Matija Ferlin | Perforacije — artists database
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Matija Ferlin

2011 Samice / Solitaries (photos 1-16)

2012 Sad Sam Lucky (photos 17-19)

Samice / Solitaries

Koreografija teksta nije tako nemoguć čin kako se na prvi pogled može činiti, niti je riječ o paradoksu koji funkcionira samo na razini ideje. Govorni čin kao produžetak misaonog procesa, kojem nažalost ponekad i prethodi, aktivan je sudionik svakog scenskog čina. Suvremeni ples odavno ga je inkorporirao, u svakom smislu tog pojma, pa istraživanje u tom smjeru više ne iznenađuje. Ipak, na domaćoj plesnoj sceni još nije bilo tako radikalnog pomaka kao što je onaj Matije Ferlina u predstavi ‘Samice’. Nakon uspjeha predstave ‘Nastup’ kojom je ogolio pokret do njegovih sastavnih dijelova i ponovno sklopio cjelinu koja o plesu razmišlja na elementarniji, ali ništa manje zavodljiv način, i kojoj je ples osnovna tema i motiv, u ovom projektu koncentrirao se na jezik kao istodobno sasvim konkretan ali i bestjelesan oblik manifestacije scenske prisutnosti. Stoga u Samicama ne sudjeluju plesači, nego akademski glumci, spremni na rizik i iskorak u nepoznato.

Talent kojem je za puni razvoj trebao odlazak u inozemstvo, koreograf i plesač Matija Ferlin se nakon rada u kompaniji Sashe Waltz i brojnih suradnji širom svijeta polako vraća u matičnu sredinu. Predstavom ‘Sad Sam’ i svim njezinim izvedenicama na regionalnim je festivalima potvrdio ono što je do tada bila samo reputacija, a nagradom za najbolju plesnu predstavu u Hrvatskoj koju je osvojio s ‘Nastupom’ Studija za suvremeni ples potvrdio se kao autor od kojega se ne može očekivati previše.

Choreographing a text is not as impossible as it seems at first glance, and nor is it a paradox that functions only on the level of an idea. Speech, as an extension of a thought process, which it unfortunately, sometimes, precedes, is an active participant of every stage act. Contemporary dance incorporated it, in every sense of the term, long ago, and so research in this direction is no longer surprising. However the local dance scene has not seen such a radical shift as the one in Matija Ferlin’s ‘Solitaries’. After the success of his show Onformance, in which movement was reduced to its component parts and reassembled into a whole that considers dance in a more basic, but not less seductive, way, and in which dance is the basic theme and motif, this project concentrates on language as both a completely concrete and intangible form of the manifestation of stage presence. Thus, in Solitaries, in place of dancers, are academic actors, willing to take risks and step into the unknown.

In order for talent to fully develop, it needs to go abroad. Choreographer and dancer Matija Ferlin, after working with the company of Sasha Waltz and numerous collaborations around the world, is slowly returning to his home environment. With his show Sad Sam and all its derivatives at regional festivals he confirmed what was, until then, only a reputation, and with the award for the best dance performance in Croatia, which he won for Onformance with the Studio for Contemporary Dance, he has established himself as an auteur from whom it is impossible to expect too much. 

→Sad Sam Lucky

The melancholic and confessional poetry of Srečko Kosovel, created amidst the harsh atmosphere of the Slovenian Karst and the existential crisis that resulted from the First World War, with wide steps through impressionism, symbolism, expressionism and constructivism, in this performance from Matija Ferlin, physically attacks the language in an attempt to find its best form, that which is more than just poetry. These physical assaults on the language, this radical choreography of language, form the concrete base that Ferlin used in his research process. Repeated dramaturgical readings of Kosovel’s poetry formed a critical mass of poetic images, ideas, meanings and affects, the accumulation of which caused the need for representation in some other form of physicality. In the relationship between the potency of the verses, the materiality of the speech, the endurance of the movement and the reflexiveness of the space, Matija Ferlin creates a continuous choreographic whole of emphasised physicality that plays with dichotomies like Beginning and end, happiness and sorrow, life and death, transience and eternity, activity and passivity.

The poetry and life of the Slovenian poet Srečko Kosovel is a starting point in the research process with which choreographer and performer Matija Ferlin began work on his new project Sad Sam Lucky, part of the series Sad Sam which he started in 2004.  With all of his performances at regional festivals he has confirmed what was, until then, only a reputation. After a number of collaborations around the world and work with Sascha Waltz’s company, Ferlin won over Croatian audiences with his show Onformance with the Studio for Contemporary Dance, and Samicama at last year’s Perforations Festival.

Melankolična i ispovjedna poezija Srečka Kosvela, nastala između surovih atmosfera slovenskog krasa i egzistencijalne krize kao posljedice prvog svjetskog rata, širokim koracima prolazeći kroz impresionizam, simbolizam, ekspresionizam i konstruktivizam, u izvedbi Matije Ferlina fizički napada jezik u pokušaju da pronađe njegovu idealnu formu, onu koja je više od poezije same. Ti fizički nasrtaji na jezik, radikalno koreografiranje jezikom, formiraju konkretnu partituru kojom se autor koristi u svom istraživačkom procesu. Opetovanim dramaturškim iščitavanjem Kosevelove poezije oformila se kritična masa pjesničkih slika, pojmova, značenja i afekata koji svojom akumulacijom izazivaju potrebu za reprezentacijom u nekom drugom obliku fizičnosti. Odnosom između potentnosti stiha, materijalnosti govora, izdržljivosti pokreta i refleksivnosti prostora, Matija Ferlin kreira kontinuiranu fizički naglašenu koreografsku cjelinu koja se poigrava dihotomijama poput početka i kraja, sreće i tuge, života i smrti, prolaznosti i vječnosti, aktivnosti i pasivnosti.

Poezija i život slovenskog pjesnika Srečka Kosovela ishodišne su točke u istraživačkom procesu kojim koreograf i izvođač Matija Ferlin započinje rad na svom novom projektu SAD SAM LUCKY, u seriji radova SAD SAM započetoj 2004. Svim njenim izvedenicama na regionalnim je festivalima potvrdio ono što je do tada bila samo reputacija. Nakon  brojnih suradnji diljem svijeta i rada u kompaniji Sashe Waltz, Ferlin je hrvatsku publiku osvojio izvedbom ‘Nastup’ Studija za suvremeni ples te ‘Samicama’ na prošlogodišnjim Perforacijama.

 

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