the company together with current ones, and with scenes reinterpreted and taken inside out.
In 2020 he has been working with the International Theatre of Amsterdam choreographing Ivo van Hove’s Age of Rage and he has created a new piece with the London-based Rambert Company, Draw From Within, that was awarded the UK National Dance Award for Best Digital Choreography.
Wim Vandekeybus has directed several dance movies, including Blush (2005) and Here After (2007), as well as feature films Monkey Sandwich (2011) and Galloping Mind (2015).

Maria Kolegova
Maria Kolegova began her dancing career at the age of five at a ballet school in Russia. Later, during her studies at the School of Contemporary Dance in Yekaterinburg, she discovered other disciplines, such as jazz, folk dance, martial arts, and yoga. Her first collaboration with Wim Vandekeybus was in 2012 for the revival of What the Body Does Not Remember; it was the first of many of his productions that she would dance in.

Trio Novak, Simon in Homan – prvi kot sodobni plesalec in druga dva kot glasbenika – se je leta 2021 prvič srečal na odru Festivala Spider. To srečanje ni bilo niti slučajno niti povsem predvidljivo, kajti vsakršen stik plesalske in glasbene ustvarjalnosti vzpostavlja polje paradoksov, izmenjav in presečišč, zlasti pa eksperimenta. Koncert improvizirane glasbe in plesnega performansa Vstajenje 2.0 si za izhodišče in gonilno silo jemlje prav paradoks srečanja med avtorji, ki predstavo ustvarjajo. Dobo digitalne hiperpovezljivosti namreč poganjajo algoritmi in ukazi, ki sooblikujejo družbene koreografije tako v virtualni sferi kot v materialni realnosti. Fizična prisotnost telesa se tako gradi iz fizične izkušnje stika, časa, ritmov, izmenjave. Srečanje je zato nujno »vmesni« dogodek – vidnega in nevidnega, slišnega in (ne)slišanega. V ravnovesju med tišino in negibnostjo ter zvokom in gibom nastopi vstajenje.

Beno Novak (1991)se je izobraževal na Akademiji za ples v Salzburgu (SEAD), The Tisch Dance NYU in The Place London. Sodeloval je s številnimi priznanimi koreografi in skupinami, kot so Gary Clarke Company, Jason Mabana Dance, James Wilton Dance Company idr. Delo Bena Novaka vključuje raziskovanje osebnih izkušenj, izraženih skozi močno fizičnost, z občutljivostjo, krhkostjo, močjo in izčrpanostjo. Nujna sestavina pri nastajanju njegovih del je sodelovanje z drugimi avtorji. Beno Novak je umetniški in izvršni direktor festivala Summer Intensive na Portugalskem ter festivala Kalejdoskop v Sloveniji.

Elvis Homan (1991) je bobnar, oblikovalec zvoka, skladatelj, pedagog. Končal je Codarts Rotterdam, Univerzo v Ljubljani in Akademijo v Amsterdamu. Je prejemnik nagrad Erasmus Jazz Prijs 2016 in 2017, De Doelen Rotterdam in Leiden Jazz Award 2017. Nastopal je na številnih festivalih v Sloveniji in tujini, je član Rotterdam Electronic Orchestra, Quartzite 4tet, Punky Button Clan, Void Noise, aug.unis in je sodeloval še pri mnogih drugih mednarodnih projektih. Z Boštjanom Simonom je komponiral glasbo za film Haxan.

Boštjan Simon (1982)je inštrumentalist, pedagog, producent. Zaključil je Univerzo v Ljubljani in Amsterdamski konservatorij in je ustanovni član mednarodne zasedbe Zlatka Kaučiča »Orkester brez meja« ter umetniški sovodja Mednarodnega srečanja saksofonistov SAXGO v Novi Gorici.

Zhuangzi and the riddle of European Subjectivity is a dark-green comedy performed by the members of the Department of Asian studies at the University of Ljubljana, and some international guests. It is a humorous, sarcastic musical which contains a lot of jazz singing and dancing, but also some deep contemplations and thoughtful dialogues between Eastern and Western philosophy. The performance has been directed by the Japanese - Korean dancer and choreographer Ryuzo Fukuhara.

Based on real-life events, My War Accordion tells the story of Matija Zorc, Aleš Šteger's grandfather, and spans the five most tumultuous decades of the 20th century, extending from Trieste – via Ljubljana – to the North Sea and the Slovenske gorice region. Through the mediums of storytelling and music, the cabaret de-ideologizes established historical views and divisions, raising the question of historical guilt and accountability without passing conventional judgment.
The cabaret blends elements of poetry, storytelling, performance art and music with video and sound effects. The text is written as a rhymed narrative; the central motif is the grandfather's black accordion, his lifeline in turbulent times, all that remains after bygone ideologies and turmoil, historical dilemmas and crusades. 

Olivier de Sagazan, a biologist by training, began painting and sculpting with the pervasive idea of questioning organic life. His passion for breathing life into matter gave him the idea of covering his body with clay in order to observe the emerging "object". This experiment resulted in Transfiguration, a solo in which we see the transformation of a man. On stage, the created mutant, half man half monster, starts looking for its own true identity under the masks. The performance takes us on a fascinating journey into the uncanny soul of the artist. It produces a visually rich experience that gives new meaning to life and offers a mesmerizing, occasionally disturbing and exciting insight into an alternative self-image that is completely uninhibited.

Urška Rupnik and Maša Kagao Knez are the authors of the project Historicization (of Contemporary Slovenian Dance) whose basic guideline is the re-actualization of the creators of contemporary dance in Slovenia. Its history is extremely rich, colourful and varied, but regretfully also forgotten, despite the abundance of footage, photographic material, newspaper coverage and other documentation of the activities of the leading names on the contemporary dance scene since the 1970s.

Cum mortuis in lingua mortua is the title of one of the pictures in Mussorgsky’s famous suite, Pictures at an Exhibition, which the composer dedicated to a prematurely deceased friend, a painter, hence the subtitle, A Remembrance of Viktor Hartmann. The monodrama Cum mortuis and lingua mortua moves through the catacombs of memory. The theatrical images that come to life are unrelated fragments of personal, human, and historical memory
 

Ivan Peternelj

Rojen je leta 1968 v Ljubljani. Leta 1996 je diplomiral na AGRFT v Ljubljani, smer dramska igra. Do leta 2003 je ustvarjal kot samostojni kulturni delavec. Kot igralec in gibalec je sodeloval v skupini Betontanc in gledališču Muzeum. Igral je v video filmih Eme Kugler in bil stalni gost SMG Ljubljana. Vzporedno pa je ustvarjal tudi samostojne gledališke projekte in sodeloval v drugih neodvisnih produkcijah. Leta 2003 se je zaposlil kot stalni član SMG Ljubljana. Izven matičnega gledališča še vedno ustvarja kot režiser in koreograf. Za svoje delo je prejel tako domača kot tuja priznanja.

Simona Semenič

Dramatičarka in performerka. Na AGRFT je diplomirala na smeri dramaturgija. Simona je dobitnica nagrade Prešernovega sklada, nagrade Modra ptica in nagrade Zlata hruška za roman Skrivno društvo KRVZ in treh Grumovih nagrad za besedila 5fantkov.si (2008) 24ur (2006) in Sedem kuharic, štirje soldati in tri Sofije (2014), besedila 1981 (2013), To jabolko, zlato (2016), Ti si čudež (2018) in Lepe Vide lepo gorijo (2021) pa so bila za isto nagrado nominirana. To jabolko, zlato (2016) je bilo leta 2020 nominirano tudi za Cankarjevo nagrado, roman Skrivno društvo KRVZ pa je bil leta 2021 nominiran tudi za nagrado Večernica. Njena besedila so prevedena v dvaindvajset jezikov in uprizorjena in objavljena v več evropskih državah, v ZDA, Južni Ameriki in na Bližnjem vzhodu. Uprizoritve njenih besedil so prejele več nagrad tako v Sloveniji kot tudi v tujini. Med ostalimi njenimi dramskimi deli so  Nisi pozabila, samo ne spomniš se več (2007), Gostija (2010), Vsega je kriv Boško Buha (2011), Prilika o vladarju in modrosti ali Medtem ko skoraj rečem še (2011), Mi, evropski mrliči (2015), Jerebika, štrudelj, ples pa še kaj (2017), Zadnje ljubezensko pismo (2017) in Ni to to (2019).

Simona tudi piše, režira in nastopa v avtobiografskih performansih, kot so  9 lahkih komadov (2007, z umetniško skupino Preglej), Jaz, žrtev. (2007), Še me dej (2009), 43 srečnih koncev (2010, z umetniško skupino Preglej), Kapelj in Semenič v sestavljanju  (2012, z Barbaro Kapelj), Semenič in Bulc naprodaj (2013, z Maretom Bulcem),  Drugič (2014), Do zadnjega (2018), Lepa kot slika (2020) in Me, čarovnice (Mesto žensk, 2021) . S svojimi performansi je gostovala na številnih festivalih tako doma kot v tujini. 

Njena dela so izšla v monografijah Tri igre za punce (Beletrina, 2021), stripu tisočdevetstoenainosemdeset (JSKD, 2021), 1981 (JSKD, 2020), Skrivno društvo KRVZ (Mladinska knjiga, 2020), Can You Hear Me? (Integrali, 2019), Me slišiš? (KUD AAC Zrakogled, 2017) in Tri drame (Beletrina, 2017).

Na polju vizualne umetnosti se je v različnih galerijah v Sloveniji predstavila kot soavtorica del Zapis celote (2009-2018) in janezove sanjarije (2020).

Kot soavtorica in dramaturginja sodeluje z različnimi režiserji in koreografi, že vrsto let pa na različnih delavnicah v Sloveniji in tujini poučuje dramsko pisanje.
 

Ferlin's first solo Sad Sam Revisited, which made a significant impact on the contemporary dance scene in Croatia and more broadly in the region, also in Slovenia. Fifteen years later, he is back on our stages. The performance will be followed by a panel discussion.

This is the fortune of manhood.
Images and image.
Burning the calm fever of love.
I press the button.
He feels.
Fainting upon the obstacle of touching.
Nothing I care remains.
He took the silence.
I took the devotion of a staring fantasy.
I’ve made a comedy of becoming a man next to an animal. 

Ferlin’s first solo piece Sad Sam Revisited goes back to the final year of his studies in Amsterdam. Although the performance was shown only twice on Slovenian stages, it triggered a number of resounding critical (and theoretical) responses. Marina Gržinić, for example, wrote that the performance is “almost an ontology of dance” and Ferlin a “pure terrorist (of the Deleuzian type), who has decided to eliminate the too many returns of all there is in the theatre of contemporary dance and opted for difference in its purest form, which is life.” Sad Sam Revisited encapsulates the procedures of contemporary theatre and dance with unexpected maturity and boldly sets out to face the demanding performative non-acts of duration, of persisting in forming a state, albeit never wavering to interrupt the narrative. The palette of Ferlin’s performing corpus in Sad Sam Revisited already incorporates recognisable sequences of the physical procedures he commonly uses, as well as the skilful shifting between humour and dryness, which performatively plays with the poetic fragments by Katalina Mella in the field of contemporary dance (and theatre). 
 

Round table conversation: Staging a Conversation: manifestacija diskurza


to run across the surface, to sew gaps, to pair commas, to be here and there, in the performance and in the text, to go back and forth, to write out a thought before it is quite clear, before the cursor stops, before despair settles in over the impossibility of embracing the performative set and its effects
The accompanying event to Sad Sam Manifestations will try to play with a discursive format: the starting point will be short papers by the participants, diverse in genre and theme, from which will emerge a dialogue between two of Matija Ferlin's close collaborators, a conversation with his professional audience and a moderated discussion. The staging of the conversation will thus not only translate the performance (or opus) into a vocabulary of reflection, but will also interrogate the basic coordinates of the discursive event by shifting and interweaving, thereby reiterating Ferlin's departure from conventional staging. What then are the relations of his staging, what kind of affectivity does it produce, in what ways do different levels of narrativity participate, how does the spectator become embedded in this web of meaning through his or her experience?

Guests: Jasna Jasna Žmak, Goran Ferčec, Blaž Lukan, Maša Radi Buh
Moderator: Rok Bozovičar

The performance is part of the Sad Sam Manifestation festival co-produced by Cankarjev dom and Emanat Institute.
 

The programme features works by resident composers, Dré A. Hočevar and Tilen Lebar, and participants in the composition workshops conducted by John Frank and Steven Crine. Work by artists involved in different .abeceda programs, Tobija Hudnik, Oskar Longyka and Maj Brinovec, will also be presented. 

 

In cooperation with .abeceda Institute

Program

I.
Opus I. _ composition for .meta [Dré A. Hočevar, 2020/2021]
Skladatelj v rezidenci: Dré A. Hočevar
45'

Izvaja: .abeceda [ansambel za novo glasbo]
Neža Zupanc, glas, flavta; Samanta Škorja, glas, klarinet; Lorenzo Contaldo, glas, fagot; Brina Kren, glas, saksofon; Ines Ljubej, glas, tolkala; Lovorka Nemeš Dular, glas, klavir; Jure Bergant, glas, klavir; Klemen Kocijančič, klavir; Jan Kopač, glas, kitara; Matija Udovič, glas, violina; Natalija Tripkovič, glas, violina; Domen Kužnar, glas, viola; Urša Roš, glas, violončelo; Oskar Longyka, glas, violina; Gašper Livk, glas, kontrabas
 

II. 

Tilen Lebar: Līmen (I.) 
skladba za flavto, klarinet in elektroniko v živo
Skladatelj v rezidenci: Tilen Lebar
11'

Izvaja: .abeceda [ansambel za novo glasbo]
Neža Zupanc, flavta; Samanta Škorja, klarinet; Tilen Lebar, elektronika

Samo Vidic: Memory of a Lost Place
10' _ krstna izvedba

Izvaja: .abeceda [ansambel za novo glasbo]
Samanta Škorja, klarinet; Ines Ljubej, tolkala; Lovorka Nemeš Dular, klavir; Matija Udovič, violina; Natalija Tripkovič, violina; Urša Roš, violončelo

John Franek: ++ for octet
Izbrana kompozicija udeležencev delavnice za kompozicijo precept.concept.percept
10'

Izvaja: .abeceda [ansambel za novo glasbo]
Neža Zupanc, flavta; Samanta Škorja, klarinet; Lorenzo Contaldo, fagot; Ines Ljubej, tolkala; Lovorka Nemeš Dular, klavir; Matija Udovič, violina; Natalija Tripkovič, violina; Urša Roš, violončelo
 

III.

FORUM II. — Tobija Hudnik — possibility<probability<improbability<impossibility
10'

Izvaja: Klemen Kocijančič, klavir
 

Mladi Raziskovalci V. — Maj Brinovec — Arcus
15'

Nastopajoči: Maj Brinovec, saksofon; Nina Pavšek, klarinet; Abel Modic, viola; Žan Berložnik, kitara; Sofiia Rypalenko; Lian Pucihar, klavir
 

Mladi Raziskovalci V. — Oskar Longyka — καλός 
15'

Nastopajoča: Oskar Longyka, violina; Jure Bergant, klavir