7. Room100
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Room 100 (Croatia) — Vas dvoje radite u paru – kako ste se uopće upoznali? I kako je nastala ideja za suradnjom? Je li bilo prijelaznog razdoblja dok ste se uhodavali za rad u dvojcu, i što je bilo najteže za naviknuti se u principu rada onog drugog? Kako je nastalo ime soba 100?
Suradnja Jakova i mene desila se spontano – skupina ljudi s kojima smo prvotno surađivali i interesirali se za izražavanje kroz cirkusku umjetnost i ples razišla se zbog različitih interesa, ciljeva i pristupa radu. I kako se ta skupina topila, tako smo na kraju ostali samo nas dvoje s istim ciljem i idejom – vidjeti gdje možemo dogurati na suvremenoj cirkuskoj sceni s fizičkom spremom, kreativnošću i voljom koju posjedujemo. S obzirom da sam ja tada taman maturirala bez želje za nastavkom školovanja na nekom od hrvatskih fakulteta, a Jakov je privodio kraju studij Kiparstva na splitskoj Akademiji, bilo je idealno vrijeme za jednu takvu „ludost“ pa dogovorili smo se dvije-tri godine dati sto posto „cirkusu“ i vidjeti koja nam je granica, možemo li razmišljati o „životu“ cirkuskih artista… I odabirom kompanije kao jedne od deset laureata „Jeunes Talents Cirque Europe“* projekta 2010. godine i odličnim kritikama koje su uslijedile, pokrenila se naša inozemna karijera… Na isti takav način smo „kliknuli“ s Davorom Gazdom koji sudjeluje na projektu kao kompozitor glazbe i ponekad gostuje na festivalima s nama kada čitavu glazbu izvodi uživo. I ime kompanije nastalo je spontano, na završnoj selekciji „Jeunes Talents Cirque Europe“ projekta u ožujku 2010.g. u Zagrebu. Po samom dolasku u Zagreb, Davoru je organizator dao ključeve sobe 100 u hotelu u kojem smo odsjeli – Davor je prokomentirao da je to dobar znak i da sigurno prolazimo dalje… Kada smo proglašeni laureatima, zbog nekompatibilnosti prijašnjeg imena „Positive Force“ s nagrađenim projektom, tražili smo novo ime i odlučili se za „Room 100“… Sami pojam „soba“ iz imena kompanije savršeno se uklopio u intimnu atmosferu ove predstave i čitavog „stila“ kompanije. S obzirom da je odluka o zajedničkom radu došla prirodno, jednostavno smo se „našli“ na istom mjestu, u isto vrijeme i s istom idejom, tako je princip rada članova kompanije nešto na što se nismo imali razloga navikavati. Svatko od nas ima individualni stav i pristup radu na projektu, kada se na probi te tri „individue“ sretnu, suradnja je fluidna – kako se „kužimo“ u privatnom životu tako je i u radnoj atmosferi. Nosite titulu prvih profesionalnih cirkuskih artista u Hrvatskoj. Mislite li da ovdje postoji osnova za razvojem te umjetnosti ili razmatrate rad u inozemstvu?
Mi u Hrvatskoj, konkretno u Splitu, živimo, treniramo i kreiramo, dok je čitav izvedbeni proces i karijera kompanije usmjerena na inozemstvo i s takvim odnosom mjesta rada i mjesta izvedbe možemo funkcionirati kao profesionalni cirkuski umjetnici ako riječ „profesionalni“ uzmemo umjesto pojma „možemo živjeti od toga…“. Kada bi gledali samo resurse dostupne u granicama Hrvatske, situacija je takva da se ovdje predstave mogu producirati, doduše u mnogom lošijim radnim uvjetima (nedostatak rezidecijalnih centara, otvorenih kazališnih prostora, financijske potpore…) u odnosu na uvjete rada zapadnih europskih cirkuskih kompanija. Ali te predstave ne mogu opstati ako im je distribucijska budućnost usmjerena samo na Hrvatsku jer je cirkuska scena nerazvijena, postoji jedan festival koji programira suvremene cirkuske predstave i malen broj direktora drugih izvedbenih festivala koji programiraju cirkuske produkcije… Za cirkuske artiste u Hrvatskoj nema posla…
Predstava C8H11NO2 je dio serije radova o shizofreniji – odakle interes za istraživanjem poremećaja ličnosti?
2008. godine producirali smo predstavu „F 20.0.“ – prvu predstavu iz serije radova o shizofreniji – koja je izvedena samo jednom jer je glavni izvođač u predstavi bio stvarni pacijent. Produciranje predstava tematski usmjerenih na shizofreniju rezultat je iskustava redatelja predstave o odrastanju i životu s bliskim osobama kojima je dijagnosticirana ova bolest. Nova predstava nastavak je „shizofrene“ serije, režirana ne isključivo kao opisivanje ove psihičke bolesti na sceni već kao prikaz širokog dijafazona emocija kroz koje prolaze ljudi pomaknutog stanja svijesti i fizičke reakcije osoba izrazito bliskih oboljelima.
Jakove, ti si akademski kipar – imaš li stoga osjećaj odmaka od vlastitog/tuđeg tijela dok „modeliraš“ kretanja na sceni? Umjetnik se u vašem radu pojavljuje u liku kipara koji koristi kinetičke skulpture – kako biste definirali taj pojam?
Koreografiranju predstave pristupio sam kiparski na način da umjesto gline i kamena koristim živa ljudska tijela za modeliranje i stvaranje formi. Kontorcionistički sposobno tijelo pruža mi veliki izbor pokreta i položaja pri čemu se gubi dojam ljudskog tijela na sceni i ostaje samo forma u prostoru. Imati na raspolaganju dva takva tijela koja su ujedno i osvještena, omogućuje mi da naprimjer koreografiram i izvodim desetominutni solo u kojem su glavni „izvođač“ moja leđa obasjana svjetlošću. Uz takav pristup koreografiranju, gotovo potpuni mrak na sceni i karakter glazbe koji prati zbivanja na sceni kreiram shizofrenu atmosferu koju publika intenzivno doživljava… Neki gledatelji taj dio predstave doživljavaju kao težak i uznemirujući. S druge strane djeca ga sa zadovoljstvom gledaju. Stvar je samo koliko je tko spreman prepustiti se i izložiti predstavi i dopustiti joj da nas mijenja, barem za vrijeme predstave. Antonijina dionica u predstavi lirska je, romantična i dirljiva, iako se izvodi u istoj atmosferi, naglašenom statikom na publiku djeluje smirujuće i hipnotično.
Također si kontorcionist – što to u biti znači?
Kontorcionizam je cirkuska i akrobatska vještina koja se odnosi na ekstremnu fleksibilnost tijela. Kontortionisti su ili prirodno izrazito fleksibilni ili iza njihove vještine stoji dugotrajna i mukotrpna vježba. Najčešće je kombinacija jednoga i drugoga… Obodvoje smo kontorcionisti, s time da sam ja usmjeren na backbending i dislocation (savijanje kralježnice prema nazad / dislokacija zglobova), a Antonia na frontbending i oversplits (savijanje kralježnice prema naprijed i špage u minusu). Kontorcionizam izvrsno služi za proširenje lepeze oblika koje možemo oblikovati tijelom… Naslov predstave predstavlja formulu za dopamin – neurotransmiter koji se luči nakon izlaganja osobe stimulansima i proizvodi do prenaglašenosti izražen osjećaj ugode. Uzrokuje li vama ispitivanje granica mogućnosti tijela sličan osjećaj? Može li osoba postati „navučena“ na ekstreman pristup tijelu?
Predstava nosi naziv „C8H11NO2“, odnosno, dopamin jer se on pojačano luči u mozgu osoba koje se nalaze u psihotičnom stanju svijesti. Ali da, ime se može dovesti u vezu s kontorcionizmom i osjećajem kakav pruža takav ekstreman pristup vlastitom tijelu. Nas dvoje nemamo izraženu prirođenu fleksibilnost već je naša razgibanost rezultat vježbanja. S obzirom da se fleksibilnost tijela postiže vježbama koje većinom kontriraju prirodnom položaju ljudskog tijela i poprilično su neugodne i bolne, onda je očito da se dopamin tada pojačano luči i daje novi i poseban ton ugode koji smo jedino u takvoj vrsti treninga osjetili… Pa na pitanje jesmo li „navučeni“, odgovor je „Da!“. Postoji li neki novi projekt na pomolu?
Novi projekt nismo još započeli jer nas tek čeka praizvedba ove predstave u Parizu 29. rujna na festivalu „Zoom sur Jeunes Talents Cirque Europe“ pa potom hrvatska premijera na „Perforacijama“ 21. listopada, ali je projekt u planu… Planiramo nastaviti s produkcijama predstava suvremenog cirkusa iz „shizofrene“ serije radova. Jednu, dvije, možda čak i više, dok god nas ova tema bude inspirirala… Antonia Kuzmanić i Jakov Labrović * „Jeunes Talents Cirque Europe“ projekt je istoimene krovne europske cirkuske organizacije kojim se kroz niz selekcija od rujna 2009.g. do ožujka 2010.g. tražilo deset najperspektivnijih mladih europskih cirkuskih kompanija. Upravo je splitska cirkuska kompanija izdvojena kao najperspektivnija mlada europska cirkuska kompanija kojoj je stručni žiri, za izvedbu dijela projekta – predstave suvremenog cirkusa „C8H11NO2“-, dodjelio najveći broj bodova u povijesti natječaja. — You two work in pair – so how did you meet, after all? And how did arise the idea for the collaboration? Was there a transition period while you have adapted to work in a duo, and what it was the most difficult to get used to in the principle of work of the other? How did emerge the name of Room 100? Collaboration between Jakov and me, happened spontaneously – a group of people, with whom we have worked originally, and who have been interested in expression through circus arts and dance, has dissolved itself due to different interests, goals and approaches to work. And as this group dissolved gradually, at the end just the two of us remained with the same goals and ideas – to see where we can reach in the contemporary circus scene with physical fitness, creativity and willingness we have. Since at the time I have just graduated from high school with no desire to continue education at one of the Croatian universities, and Jakov was completing studies of sculpture at the Academy of Split, it was the ideal time for such a “foolishness”, and we agreed to give two to three years to hundred-percent “circus” and see what we have as limit, if we can think about “life” of circus artists … And with the company being selected as one of ten laureates “Jeunes Talents Cirque Europe” project * 2010-th, and the excellent reviews that followed, began our career abroad … In the same manner we “clicked” with Davor Gazda, who participates in the project as a composer of music occasionally performing in festivals with us, when all the music performs live. And the name of the company was created spontaneously, on the final selection of the “Jeunes Talents Cirque Europe” project in March of 2010 in Zagreb. Upon the arrival in Zagreb, the event organizer gave Davor the keys of the room 100 in the hotel where we stayed – Davor commented that this was a good omen and we certainly would pass on … When we were declared winners, due to the incompatibility of our previous name “Positive Force” with the winning project, we looked for a new name and opted for “Room 100″ … The term itself, “room” from the name of the company perfectly fitted in the intimate atmosphere of this play and the whole “style” of the company. Since the decision to work together came naturally, simply, we “found” ourselves in the same place, at the same time, with the same idea, so the principle of work of members of the company’s something that we had no reason to get used. Each of us has an individual attitude and approach to work on the project, and when on rehearsal these three “individuals” meet, cooperation is fluid – the way we “resonate” in private life is also in the working atmosphere. You have the title of the first professional circus artists in Croatia. Do you think there is a basis for the development of the art or are you considering working abroad? We in Croatia, in particular in Split, live, train and create, while the entire performing process and the company’s career is focused on abroad and with such a relationship of work and place of performance we can function as a professional circus artists, if the word “professional” is taken instead of the concept of “we can live of that …”. When we look just resources available within the Croatian borders, the situation is such that performances can be produced, albeit in a much worse work conditions (lack of residential centers, open theater space, financial support …) compared to the conditions of West European circus companies. But these shows can not survive if their distribution is focused only on Croatia, since the circus scene is underdeveloped, there is one festival that is programmed contemporary circus performances and there is a small number of directors of other performing festivals who program the circus productions … For the circus artistes in Croatia there is no work … C8H11NO2 performance is the part of a series of works on schizophrenia – where from interest in the study of personality disorders? 2008-th year we produced the play “F 20.0.” – the first of the series of performances on schizophrenia – which was performed only once because the main performer in the piece was a real patient. Producing of the plays thematically focused on schizophrenia is the result of experience of play’s director in growing up and living with loved ones, diagnosed with this disease. The new show is a continuation of the “schizophrenic” series, directed not as only a description this mental illness on the scene but as a broad view diapason of emotions that go through people of shifted states of consciousness and physical reactions of people who are extremely close to patients. Jakov, you’re a sculptor – so do you have a sense of detachment from own / others’ bodies while “modeling a” motion on the scene? The artist in your work appears in the character of the sculptor who uses a kinetic sculptures – how would you define that term? Choreographing performances I approached in a sculptor’s way, where instead of clay and stone I’m using a living human body for modeling and creating forms. Contortionist capable body gives me great variety of movements and positions where disappears the impression of the human body on the scene and remains only the form in space. Having on disposal the two of such bodies which are also conscious, enables me for example, to choreograph, and perform a ten-minute solo, in which the main “player” is my back, illuminated with light. With such an approach to choreography, almost complete darkness on the scene, and the character of the music that accompanies the events on the stage, I’m creating a schizophrenic atmosphere that the audience experiences intensely … Some viewers experience this part of the performance as difficult and disturbing. On the other hand, the children watch it with the pleasure. The thing is just how much someone is willing to let go and expose oneself to the performance and allow it to change us, at least during the performance. Antonia’s part in the play is a lyrical, romantic and touching, although it is performed in the same atmosphere, with the highlighted static, it has a calming and hypnotic effect on the audience. You are also contortionist – what does that actually mean? Contortionism is a circus and acrobatic skill, which relates to the extreme flexibility of the body. Contortionist are either naturally very flexible or behind their skills is time-consuming and painstaking exercise. It is usually a combination of both … Both of us are contortionists, with that I focus on backbending and dislocation (bending the spine backwards / dislocation of joints), and Antonia and the frontbending oversplits (bending the spine forward and a split in minus). Contortionism excellently serves to expand the range of forms that we can shape with the body … The title of show represents a formula for dopamine – a neurotransmitter that is released after exposure of person to the stimuli and produces a till exaggeration expressed feeling of pleasure. The tests on the limits of the body features, do they cause to you a similar feeling? Can a person be “hooked” to the extreme attitude towards the body? The show is titled “C8H11NO2″, i.e., dopamine, because it is increasingly secreted into the brains of persons who are in a psychotic state of mind. But yes, that name can be brought into relation to the contortionism and feeling that makes such an extreme approach to your own body. The two do not have the inherent flexibility and our mobility is a result of exercise. Considering that the body achieves flexibility by the exercises that mostly counter to natural position of the human body and are quite unpleasant and painful, then it is obvious that dopamine secretion is then amplified and gives a new and distinctive tone of comfort that we sensed in this kind of training alone … So the question of whether we are “hooked” to, the answer is “Yes”. Is there a new project on the horizon? The new project we have not started yet because the premiere of this performance is just waiting in Paris 29th September at the festival “Zoom sur Jeunes Talents Cirque Europe” and then croatian premiere on “Perforations” 21 October, but the project is planned … We plan to continue productions of contemporary circus with shows from the “schizophrenic” series of works. One, two, maybe even more, as long as us, this theme would inspire us … Antonia Kuzmanić and Jakov Labrović * “Jeunes Talents Cirque Europe” project of the circus eponymous umbrella organization which through a series of selections from September 2009 until March of 2010 sought ten most promising young European circus companies. It is the Split circus company singled out as the most promising young European circus company to which the jury, for the performance of the project – a musical contemporary circus “C8H11NO2″ -, awarded the highest score in the history of the competition. |
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