11. Rosana Hribrar & Gregor Luštek
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Duet 012 — Kako ste došli do ideje za ovu koreografiju? Ideja za predstavu je nastala 2008. godine kada smo nužno trebali nešto novca, zato smo napravili duet sa naslovom 8 godina, prijavili se na natjecanje u Beogradu i osvojili prvu nagradu. Tada smo odlučili da svake dvije godine stvorimo novu minijaturu, koja će predstavljati plesnu artikulaciju našeg intimnog i stvaralačkog odnosa, tako da su brojke u naslovima kronometar naše zajedničke intimne i stvaralačke povezanosti. Kako se za vas komunikacija pokretom razlikuje od govorne komunikacija? Mislim na međusobnu komunikaciju, ali i komunikaciju s publikom… Ključna razlika je u naporu, plesni jezik je potrebno svaki put iznova izmisliti, fino uskladiti i održavati u optimalnoj formi; da ne spomenem ozljede, kojih u verbalnoj komunikaciji zapravo nema. Komunikacija sa publikom ne zavisi samo od dobre koreografije već i od gledatelja samih, suvremeni ples nije baš popularan žanr kulture i u tom kontekstu govor ili riječ nisu nužno garancija za “lakše” razumijevanje predstave. S obzirom na to da su vaše predstave vrlo energične, dinamične i zahtjevaju fizičku spremu, kako gledate na odnos forma/sadržaj? Je li za vas pokret oboje? APSOLUTNO! Duet 012 vaš je treći duet. Kako uspijevate naći krhku ravnotežu između profesionalnog i intimnog odnosa i kako se ona mijenjala kroz ova tri dueta? Dok plešemo – više nego dok raspravljamo – smatram da smo u “dobroj ravnoteži”. Što za vas znače nagrade i priznanja? Iskreno nas veseli svaka nagrada i priznanje. — How did you come up with the idea for this choreography? The idea for the performance was created 2008th when we needed some money, therefore we did a duet with the title “8 years”, entered the contest in Belgrade and won first prize. Then, we decided that every two years we shall create a new miniature, which would be a dance articulation of our intimate and creative relationship, so that the numbers in the titles are chronometer of our shared intimate and creative relationship. In what way your communications by movement differ from voice communications? I think on the mutual communication, but also on the communication with the audience … The key difference is in the effort, the dance language one has necessarily to reinvent over and over again, fine-adjust and maintain the optimal fit, not to mention the injuries, which in verbal communication do not exist. Communication with the audience does not depend only on the good choreography, but also on the spectators themselves, contemporary dance is not exactly a popular genre of culture, and in that context, the speech or the word, are not necessarily a guarantee for the “easier” understanding of the performances. Given that your shows are very energetic, dynamic and require physical condition, how do you look at the relationship form / content? Is the movement for you both of it? Absolutely! Duet 012 is your third duet. How do they manage to find the fragile balance between professional and intimate relationship and how did it change through the three duets? While we are dancing – more than while we discuss – I think that we are in “good balance”. What meaning have for you the awards and recognition? We sincerely looking forward to any reward and recognition. |
