The 27th edition of the Festival will feature the now traditional Croatian Choreographic Platform including 3 premiere titles each produced in partnership with the Croatian Institute for Movement and Dance. Also featured will be productions from 14 different international companies originating from approximately this number of countries. Following the festival program will be festival guests: international choreographers, festival directors and promoters of several leading European centers for dance including those from Portugal, Great Britain, Italy, the Netherlands and Denmark – with a number of which the Festival partners in an EU funded project Choreoroam

Arriving to the Festival are some new talents from Europe as well as from the States, as well as the Festival audience’s favorites:  Thiery Smiths, Yasmeen Godder, Daniel Léveillé, Matijaž Farič and  Lanònima Imperial, while the work of  Nada Kokotović is awaited in eager anticipation.
One of the highlights of the Festival will most definitely be the Belgian Compagnie Thor with the performance ‘To The Ones I Love’, which critics have already determined to be one of this season’s best works. Choreographer   Thiery Smiths in celebration of his 20th anniversary has decided on a radical  move – a return to pure, highly anesthetized dance executed by nine dancers of African origin and all to the remix of  Bach’s music.

Love and desire are themes  which permeate also the work of one of Israel’s most cherished dance artists, and winner of several international awards including a Bessie – choreographer    Yasmeen Godder, who returns to the Festival with two new works : ‘Singular Sensation‘ and ‘Love Fire‘.

The honor to open the Festival belongs to Slovene Author Matjaž Farič and his most recent work «Shiver» which question the male-female relations, all to the music of TOP a percussionist group and pianist Milko Lazar.
Combining live music and physical theater is a specialty of Spanish stars, the ensemble Lanònima Imperial, whose  performance  ‘Variacions Al_leluia‘, the critics refer to as the «dance out pocket rock and roll opera».

Lanònima Imperial was awarded with the Audience Award at the 8th edition of Dance Week Festival in 1991 the very year that Nada Kokotović last visited Zagreb. This year she returns with a new production by her own Theatre TKO from Köln, and based on a novel by controversial Peter Handke -  – ‘Spuren der Verirrten’.

The first of three festival premiere titles will be European co production within the framework of the program Beyond Fronta and entitled ‘To Whom It May Concern‘  by Slovene dance artists Rosana Hribar & Gregor Luštek, performed by a group of Croatian dancers who were chosen through auditions.

Following closely on this project is homage to research of the impact of cult choreographer Pina Bausch. This is(n’t) my wood…. represents the questioning of the impact of cult choreographer Pina Bausch, through This (is)n’t my wood …,  by authors  Silvia Marchig and  Darko Japelj, while the third premiere title «Critics» is underwritten by Katarina Đurđević.

Alongside the program of the 27 Dance Week Festival, dance artist will be able to engage in workshops and lectures, including film projections. In general, 27th Dance Week Festival will have on offer an array of ancillary programs, film projections, artist run talks and which will take place in our new home base ‘ Zagreb Centre for Dance.
Tickets for all performances, as well as special festival passes and subscriptions to the full festival program will go on sale at the Zagreb Dance Centre as of Wednesday 12, 2010, while the tickets to performances in either Rijeka or Split, while tickets to performance taking place in either Rijeka or Split can be purchased one hour prior to start of the show at HKD Sušak and Gradsko kazalište lutaka

Staging Reality

authors: Hans Op De Beeck & Michael Lazic

dancers: Elles Grzybek, Hiroshi Wakamatsu, Catherine Jamssens, Stefanie Van Impe

choreographer: Michael Lazic

visuals: Hans Op De Beeck

soundscape: Hans Op De Beeck & Michael Lazic

oblikovanje svjetla: Bart van Dessel

produkcija: Cie Listopadance theatre

in co-production with: CCBerchem, Oude Badhuis, les Brigittines, Tanzhaus Dusseldorf & Troubleyn/Jan Fabre

about the performance

In our modern, technology-driven environment, it is no longer obvious what is hard fact and what is fiction, what is real and what is a performance.

Phenomena such as Second Life on the Internet or the biased and manipulated news coverage in many media make the line between real and virtual, between truth and lie a vague one.

We humans are addicted to stories and illusions that may help us to deal with our own insignificance and mortality. Plastic surgery disguises the real age of a body and virtual existence even disguises the entire physical individual.

The Western world slowly seems to be landing more credence to staged reality than to life itself. But then what exactly is that reality?

Michael Lazic

about the choreographer

Michael Lazic is a Belgian choreographer of Croatian origin, born in Antwerp, who’s work has been strongly influenced by computer programming, high energy martial arts and organic movements based on classical techniques.

When he was young, he did martial arts and gymnastics, and after having graduated as an electronics engineer, he decided to take classical dance lessons in a private school in Belgium.

Early on in his career he started making his own choreographies, his debut being Perpetuum mobile, which was performed in Poland by Ladek Zdroj.

Supported by Alain Platel, Lazic creates his first larger production, A Body in Translation‘, and than a short dance movie, ‚Cocoon’, directed by Jeroen Bogaert and choreographed by Michael Lazic, wins the first prize in Hollywood, Utah and Sydney.

The latest production, ‘Staging Reality’ is a collaboration between Michael Lazic and the well known visual artist Hans Op De Beeck.

A Sketch for Movement

choreographer & dancer: Ljiljana Zagorac

direction & dramaturgy collaborator: Mladen Vukić

film: Jadran Boban

croquis & set design: Nikola Šimunić

costume: Barbara Jugovac

lighting design: Zdenko Trandler

design: Barbara Blassin

production: llinkt! dance project /Cultural Centre Trešnjevka

about the performance:

Llinkt! In this performance investigates the interaction between dance and visual arts expressions. The Sketch/ croquis is the frame for this research which will utilize the performing elements of both mediums their similarity and/or overlap. It is our desire that the sketch in the visual sense is not just something expected from a drawing, and to have these characters transferred into movement of the dance (for example the choice of the dance vocabulary, the intention of the simplification, the monochromatism). It is the project’s intent to investigate the extent of the interactions between the art of dance and visual arts and to what extent does the audience understand the thematic and the process of this research.

about the author

Dancer, actress and choreographer Ljiljana Zagorac graduated from the Zagreb School of rhythmic and dance and from the Pedagogical Academy. She started her dance career in the Zagreb Dance Ensemble (1982-1992) where she accomplished a number of solo roles. Her career as a free-lance artist allows her to both dance and act in performances of Zagreb Youth Theatre: Winnie the Pooh (1991), Little Women (1995); Theatre Exit: Desire and Imago (1997), as well as the performance Bitter Tears of Petra von Kant (2000).

She is the authors of the following dance performances: Without Control (Zagreb, 1989) – First Prize Competition for Contemporary Choreographers, Zagreb; Hope (Paris, 1992); Raw Dance (Zagreb, 1992),; Without Control, the Sound of Dance, Dance with Eyes Closed (Zagreb, 1993); To the ground (Klagenfurt, 1994); Dance and Sculpture (Zagreb, 1995); Narrow Space (Zagreb, 1999); Construzioni nel tempo (Torino, 2001) – in collaboration with Katja Šimunić.
These works were performed in Zagreb, Osijek, Bjelovar, Skopje, Paris, Torino, London, Copenhagen, Stokholm  and Klagenfurt.

Ljiljana Zagorac participated as a dancer and choreographer in international dance projects Ete del l’Est (1990) and  SKITE (1992). She also created Silent Planet – the first Croatian performance based on sign language. She collaborates frequently with television either as actress in children shows and also in radio shows. She is also the co-founder of the collective LLINkt! and participates in their projects both as author and performer. She lives and works in Zagreb.

about the company

Llinkt! Dance project is an initiative of independent artists to research the interaction between dance and other arts/media/trends/actions; performing their actions/installations/performances/shows at locations atypical for dance in the desire to bring dance to the public which otherwise would not follow dance… Llinkt! has been active for over ten years and has received a number of acknowledgements and awards in Croatia and beyond.

The Visit

author and choreographer: Irma Omerzo

performers and movement co-authors: Silvia Marchig, Sonja Pregrad i Darko Japelj

dancer in the film  & assistent to choreographer: Zrinka Šimičić

set design: Lara Badurina

music: Samuel Sacher

text: Dubravko Mihanović

lighting design: Zdravko Stolnik

video: Jasenko Rasol

collaborator on set-design: Stefano Katunar

production: MARMOT & Kultura promijene – Studenski centar u Zagrebu

about the performance

Required are: 9 bottles of blood, 2 square meters of leathers, 5 million hairs, 1 tin of fat, 640 muscles tied to 206 bones, 100 000 kilometers of arteries, 1 heart, 2 lungs, 2 kidneys connected vertically to the  bladder, 1 stomach, 9 meters of intestines, a liver, 32 teeth, 1 brain and a bundle of nerves. The connection between water, carbon and a handful of simple chemical elements, which can be found anywhere? O ran extremely complex system comprising of 5 billion billion billion atoms? Both, and infinitely a lot more. The journey we are about to embark on together, which however, each time anew, is different and unique. The human body.

The Visit is inspired by the work of Robert Winston.

The Visit is a dance performance about the human body which invites the audience to partially experience the cognition of the body as a phenomenon within which we reside in yet know so little about. The project  occurs in the deformed space of the cinema at SC which is formatted as an installation formed by the set designer.

about the company

MARMOT – Mala Autorska Radionica Međunodnosa Objekta i Tijela (Small Authors Workshop between the Objective and the Body) is an artistic organization initiated in 2000 in Zagreb. Under the Artistic Direction of MARMOT the organization produces dance works, films, actions and performances, undertakes dance research and is involved in educational activity in Croatia and internationally.

Look Mummy, I’m Dancing (A Transsexual Story)

written & performed by: Vanessa Van Durme

director: Frank Van Laecke

coaching: Griet Debacker

lighting design: Jaak Van de Velde

translation: Gregory Ball

production: Swan Lake

a co-production of: La Rose des Vents, Villeneuve d’Ascq, Le Rive Gauche, Saint-Etienne-du-Rouvray, Théâtre de la Ville, Parijs

with the support of: City of Gent.

thanks to Theater Victoria Gent.

about the performance

‘If theatre lives by the grace of the controversy between concealment and exposure, then Look mummy, I’m dancing is the sublimation of both.Directing Vanessa is like going on a unique journey together. She knows what the final destination is and I am the GPS‘, writes the director Frank Van Laecke.

This time, however, Vanessa does not act a part. She is simply herself. Which is an extremely difficult thing to do because the confrontation with the mirror is merciless.

In her story, which is both hilarious and moving, she remembers the little boy she once was.

A boy who played with dolls and dressed up in his mother’s underwear. The boy who created his own world in which he wanted to be a princess, a fairy and most of all, a dancer. A little boy who, more than anything, did not wish to be a boy.

The language is crude, hard, explicit and without any poetic frills. The humour is unsparing and forms a necessary shield that protects the writer-actress from the looks and prejudices of outsiders.

Vanessa tells us of her search for an identity, for a place in society.

After seeing the first try-out, her friend Alain Platel wrote: ‘To change your sex in the 70s took an incredible amount of courage, blood and tears.

Vanessa’s story is very moving and is a lesson in humility. Anyone who has the nerve to describe themselves as normal casts the first stone.’

For Frank Van Laecke Look mummy, I’m dancing is above all a compelling fado about someone trying to find straightforward happiness.

Alain Platel on Vanessa

I had already been a secret Vanessa fan for years, for the performances in the popular dramas which she wrote, directed and acted in herself, when, in 1999, I suggested to Arne Sierens that he invite her to act in Allemaal Indiaan. I secretly hoped she would be prepared to ‘loan’ us her life story, as the ‘First Ghent Transsexual’, for our trilogy of Ghent theatrical family dramas. However, when it became clear after only a few rehearsals that she, more than anyone else, could act the part – or should I say, be the part! – of a unique mother of four and of as many fathers, the whole transsexual issue was beside the point.

Anyone who could equal her performance in Allemaal Indiaan deserves an Oscar.

Nevertheless, I did hope that her life story would be presented somewhere at some point.

And who could present it better than she herself?

When, in November 2005, I saw a tryout of Look mummy, I’m dancing in a tiny rehearsal room at the cultural centre in Berlare – of all places – it was as if I had received a personal gift from her, her personal coach Griet Debacker-Mistietje, and the director Frank Van Laecke, who has earned his international reputation yet is extremely modest, and from the cordial people at that cultural centre.

Anyone who thinks they know her will discover they don’t know her very well.

Anyone who sees her for the first time will meet a woman who is both fragile and yet

passionate – and indeed over 1.90 m tall – who was once a little boy.

Nowadays you can go to a supermarket and get a penis attachment or have your vagina removed, but in the 1970s it took far more courage, blood and tears to do this.

In this sense, this story is both extremely moving and a lesson in humility.

Anyone who has the nerve to describe themselves as normal casts the first stone.

Alain Platel

about the author

Vanessa Van Durme studied drama and theatre at the Conservatory in Ghent.

As a young actor he made his debut with the Nederlands Toneel Gent, now known as the NTGent. She made the difficult but inevitable decision to undergo a sex change and as a result left the company and gave up a career in theatre.

Twenty years later she picked up the thread once more and devoted herself to writing

comedies. She wrote dozens of television screenplays for various broadcasting companies, including the complete sitcom series Liefde en Geluk for the VRT national channel, and was responsible for directing the actors. She was a popular radio personality for five years and had the longest running comedy act on Belgian radio. She has written about twenty plays for the stage.

Her breakthrough in theatre came when the Belgian choreographer and theatre-maker Alain Platel cast her in the role of the mother Tosca in Allemaal Indiaan. After touring for two years with this production she moved to the Victoria theatre company in Ghent to act in White Star, which was based on an idea of hers. She then toured Europe for two years with this production.

She wrote her book, Look mummy, I’m dancing, and from it distilled the monologue of the same name, which she will perform in four languages all over Europe and America.

In her monologue, in which she speaks openly about her sex change, she hoped to remove public prejudice and show that people who are ’slightly different’ are also … people.

Tolerance and accepting someone who is ‘different’ are important items on Vanessa’s agenda.

Her next production, which she is currently writing, is set in colonial Morocco in the last century. Her aim in this piece is to spotlight today’s rapidly growing racism, intolerance and the ‘Banlieu hazard’. The working title of this next play is: Femme Blanche.

Black Swan

choreography: Gilles Jobin

dance: Susana Panadès Diaz, Hildur Ottarsdottir, Gilles Jobin, Gabor Varga

light design: Daniel Demont

music: Cristian Vogel

assistant of choreography: Isabelle Rigat

production: Cie Gilles Jobin

a co-production of: Bonlieu Scène nationale, Annecy – Théâtre de la Ville, Paris -Dampfzentrale, Bern – Theater Chur

supported by: La Loterie Romande, Pour-Cent Culturel Migros Donation Zuger Kulturstiftung Landis & Gyr, Fondation Ernst Göhner

with the collaboration of: Beirut International Platform of Dance, Beyrouth – Les

Rencontres Chorégraphiques de Carthage, Tunis – Latitudes Contemporaines, Lille

Gilles Jobin benefits of a triennal associated support (2007 to 2009) from the City of

Geneva, the Republic and Canton of Geneva and Pro Helvetia.

Gilles Jobin is an associated artist of Bonlieu Scène nationale, Annecy

Thanks to Victor Roy

about the performance

Gilles Jobin is one of those great current European choreographic icons whose early career is connected to Dance Week festival. Jobin presented his work Braindance in Zagreb in 2000 at 17th Dance Week Festival. Since then he has fully established himself as a leader amongst a rising generation of European choreographers and his last year’s nomination for the European Theatre Award attests to it.

Black Swan is Jobin’s most recent work which premiered a month ago (April 21) in Geneva. The title is borrowed from Karl Raimund Popper, one of the greatest philosophers of the XX century, and evokes the “impossible” and, as Jobin himself states: “the return to a more individual approach, more connectivity to the body of the dancers, closer to movement itself, closer to the audience”. This is achieved through support of live and remixed music by acclaimed DJ Cristian Vogel.

about the choreographer

Gilles Jobin starts his career as a performer in several Swiss companies before becoming

co-director of the Théâtre de l’Usine in Geneva in 1993. Between 1995 and 1996 in Madrid, he makes his debut as a choreographer with a trilogy, a series of solos about identity: Bloody Mary, Middle Suisse and Only You. In 1997, he moves to London with his companion the Spanish artist, La Ribot. In 1998, he creates the duo Macrocosm at the Place Theatre in

London and becomes a resident choreographer at the Arsenic theatre in Lausanne and an associated artist of Artsadmin in London.

Gilles Jobin defines a characteristic style in this period, one that he continually puts into question with forays into the visual arts and live art.

In 1999, he presents A+B=X at the festival Montpellier Danse and creates Braindance that will be presented at the Théâtre de la Ville in Paris the following season, but also at the 17th DWF.. From this point onwards, his work is lauded internationally and his radical approach makes of him one of the forerunners of a new generation of European choreographers.

He goes on to create The Moebius Strip (2001) that has been presented all over world, and Under Construction, created in 2002 at the Schaubuehne in Berlin.

In 2003, he creates Two-Thousand-AndThree for the 22 dancers of the Ballet du Grand Théâtre de Genève, a piece that ” transcends both classical and contemporary” (M.C. Vernay – Libération) and Delicado for the Ballet Gulbenkian of Lisbon in 2004, as well as Steak House in 2005.

In 2006, he becomes an associated artist of Bonlieu Scène Nationale in Annecy where he produces Double Deux and then Text to Speech in 2008, a piece that explores new terrain like transitional spaces, information and new technologies.

Apart from his own productions, Gilles Jobin has made of his company and Studio 44, where the company is based, a pioneering space in terms of offering professional training for dancers, fighting for recognition for contemporary dance in Switzerland.

In September 1999 Gilles Jobin was awarded the ZKB Prize by the Zürcher Theater Spektakel for Braindance. In 2001 he was the first Swiss choreographer to get the Nouveau Talent Chorégraphique Prize awarded every year by the board of the SACD (Société des Auteurs et des Compositeurs Dramatiques, Paris/Bruxelles/Montréal). In December 2004 he was awarded a Culture Leenaards 2004 Prize for his Work. In 2008, he was a candidate at the XI Prix Europe Nouvelles Réalités Théâtrales.

http://www.gillesjobin.com/

Monger

Choreography: Barak Marshall

Assistant to the Choreographer: Osnat Kelner

Light Design: Jacob Beressy

Costume Design: Maor Zabar

Sound Design: Giori Politi

Rehearsal Director: Melanie Berson

Music: Collage-Taraf de Haidouk, Balkan Beat Box, The Yiddish Radio Project, Margalit Oved, Shye Ben Tzur, Shandor, Handel, Goran Bregovic, Verdi, Tommy Dorsey, Terry Hall, Ray Noble

With the support of the Israeli Ministry of Foreign Affairs.

This production was also made possible by the generous support of Maureen and Randy Rosen (USA),Sandy Caroll (USA), Jean and Jerry Friedman (USA), the Margalit Oved Dance Theatre Foundation (USA), and Mel Marshall(USA).

This guest performance is made possible through the support of the Israeli Embassy in Zagreb and in collaboration with the Israeli Friendship Association – Zagreb and the Croatian Institute for Movement and Dance. The performance is a tribute to the celebration of the 61st Independence Day of the State of Israel as well as announcement of the upcoming 26th Dance Week Festival (May 25 to June 02).

about the performance

A physical-theater work for 10 dancers, MONGER tells the story of 10 servants, trapped in the basement of the house of cruel mistress. Barak Marshall’s movement is theatrical, physical, sharp, fast and contains ethnic-contemporary motifs and is known for being highly emotive, visual and theatrical.

MONGER explores the dynamics of hierarchy, power, free will and the compromises one makes in order to survive.  The piece’s narrative structure is drawn from several sources including the life and work of Bruno Shultz, Jean Genet’s play “The Maids” and Robert Altman’s film “Gosford Park”.  The score for MONGER combines elements of Gypsy, Balkan and Indonesian music with rock and techno.

Text Used In Monger

“Yes Mrs. Margaret?  Of course, Mrs. Margaret.  I’m so sorry. I’m so sorry. It will never happen again.”

“Yes, Mrs. Margaret?  No Mrs. Margaret, you are mistaken.  But it’s not my time yet. I’m still young, I can still work.  Do you want whisky?  Shoko?  Cigarette?  One sugar?  Two sugars?  Wait, but it’s not my time.  Hold on.  Mrs. Margaret?  Mrs. Margaret?”

Yes, Mrs. Margaret?  Of, course Mrs. Margaret, right away.  She wants cofeee.”

“Coffee? You want coffee?  I’ll give you your coffee.  I spit in your coffee.  I spit in your food.  And sometimes I even don’t change your sheets.  I haven’t washed your underwear in years.  I fill all your liquor bottles with water, and I use spit to polish your silverware.  I have never walked the dogs.  I wash your clothing with toilet water.  And every night before I go to bed, I curse you.  I curse you!  Whore of Babylon.”

about the choreographer

Son of the acclaimed dancer, choreographer andmusician, Margalit Oved, Barak established his place in the Israeli dance world with his first work “Aunt Leah,” which won first prize in Suzanne Dellal’s 1995 Shades of Dance Competition.  In 1998, Barak’s work “Emma Goldman’s Wedding” received first prize, the Bonnie Byrd Award for New Choreography and the ADAMI Award at the Bagnolet Competition in Paris.  That same year, he created the work “Shoshana’s Balcony” for Suzanne Dellal’s evening, “Dance Scene,” which premiered at the 1998 Israel Festival in Jerusalem.  “Emma Goldman’s Wedding”-which he created for the 1997 Curtain-Up Festival-was invited to perform throughout Europe as part of Israel’s 50^th anniversary celebrations.  In 1999, Ohad Naharin, Artistic Director of the Batsheva Dance Company, invited Barak to become the house choreographer for both Batsheva’s senior and junior companies.   In 2001, Barak returned to Los Angeles where he lectures at the UCLA (University of California, Los Angeles).  Over the past few years, Barak has returned to Israel to perform as a singer including performances with Margalit Oved and the internationally acclaimed cellist Yo-Yo Ma.  The composers Yuval Ron and Ariel Blumenthal created musical pieces for Barak, which he performed with the Los Angeles Jewish Symphony Orchestra.  Barak also runs and is artistic director of the program Bridge: Choreographic Dialogues, which was initiated by Miki Yerushalmi, chair of the Tel Aviv/Los Angeles Partnership in cooperation with the Suzanne Dellal Centre, the UCLA Center for Intercultural Performance, and the UCLA Department of World Arts and Cultures. Barak just received a Creative Capital Foundation Award (New York) for a new music production, Symphony of Tin Cans, with Margalit Oved and Balkan Beat Box’s Tamir Muskat.  He is currently working on a new work (a co-production of the Suzanne Dellal Centre and the Israeli Opera) to be premiered November 2009.

about the company

In 2008 the Suzanne Dellal Centre commissioned Barak Marshall-former house choreographer for the Batsheva Dance Company-to create a new work on a new company. The work was premiered October 25, 2008 to critical acclaim.  IN forming the company Barak and Mr. Yair Vardi held extensive auditions.  The new company of 10 dancers consists of some of Israel’s leading dancers-many of whom were leading dancers from Israel’s acclaimed Batsheva Dance Company, Kibbutz Dance Company, Vertigo Dance Company and the Inbal Pinto Dance Company.

Destination Trafik: Deer

project concept: Mila Čuljak i Magdalena Lupi

authors: Selma Banich, Mila Čuljak, Edvin Liverić, Magdalena Lupi, Silvia Marchig

co-authors & performers: Marin Alvir, Mila Čuljak, Edvin Liverić, Silvia Marchig, Gordana Svetopetrić

set & light design: Lara Badurina

costume design: Iztok Hrga

composer: Marin Alvir

additional music chosen by: Selma Banich i Mila Čuljak

masks: Matea Pasarić

production assitent: Sabina Krešić

production: TRAFIK

about the performance

Through the long standing involvement with individuals from the margin, we have been re-exploring the ever intriguing themes of identity and body. Now, ten years later, in its anniversary performance Destination Trafik: Deer, TRAFIK returns to the city borders and places in which some other inhabitants of its imagery appear.

They are almost invisible or occasionally invisible; they appear sporadically, in the rhythm of dance melodies of Mediterranean harbors, like bodies in transit with entry permission. Those traveling bodies, transferred by navy ships, suddenly change the course of life. In constant motion, intervals and solitudes, they resist their bodies’ craving for the wholeness.

How to form that body? How to be wise and wondrous, provocative and sensitive, one’s own, and still somebody else?

Next to TRAFIK’s previous theatre destinations, like spaces for the revival of a new performance, we decided to exhibit our unfulfilled desires and fictive journeys through some ‘other’ existences. Thereby TRAFIK’s microworld will be buried in the world of Rijeka’s ‘underground’, start floating again with cabaret voyagers on the Barba Rude ship, discover the forgotten world of hairy strippers in the former Blue Adriatic and dance parties at the top of the Neboder Hotel. Search for even more hidden meeting places for sailors – passers by, local strangers and women with excessive make up and weird hairstyles. Accepting the diversities of Craving Body, we are traveling towards spaces in which we can be that Other – completely, where the boundaries of the body aren’t determined by its surroundings, where imagination and fiction carry us over to the other side of the different, unsettling and secretive – theatre like.

TRAFIK

about the company

The work of this collective of authors and performers is by many accounts very unique within the context of Croatian independent theatre and dates back to its beginnings in 1998 and their site-specific performance – The Walker, which determined their thematic objectives as well as artistically expression within which Trafik (transitional-fictive theatre) developed to date, always related to questions of identity of the individual lost on the margins of time and space.

In the commencing performances such as DancEurope, Gramatika, Picture show, Embodiment - Trafik continues to push the borders between theatre, movement, physical theatre and multimedia without stepping away from its specific poetics.

After a decade of works which has had a significant impact on the Rijeka, and from there onto the Croatian performing scene it is interesting to note that the identity they are constructing is even less visible, even more marginalized.

www.trafik.hr

Reservoir of Giving I and II

choreography: Lucy Guerin

visual artist: David Rosetzky

music: Paul Healy

lighting: Keith Tucker

stylist: Moira Rogers

cast: Kyle Kremerskothen, Kirstie McCracken

duration:12”

On

choreography: Lucy Guerin

motion graphics: Michaela French

music: Darrin Verhagen

lighting: Keith Tucker

cast: Kirstie McCracken, Byron Perry

duration:21”

Melt

choreography: Lucy Guerin

motion graphics: Michaela French

music: Franc Tetaz

cast: Stephanie Lake, Kirstie McCracken

duration:22”

about the project

Australian choreographer, Lucy Guerin, a Bessie Award recipient, successfully fuses sound, voice, text and video with dance. Her three-part work Love Me explores the diverse faces of love, through a carefully designed contemporary world defined by moving pictures which define the spaces.

Reservoir of Giving I and II addresses the space between people and how we attempt to reconcile that distance through language. Set within a stylised domestic environment, the dancers seem lifted straight from a designer lifestyle magazine but present a less than perfect view of contemporary life.

On is a duet which occurs in isolated windows of light and projection.The two dancers perform detailed miniatures of closeness and separation which reinforce the vast darkness which waits outside their tiny bright world.

Melt descibes a rise in temperature from freezing to boiling with each degree explored temperamentally and physically. It is a highly focused duet for two women whose detailed movements are intensified by the mercurial medium of motion graphics.

about  the choreographer

Born in Adelaide, Australia, Lucy Guerin graduated from the Centre for Performing Arts in 1982 before joining the companies of Russell Dumas (Dance Exchange) and Nanette Hassall (Danceworks). She moved to New York in 1989 for seven years where she danced with Tere O’Connor Dance, the Bebe Miller Company and Sara Rudner.Now based in Melbourne, Guerin has been commissioned by Chunky Move, Ros Warby, Woo Co (Denmark), Ricochet (UK ), The Berlin Literature Festival (with poet Michael Lenz), JCDN/Hirano (Japan), Dance Works Rotterdam and Mikhail Baryshnikov’s White Oak Dance Project (USA) among others.

In 2002 she formed her company Lucy Guerin Inc. Her works have toured to France, The Netherlands, UK, Germany, Denmark, Switzerland, Singapore, Korea, Shanghai, Canada and throughout the USA.

In 2000 Guerin was awarded the Sidney Myer Performing Arts Award for achievement by an individual. Other awards include the Prix d’auteur from the Rencontres Choregraphiques Internationales de Bagnolet in France, a 1994 New York Foundation for the Arts Choreographic Fellowship and a 1997 New York Dance and Performance Award (a ‘Bessie’) for her piece Two Lies.

In 2007,  Structure and Sadness won an Australian Green Room award for ‘Best Choreography’, a Helpmann Award for ‘Best Dance Work’ and an ‘Australian Dance Award’ for Best Performance by a Company’ Recent works for Lucy Guerin Inc include Structure and Sadness, Corridor and Untrained. She has also collaborated on projects with visual artist David Rosetzky, ACMI screen gallery, the Melbourne Symphony Orchestra and the Australian Opera.

about the company

Lucy Guerin Inc is an Australian dance company that was established in 2002 to produce new work by choreographer Lucy Guerin. Renowned for the skill and audacity of its small group of performers, the company is committed to challenging and extending the art of contemporary dance. Typically, a production might involve voice, video, sound, text and industrial design as well as Guerin’s lucid choreography.

A Lucy Guerin Inc production is always a stimulating and intimate experience. Not only focussed on formal concerns, the company is also dedicated to the exploration and redefinition of everyday events and emotions. Crucially this is always a choreographic exploration, offering revelations and nuances of feeling that could not be generated or communicated in any artform other than dance.

Lucy Guerin Inc has been a major influence on the growing identity of Australian dance at home and abroad. Much of this influence stems from the company’s programmatic research into choreographic practice. This research is supported through Pieces for Small Spaces, its annual curated program for new dance works by emerging choreographers in Melbourne. Also, the company sponsors studio showings of first-draft works through its First Run presentations. It also offers workshops with local and international artists, presents one-off special events and maintains an artist-in-residence program.

Lucy Guerin Inc has been supported by The Australia Council, Arts Victoria, City of Melbourne, the Besen Family Foundation, The Myer Foundation and the Harold Mitchell Foundation.

Masculine

direction & choreography: Paulo Ribeiro

texts: from the books Livro do Desassossego and Escritos Autobiográficos, Automáticos e de Reflexão Pessoal by Fernando Pessoa

choreography assistant: Leonor Keil

music: D. Shostakovich, Francesco Zappa, Frank Zappa

dancers: Miguel Borges, Peter Michael Dietz, Pedro Mendes, Romulus Neagu

light design: Nuno Meira

video: Paulo Américo

a co-production of: Companhia Paulo Ribeiro, Teatro Viriato, Teatro Nacional S. João, Teatro Maria Matos, Centro Cultural Vila Flor, Biarritz Culture – Festival Le Temps D’aimer

exacutive production: Companhia Paulo Ribeiro, Albino Moura

duration: 80′

Feminine

direction & choreography: Paulo Ribeiro

texts: from the Book of Disquiet, Ode Marítima and other works of Fernando Pessoa, with translation and advice of Richard Zenith

interpreters / dancers: Erika Guastamacchia, Leonor Keil, Margarida Gonçalves, Marta Silva, São Castro

music: Nuno Rebelo

poems by: Fernando Pessoa

voices: Richard Zenith, Cathrin Loerke

costumes design & production: Ana Luena

light design: Nuno Meira

choreography assistant: Peter Michael Dietz

promotional vídeo:Yann Thual

photos: José Alfredo

image & graphic design: Cathrin Loerke

graphic design & production: DPX / Nuno Rodrigues

a co-production of: Fundação Caixa Geral De Depósitos – Culturgest, Agadic – Centro Coreográfico Galego

production: Companhia Paulo

company supported by Ministério ca cultura – Direcção Geral das Artes, Câmara Municipal De Viseu

resident company at Teatro Viriato, Viseu

about the performances

One of Portugal’s best choreographers, once the Artistic Director of now defunct world acclaimed Gulbenkian Ballet, returns at the request of our audience, which was fascinated by the performance Malgré Nous, Nous Étions Là

This time he arrives with the dipthich Masculine / Feminine, in which he simultaneously investigates the masculinity and the femininity, and also the imaginative world of one of the greatest poets of the 20th century – Fernando Pessoa, also from Portugal.

Masculine and Feminine are  inspired by Pessoa’s texts, and researches the identity of the sexes and speaks about the stereotypes that usually define them. Thus four males in Masculine are entertained by male companionship, football and sex, while in Feminine four female dancers and one actress, in high hells, and are particular about their hairstyles, weight, glamour…

Using equally the virtuosity of dance movement and the text, by a poet of equal virtuosity, Paulo Ribeiro builds these pieces in an individual style which will both make us laugh and cry.

In Zagreb, the Feminine will be performed live, followed by a video presentation of Masculine (due to dancer injury).

about the choreographer

Paulo Ribeiro was born in Lisbon. Worked as a dancer in several companies in Belgium and in France before becoming known as a choreographer.

His first performance concerning choreographic creation, took place in 1984 in Paris, in the company Stridanse, in which he collaborated as a co-founder and which he took to several contests in the mentioned city, obtaining in 1984, the Humour Award, and in 1985, the 2^nd Award of contemporaneous dance, both in the Volinine contest.

In his return to Portugal, in 1988, he started collaborating with the Lisbon Dance Company and with Ballet Gulbenkian, for which he created Taquicárdia (Revelation Award of the Newspaper “Sete”, in 1988) and Ad Vitam, respectively. With the solo Modo de utilização, interpreted by himself, he comes to represent Portugal in the Europália 91 Festival, in Brussels.

His career as a choreographer expands in the international plan, from 1991 on, with the creation of works for renown companies, such as: Nederlands Dans Theater II (Encantados de servi-lo and Waiting for Volupia), Nederlands Dans Theater III (New Age); Ballet de Genève (Une Histoire de Passion); Centre Chorégraphique de Nevers, Bourgogne (Le Cygne Renversé). He still created for the Ballet Gulbenkian: Inquilinos, Quatro Árias de Ópera (in collaboration with Clara Andermatt, João Fiadeiro and Vera Mantero) and Comédia Off -1.

In the meanwhile, Paulo Ribeiro has been rewarded in 1994, with Acarte Award / Maria Madalena de Azeredo Perdigão due to his work Dançar Cabo Verde, a commend of Lisbon 94 - European Capital of Culture, conjointly produced with Clara Andermatt.

And, in 1995, he founds the Company Paulo Ribeiro, supported by the Ministry of Culture, for which he has been regularly creating choreographies, such as: Sábado 2, Rumor de Deuses, Azul Esmeralda, Memórias de Pedra – Tempo Caído, Orock, Ao Vivo, Comédia Off -2, Tristes Europeus – Jouissez Sans Entraves, Silicone Não and Memories of a Saturday with blue whispers.

Working with his own company allowed him to develop more effectively his personal language as a choreographer. The work Rumor de Deuses was distinguished, in 1996, with the awards: “Circulação Nacional”, attributed by the Instituto Português do Bailado e da Dança, and “Circulação Internacional”, attributed by the Centro Cultural de Courtrai, both concerning contest “Mudanças 96″.

Paulo Ribeiro has been receiving several other relevant awards: “Prix d’Auteur”, in the V Rencontres Chorégraphiques Internationales de Seine Saint-Denis, (France); “New Coreography Award”, attributed by Bonnie Bird Fund-Laban Centre (Great-Britain), “Prix d’Interpretation Collective”, attributed by ADAMI (France); Bordalo Award by Casa da Imprensa (2001).

In accumulation with his work as a choreographer, Paulo Ribeiro held, between 1998 and 2003, the position of General and Artistic Director of Teatro Viriato / CRAE (Centro Regional das Artes do Espectáculo das Beiras), that obtained, in 1999, the Almada Award of the Instituto Português das Artes do Espectáculo, owed to the activity developed in the area of Dance.

Between 2003 and 2005 he was the Artistic Director of Ballet Gulbenkian for whom he created the works White and Organic Beat, Organic Spirit, Organic Cage. “He remounted the performance of White Feeling to the Lorraine Ballet, originally created for the Gulbenkian Ballet, presented in Nancy in October 2006.

In September 2006, he reassumed his functions as general and artistic director of the Viriato Theatre.

about the company

Paulo Ribeiro Company is a Portuguese dance company formed in 1995 as a logical continuation of long time collaboration between choreographer Paulo Ribeiro with some of the most prestigious European dance companies.

During the twelve years of existence (1995-2008) the Company has achieved a leading role among Portuguese dance companies, and has performed on major stages in Portugal, as well as across Europe, in Brazil and across the United States.

With 18 productions, all of which generate interest of both audiences and critics, and with a following that across the world reaches an impressive 75,000 people, the Company has also received numerous awards in recognition of its work.

Since 1998 the Company is based in Teatro Viriato in Vise. Alongside creation of own works and their presentation, the Company collaborates closely with the local community to develop an important educational project which involves regular classes in dance and theatre, and specific projects for schools – which now also take place in a new location in Vise – Lugar Presente.

Masculine

Feminine

http://www.pauloribeiro.com/