2011

PERFORATIONS  FESTIVAL October 20 – 29, 2011 — including the SHOWCASE! of Croatian Performing Arts

If you are visiting the festival, please register online for exclusive hotel deals, tickets reservations and discounted airport transfers!

→ Visit also our featured website Perforations Artists Database where you can browse through our past programs, artists and performances and soon this year’s performances.

→ 2011 Perforations Program Book

Blagajna U prostoru izvedbe sat vremena prije početka predstave. Rezervacije na 092/160 6175 ili na perforacije.blagajna@gmail.com.

Cijena ulaznica za sve predstave 50,00 kuna, osim za 21.10. i 22.10.
Brezovac, Saloma 100,00 kuna.
Noć performansa – besplatan ulaz.

RIJEKA

Listopad / October 20

Ana Catarina Vieira/Angelo Madureira (Brazil/Croatia)
Nafta / Oil
20:00, HKD na Sušaku, Strossmayerova 1

U vrijeme ekonomskih kriza kao što je ova kojoj kraj vide samo mešetari ljudskim sudbinama i glasovima, dok dežurni katastrofičari prognoziraju svijetu ni dvostruko dno neće pomoći, ekonomija je druga po važnosti ‘ona riječ’. Prva je, naravno, još uvijek ali u sve većoj panici, nafta. Ona je svjetska tema, pa je i predstava koju u koprodukciji festivala Perforacije i riječke udruge Drugo more zaslužila tako zvučno ime. Riječ je o projektu brazilskih koreografa Ane Catarine Vieire i Angela Madureire temeljenog na povijesnim referencama, poput već pomalo zaboravljene priče o riječkoj rafineriji, preko kojih se bave temama ekonomije i ekologije, na razmeđi kojih stoji ponekad i puko preživljavanje. Uronjenost u kontekst, na čemu inzistira ova koprodukcija, povezuje iskusne brazilske umjetnike sa skupinom pet suvremenih plesača iz Rijeke.
Kako je riječ o gradu koji unatoč svojoj, barem za domaće prilike, iznadprosječno vitalnoj kulturnoj matrici suvremenom plesu nudi malo ili ništa, ova suradnja je iznimna prilika da svi profitiraju, kako bi ekonomije znanja i ekonomije plesa na način kako to najbolje znaju demonstrirale silu nad ekonomijom tranzicije. Dvostruko dno Drugog mora i Perforacija pokazat će, stoga, da fosili kao pokretačko gorivo ipak moraju imati i — alternativu.

Ana Catarina Vieira i Angelo Madureira brazilski su plesačko- koreografski par čija suradnja traje više od desetljeća.
O njezinoj uspješnosti i učinkovitosti svjedoči trinaest produkcija, od kojih su pojedine ovjenčane i brojnim nagradama, kako latinoameričkim tako i europskim. Jamac kvalitete ovog izuzetnog dua leži i u isprepletenosti klasičnog baleta i suvremenih tehnika, što upotpunjuje njihov i autorski i pedagoški profil.

In times of economic crisis such as this, in which the brokers in human destiny and votes, while the sentries of catastrophe predict that not even a double dip can help the world,  ‘economy’ is the second most important ‘it’ word. The first is, of course, ‘oil’. It is a global issue and this performance, a co-production from Perforations and the organization Drugo More from Rijeka, deserves that attractive name. This project from Brazilian choreographers Ana Catarina Vieira and Angela Madureira is based on historical references, such as the already forgotten story of the Rijeka refinery, through which they deal with issues of economy and ecology, at the crossroads of which sometimes stands basic survival. Immersion in this context, on which this co-production insists, links experienced Brazilian artists with a group of five contemporary dancers from Rijeka. As, despite Rijeka’s quite lively – at least  for this country – cultural scene, contemporary dance is rarely, or never, on offer. This collaboration is a great opportunity that benefits everyone, so the economies of knowledge and of dance can demonstrate power over an economy of transition. With this, the double dip of Drugo More and Perforations will show that fossils as a driving fuel still need to have — an alternative.

Ana Catarina Vieira and Angelo Madureira are Brazilian dancer-choreographers whose collaboration has lasted more than a decade. The proof of their success and efficiency is thirteen productions, of which some have received numerous awards, both in Latin America and Europe. The guarantee of the quality of this exceptional duo lies in the blend of classical ballet and modern techniques, which supplements their auteur and educational profile.

Listopad / October 21

Rosana Hribar/Gregor Luštek (Slovenia)
Duet 012
20:00 HKD na Sušaku, Strossmayerova 1

Kad dvoje umjetnika zajedno žive i rade dugi niz godina, neminovno je da će se u svojoj umjetnosti sresti, ali i razići. Kad je moguće, obje situacije treba iskoristiti kao potencijal za novu kreaciju, i ovaj je rad upravo primjer toga. Istodobno i veterani i prvaci slovenskog suvremenog plesa, Rosana Hribar i Gregor Luštek zato su svoj treći u nizu dueta kojima obilježavaju i tematiziraju svoje zajedničko postojanje u plesu i kroz njega, nazvali ‘Duet 012’ a podnaslovili ‘Različitost mišljenja je divna!’. U maniri koja ples nije ni odvela dalje od plesa samog, njihov rad uronjen je u pokret i tijelo kao jednu koreografsku inspiraciju, fiksiranu standardima i inficiranu modernošću. Koreografija ovdje nije ishodište za odmak, već ponuda koju treba prihvatiti energično i hrabro, pažljivim nijansiranjem sitnih razlika i inzistiranjem na potpunoj realizaciji krupnih. Ovaj duo ne razmišlja o tome što ples čini, dok god to čini, prvenstveno njima. Niz gotovo autobiografskih dueta stoga i jest najprije posveta njihovoj zagledanosti i zajedništvu. Taj intimni dnevnik iznesen pred javnost neizravno gotovo poručuje da ples bez partnera i nije ples.

Stalni članovi Plesnog Teatra Ljubljana, Rosana Hribar i Gregor Luštek čine jedinstveni plesački koreografski par. Aktivni su na slovenskoj plesnoj sceni i kao izvođači, ali i kao koreografi i suradnici za plesni pokret u dramskim i opernim produkcijama drugih kazališta u zemlji i inozemstvu, koreografski predstavljaju sam vrh tamošnje plesne scene. Autorskim koreografijama javljaju se krajem devedesetih.

When two artists live and work together for many years, it is inevitable that, in their own art, they will meet and separate. When possible, both situations should be used as an opportunity for new creation, and this work is an example of that. Both veterans and leaders of Slovenian contemporary dance, Rosana Hribar and Gregor Luštek have called the third in their series of duets, with which they are characterising and thematizing their combined existence in dance and through dance, Duet012, with the subtitle, ‘Difference of opinion is wonderful’. In the same way that dance is taken no further than dance itself, their work is immersed in movement and the body taken as one choreographic inspiration, fixed by standards and infected with modernity. Choreography here is not the starting point for a shift, but an offer which must be accepted energetically and bravely, with careful shading of the small differences, and an insistence on the total realisation of the major ones. This duo does not think about what makes the dance, as long as it does that, primarily to the duo themselves. A series of almost autobiographical duets is first a tribute to their similar world view and togetherness. This intimate diary is brought before the public indirectly, almost saying that a dance without a partner is not a dance.

Permanent members of Dance Theatre Ljubljana, Rosana Hribar and Gregor Luštek are a unique choreographer couple. They are also active on the Slovenian dance scene as performers, and as choreographers and collaborators for the dance movement in drama and opera productions of other theatres in Slovenia and abroad. Choreographically, they represent the cream of the local dance scene. Their choreographies first appeared in the late nineties.

ZAGREB

SHOWCASE! of CROATIAN PERFORMING ARTS – October 21 and 22

Listopad / October 21

Nataša Rajković / Bobo Jelčić (Croatia)
Izlog / Shop Window
16:00, Tratinska 52

‘Svakodnevica koja nije prenesena u kazalište nego je kazalište samo’, imaginarni je slogan iznad predstave „Izlog“ koja se odvija u napuštenom poslovnom prostoru u srcu grada. Svakodnevni život ulice već je sam po sebi teatar, a kazalište postaje onda kad se nasilno pokuša u taj izvorni teatar ugurati tribinu s gledalištem. Znajući da taj princip ne donosi dobra ni teatru samom, a pogotovo ne publici i izvođačima, oni su realitet prometne ulice obično-neobičnog legendarnog zagrebačkog kvarta Trešnjevka, pretvorili u igrani teatar za publiku koja ostaje nevidljiva. Derivat se isplati na mnogim razinama, jer umjesto zatvaranja teatra u kutiju, zatvoren je samo onaj njegov dio koji to nerijetko i zaslužuje: publika. S druge strane, izvođači koji to nisu jer su izvorni, ali i jesu jer su režirani, ostavljeni su na milost i nemilost ulici. Kao i onda kad ih, navodno, nitko ne gleda.

Najznačajniji hrvatski kulturni, ili barem kazališni, izvozni proizvod, redateljskoscenaristički ili, jednostavnije, autorski duo Bobo Jelčić / Nataša Rajković, predstavom ‘Izlog’ vraća se svojim prvotnim postulatima. Sve do čega su došli istražujući uspješnicama poput ‘Usporavanja’, ‘Nesigurne priče’ ili ‘S druge strane’, u ‘Izlogu’ nalazi i svoju realnu potvrdu. Da, naime, kazalište može biti i teatar, ako mu se to dopusti.

‘Everyday life is not transferred into the theatre, but is itself theatre’ is the imaginative slogan above the performance Shop Window, which is set in an abandoned business premises in the heart of the city. The everyday life of the street is itself theatrical, and then the theatre comes into being when, into that original theatre, one tries to push a seated audience. Knowing that this principle does not bring any good to theatre itself, and certainly not to the audience or performers, Bobo Jelčić and Nataša Rajković have turned the reality of the busy street of the usual/unusual and legendary Zagreb neighbourhood, Trešnjevka, into a theatre feature for an audience that remains invisible. The result is worth it on many levels, because when shutting the theatre into a box, the only part that is closed off is the part that often deserves it: the audience. On the other hand, performers who are not performers, because they are originals, but are because they are directed, are left to the mercy of the street. Just as when, allegedly, no one is watching.

The most important Croatian cultural, or at least theatrical, export, the director-playwright, or more simply, auteur duo, Bobo Jelčić and Nataša Rajković, return to their original hypotheses with Shop Window. Everything that has come from exploring their successes such as Decelerating, Insecure Stories, and From the Other Side, finds in Shop Window its realistic confirmation: that in fact, theatre can be theatre, if you let it.

Running time: 60 min, theater

Oliver Frljić (Croatia)
Mrzim istinu / I Hate the Truth
17:00, Teatar &TD, Savska 25

Olivera Frljića posebno zanima odnos kazališta i zbilje, mogućnosti i nemogućnosti izvedbe i njezinih mehanizama da prikažu i(li) pokažu. Iako se i ranije, čak i ulozi dramaturga na projektima drugih, igrao devizom da „Kazalište laže!“, sve do predstave „Mrzim istinu!“ nije to povezivao sa svojim osobnim sklonostima. Voli li Frljić kao osoba lagati nije toliko važno, ali jest kad se istinom kao formalnom strategijom definiranja pojava i činjenica bavi izravno, na pozornici.  Tema mu je ovoga puta obiteljska povijest, i to vlastita. U intimnom četverokutu, koji uz klasičnu podjelu otac-majka-sin-kći čini i četverokut sobe gdje je i publika, koja zapravo konstituira četiri zida ove podjednako uvjetno i osobne ispovijedi i povijesti, privatno postaje javno. Kao i u svakom procesu objektivizacije, a pogotovo medijatizacije, čak i kad se kazališnim sredstvima pokušava podražavati istinitost i vjernost, prva žrtva je upravo istina. U ovom slučaju, ne i jedina.

Od početaka neuobičajeno strelovite ali i neuobičajeno plodne karijere, redatelj i kazališni autor Oliver Frljić nametnuo se najprije u hrvatskom a kasnije i u kontekstu gotovo cijelog prostora bivše Jugoslavije, kao jedno od najvažnijih novih imena. Radikalnim pristupom gorućim političkim temama, promišljenim ispitivanjem mehanizma kazališta kao medija i kao umjetničke discipline, od klasičnih tekstova uspijeva napraviti suvremene, od autorskih projekata masovne uspješnice, a od predstava za djecu izvedbene studije.

Oliver Frljić is particularly interested in the relationship between theatre and reality, the possibility and impossibility of performance, and it’s other mechanisms to reveal and/or show. Even in the past, in the role of dramatist in others’ projects, he played with the device that “the theatre is lying!”, but in everything before I Hate the Truth, he did not connect that to his own personal preferences. Whether or not Frljić, as a person, likes to lie, is not really important, except when truth, as a formal strategy of defining phenomenon and fact, is dealt with directly, on the stage. The theme, this time, is a family history – his own. In an intimate quartet, which is divided classically into father-mother-son-daughter, and marks the four corners of the room in which the audience sits, which actually constitutes the four walls of both a conditional and personal confession, and history, the private is made public. As in any process of objectification, especially mediatisation, even when, with the tools of theatre, an attempt is made to support truth and fidelity, the first victim is exactly that: the truth. And in this case, it is not the only victim.

From the beginning of his unusually meteoric but also unusually fertile career, the director and theatre auteur Oliver Frljić emerged first in Croatia, and later throughout almost the entire region of ex-Yugoslavia, as one of the most important new names. With a radical approach to controversial political issues, thoughtful examination of the mechanism of theatre as a medium and as an artistic discipline, from classical texts he creates successful contemporary ones, from authored projects, massive successes, and from shows for children, studies for performance.

Running time: 60 min, theater

Room 100 (Croatia)
C8H11N02
21:00, Jedinstvo, Trnjanski nasip, bb

Novi cirkus zahtjevna je i vrlo zahvalna izvedbena forma. U opreci s tradicionalnim cirkusom, bitno je bliža kazalištu jer umjesto puke vještine, sadrži i formu, priču, dramaturgiju… Novi cirkus mogućnost je na granici plesa, drame i fascinantnih vještina žongliranja, ekvilibristike, kontorcionizma i svega onoga što ‘obični ljudi’ ne mogu. Predstava splitske skupine Room 100 ni ne govori, međutim, o običnim ljudima. Iza zagonetnog naslova ‘C8H11NO2’ krije se posveta onima koji funkcioniraju drukčije i u čijoj svijesti vladaju drukčiji procesi. Naslovna šifra kemijska je oznaka za neurotransmiter dopamin, zaslužan za psihotička stanja o kojima govori, i koje vjerno pokušava reproducirati ova predstava.Tijela izvođača i njihove akrobacije, zajedno s vodenom scenografijom i rekvizitima potrebnim za novocirkuske čarolije, čine niz slika koje pojam hibridnosti ovog izvedbenog žanra promatraju s druge strane. One u koju većina uopće ne želi ući, ali koju će, posredstvom ove produkcije, ipak upoznati.

Novocirkusko je sjeme na ovim područjima posijano najprije gostovanjima na Eurokazu a kasnije i Festivalom novog cirkusa. Da je naišlo na plodno tlo, potvrđuje i primjer splitske skupine Room 100. Iako pomalo u medijskoj sjeni, jer novi cirkus još nema ravnopravnost s ostalim izvođačkim formama, Jakov Labrović i Antonia Kuzmanić gotovo da su uspješniji izvan granica Hrvatske. U novocirkuskoj Francuskoj prepoznati su kao talenti u koje treba ulagati, pa je i ova predstava nastala u međunarodnoj koprodukciji.

New circus is a demanding but very rewarding art form. In contrast with traditional circus, it is closer to theatre because, instead of just mere skill, it contains a form, a story, drama… New cricus is a possibility on the border of dance, drama and the fascinating skills of juggling, balancing, contortion, and all that ‘ordinary people’ are unable to do. This performance from the Split group Room 100 does not, however, talk about ordinary people. Behind the enigmatic title C8H11NO2 lies a dedication to those who function differently, and whose awareness is governed by different processes. The code of the title is the chemical formula for the neurotransmitter dopamine, which is responsible for the psychotic states that are spoken of, and faithfully reproduced in this show. The bodies of the performers and their acrobatics, together with water scenery and the props necessary for new circus magic, make a series of images that observe the notion of the hybridity of this performance genre from a different side. One that the majority does not want to be on, but which they will, through this production, become familiar with anyway.

New circus is a seed that was first sown in this region with appearances at Eurokaz, and later at the Festival of New Circus. It found fertile soil, as confirmed by the example of the Split group Room 100. Although somewhat in a media shadow, as new circus is not yet equal to other forms of performance, Jakov Labrović and Antonia Kuzmanić are almost more successful outside the borders of Croatia. In the French new circus scene, they are recognised as talents that should be invested in, and so even this performance was born of international cooperation.

Running time: 60 min, circus

Branko Brezovec (Croatia):
Saloma / Salome
22:30, Avenue Mall, Avenija Dubrovnik 16

Iako danas nalikuje zabavnoj igri, koja se od blještavila društva spektakla sve manje razlikuje jer o njemu ovisi, umjesto da bude obrnuto, politika je ozbiljna stvar. Vizionarstvo pogotovo. Kako prepoznati proroka i što s njim onda kad se i on pokaže u svojoj ljudskosti, objašnjava biblijski slučaj Salome u obradi Miroslava Krleže. Dramatičar čije dubine hrvatska javnost još otkriva, iako je odavno nedodirljivi kanon i lektirna činjenica, u ovom komadu, kao i cijelim mladenačkim i u žaru ekspresionizma začetim ‘Legendama’, ispituje granice angažmana i povjerenja u čovjeka koji je u stanju nadići sebe. U ovoj konkretnoj drami, prorok to ne uspijeva, ali niti Saloma, koja više nije biblijski lik nego stvarna, razočarana jedinka. Koja blještavilo trgovačkog centra, tog suvremenog raja, gleda iz podruma.

Branko Brezovec hrvatski je kazališni redatelj koji u svojim predstavama ne skriva svoje autorstvo. Za njega ni ne postoji kazalište osim redateljskog. Bez obzira radi li u Makedoniji ili u Hrvatskoj, u nacionalnoj kući ili u produkciji Eurokaza, razigrava li nekoliko ansambala istodobno na velikoj sceni ili stvara ambijentalne predstave manjih dimenzija s biranom ekipom, njegov rukopis uvijek je čitljiv. Iako se svim silama trudi upravo suprotno. Brehtijanac po širini i krležijanac po dubini, Branko Brezovec nema problema s publikom, njegove se predstave ne gledaju lako, ali se niti lako ne zaboravljaju.

Although today it looks more like an entertainment which is not much different from a dazzling society spectacle since it is dependent on it, the politics is a serious matter. So is the visionaryness. The biblical case of Salome, as retold by Miroslav Krleža, explains how to recognise prophets, and what to do with them when they appear as humans. A playwright whose depths the Croatian public are still discovering, although he has long been part of the untouchable canon and a fixture in school curricula, in this piece, as in all of Krleža’s youthful Legends, conceived with the sparkle of expressionism, he examines the limits of commitment and the confidence of a man who is able to transcend himself. In this particular drama, the prophet does not succeed, but nor does Salome, who is no longer a biblical character, but a real, and disappointed, individual. The dazzle of the shopping centre, that modern paradise, she can only watch from below.

Branko Brezovec  is a Croatian theatre director who, in all his performances, does not hide his authorship. For him there is no theatre without directors. Whether in Macedonia or Croatia, in the National Theatre or in a Eurokaz production, working with several ensembles at the same time on the big stage, or creating ambient performances on a smaller scale with a selected group of people, his signature is always recognisable. Although he works hard in the opposite direction. With Brechtian breadth and  Krležin depths, Branko Brezovec has no problem with the audience, his performances are not easy to watch, but not easy to forget either.

Running time: 90 min, theater

Oliver Frljić, Petra Kovačić, Milijana Babić, Grupa ABS, Ivica Buljan, East Rodeo, Ljiljana Tasić, Dušan Bročić
Noć performansa / Night of performances
The Night of the performances is a unique event and special night of the Perforations Festival. It presents a range of Croatian theater directors, performance and visual artists who are asked to create a site-specific performance for the Festival. This year we have asked a combination of young as well as established names who will perform a large diversity of themes, approaches and aesthetics. This event attracts hundreds of spectators as different locations throughout the venue become alive with performances. Running time: 330 min, theater / performance art
23:30 – 04:00, Student Center, Savska 25

Listopad / October 22

Matija Ferlin (Croatia)
Samice / Lonely women
14:00, Jedinstvo, Trnjanski nasip bb

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.

Running Time: 80 min, theater

Željko Zorica (Croatia)
Otkrivanje spomen ploče / Memorial Plaque Ceremony (Der Hochzeitgeist – ein Lehrstück)
16:00, Oporovečki vinogradi 16

Još jedan stalni gost Perforacija, zagrebački multimedijalni umjetnik i društveni patolog s izrazitim osjećajem za finese Željko Zorica otkriva još jednu spomen-ploču i radi novi najbolji tulum na svijetu. Pored jela i pića, svjetina će se ponovno sjetiti jednog od likova izgubljenih u vremensko-povijesnom kontinuumu, lika toliko legendarnog da je u legendi i zarobljen, dr. Hansa Christiana Zabludovskog.

Pod motom ‘Prvo dolazi žderanje, a onda moral.’, u Oporovečkim vinogradima br.16, Željko Zorica će 22. listopada 2011. otkriti novu spomen ploču povodom šezdesete godišnjice začetka boćanja u Oporovcu. Tim svečanim činom odaje se priznanje dr. H. C. Zabludovskom kao prvom bacaču bulina i prvom podstanaru bake Zore Filipec. Veličaju se i slave vrijednosti svakodnevnog života. Projekt je to evokacije memorijalnih slavlja svih nekih godina koja su se odvijala pod raznim krilaticama tipa ‘Sreća pojedinca-Uspjeh kolektiva’ do Brechtove parole ‘Nitko vam ne može usaditi osjećaj manje vrijednosti bez vašeg pristanka’, što je zanimljiva misao, u zapadnom svijetu, poznatija kao citat Eleanor Roosevelt.

Slijedom pokušaja etnografskog dijagnosticiranja događanja iz svih ‘nekih’ godina u Hrvatskoj, na memorijalnom happeningu u Oporovečkim vinogradima služit će se živa glazba i zakuska, smijeh, ali i suze. Jelovnik je spravljen po uputama glavnog kuhara Bertolta Brechta.

Another permanent guest at Perforations, the Zagreb multimedia artist and social pathologist who has has a strong feeling for finesse, Željko Zorica will unveil another memorial plaque, and host the new best party in the world. Apart from eating and drinking, the crowd will again be reminded a character lost in the time-history continuum, a character so iconic that he is even trapped in a legend: Dr. Hans Christian Zabludovsky.

Under the motto ‘First comes the gorging, and then the moral’, in Oporovec Vineyard no. 16, on the 22nd of October, 2011, Željko Zorica will reveal the new plaque on the occasion of the sixtieth anniversary of the invention of bocce in Oporovec. This ceremonial act will honour Dr. H. C. Zabludovsky as the first thrower of a bocce ball, and as the first tenant of the grandmother Zora Filipec. Glorified and celebrated will be the values of everyday life. The project is the evocation of memorial celebrations for all those years under such slogans as ‘Individual Luck – Collective Success’, or Brecht’s ‘No one can instil a feeling of inferiority without your consent’, which is an interesting thought, in the western world, and best known as an Eleanor Roosevelt quote.

With a series of attempts to ethnographically diagnose the events of all ‘those’ years in Croatia, the memorial event in the Oporovec Vineyards will offer live music, refreshments, and laughter, but also tears. The menu will be prepared according to the instructions of the head chef, Bertolt Brecht.

Running time: 180 min, theater

D.B.Indoš / Tanja Vrvilo (Croatia)
Ratna igra (proba) / Kriegspiel
21:30,Teatar &TD, Savska 25

Kad je 1977. Guy Debord s partnericom Alice Becker Ho zaigrao svoju inačicu šaha zasnovanu na Von Clausewitzovoj teoriji ratovanja i konkretnim Napoleonovim pohodima, svijet je bio drukčije mjesto nego danas. Debordov patent ‘Kriegspiel’ nije postao popularniji od šaha, a primat mu je očekivano oduzeo i Monopoly, ali je ipak u uskim krugovima ostao fascinantni primjer kombinacije igre i teorijskog uvida. Da je svaka partija, a ako je riječ o  ovoj igri, i svojevrsni performans, dobro zna i Damir Bartol Indoš. U novoj produkciji Kuće ekstremnog glazbenog kazališta koja posuđuje ime Debordovog izuma, Indoš s Tanjom Vrvilo ponavlja 55 poteza u igri iz 1977. i time posvetu ocu društva spektakla dovodi do antispektakla u svojem prepoznatljivom stilu. Uz neobuzdanu elektroničku glazbu Helgea Hintereggera, izvođači u ovom performansu ratuju i maketama i riječima, izgovarajući latinske i sanskrtske palindrome.

Živa legenda hrvatske kazališne alternative, performer Damir Bartol Indoš već je nekoliko desetljeća zaista jedinstvena pojava ne samo na domaćoj izvedbenoj sceni. Zagledan u obzor filozofije i ishodišta performansa, svoje izvedbene strategije gradi oko nemogućnosti političkog angažmana. Bez obzira je li u njima primaran pokret, gesta, glazba ili tekst, njegovi su radovi zato uvijek i igra, i sve ono što je od igre puno ozbiljnije.

When, in 1977, Guy Debord and his partner Alice Becker-Ho began to play their version of chess based on Von Clausewitz’s theory of warfare and the specific campaigns of Napoleon, the world was a different place than it is today. Debord’s patented ‘Kriegspiel’ did not became more popular than chess, though at first it was also expected to overtake Monopoly, but in small social circles, is still considered a fascinating combination of game and theoretical insights. Each match of this game is a kind of performance – something that Damir Bartol Indoš knows very well. In this new production from The House of Extreme Musical Theatre, which borrows the name of Debord’s invention, Indoš and Tanja Vrvilo repeat 55 moves in a game from 1977, and this consecration of the father of society of spectacle leads to an anti-spectacle in their distinctive style. Accompanied by unrestrained electronic music by Helge Hinteregger, the performers do battle with models and words, pronouncing Latin and Sanskrit palindromes.

A living legend of Croatian alternative theatre, Damir Bartol Indoš has, for a few decades already, been a truly unique phenomenon not only on the domestic performance scene. Looking to the horizons of the philosophy and origins of performance, he builds his performance strategy around impossibility of political engagement. Regardless of whether they are primarily movement, gesture, music or text, his works are always both games, and at the same time, far more serious.

Running time: 40 min, theater

Branko Brezovec (Croatia)
Saloma / Salome
In a radical interpretation of Krleža’s play Salome, Croatian iconoclastic director Branko Brezovec encloses the audience, together with the actors, in an unusual and spectacular set: a slow-moving cube which glides on rails along the street, stops in front of shop windows and cafes which serve as a temporary stage for Biblical characters whose conflicts and dramas take place in a contemporary shopping paradise. Miroslav Krleža (1893-1981), the renowned Croatian author, wrote an almost ironic, mild variation of the Biblical text. His Salome is bored to death, the world is absurd and unbearably predictable, so its value is measurd by its sterility. In the performance the play’s decadent charm collaborates with the crude consumerism in a very serious way. Running time: 90 min, theater
22:30, Avenue Mall, Avenija Dubrovnik 16

Listopad / October 23

D.B. Indoš / Tanja Vrvilo (Croatia)
Ratna igra / Kriegspiel
20:00, Teatar &TD, Savska 25

Kad je 1977. Guy Debord s partnericom Alice Becker Ho zaigrao svoju inačicu šaha zasnovanu na Von Clausewitzovoj teoriji ratovanja i konkretnim Napoleonovim pohodima, svijet je bio drukčije mjesto nego danas. Debordov patent ‘Kriegspiel’ nije postao popularniji od šaha, a primat mu je očekivano oduzeo i Monopoly, ali je ipak u uskim krugovima ostao fascinantni primjer kombinacije igre i teorijskog uvida. Da je svaka partija, a ako je riječ o  ovoj igri, i svojevrsni performans, dobro zna i Damir Bartol Indoš. U novoj produkciji Kuće ekstremnog glazbenog kazališta koja posuđuje ime Debordovog izuma, Indoš s Tanjom Vrvilo ponavlja 55 poteza u igri iz 1977. i time posvetu ocu društva spektakla dovodi do antispektakla u svojem prepoznatljivom stilu. Uz neobuzdanu elektroničku glazbu Helgea Hintereggera, izvođači u ovom performansu ratuju i maketama i riječima, izgovarajući latinske i sanskrtske palindrome.

Živa legenda hrvatske kazališne alternative, performer Damir Bartol Indoš već je nekoliko desetljeća zaista jedinstvena pojava ne samo na domaćoj izvedbenoj sceni. Zagledan u obzor filozofije i ishodišta performansa, svoje izvedbene strategije gradi oko nemogućnosti političkog angažmana. Bez obzira je li u njima primaran pokret, gesta, glazba ili tekst, njegovi su radovi zato uvijek i igra, i sve ono što je od igre puno ozbiljnije.

When, in 1977, Guy Debord and his partner Alice Becker-Ho began to play their version of chess based on Von Clausewitz’s theory of warfare and the specific campaigns of Napoleon, the world was a different place than it is today. Debord’s patented ‘Kriegspiel’ did not became more popular than chess, though at first it was also expected to overtake Monopoly, but in small social circles, is still considered a fascinating combination of game and theoretical insights. Each match of this game is a kind of performance – something that Damir Bartol Indoš knows very well. In this new production from The House of Extreme Musical Theatre, which borrows the name of Debord’s invention, Indoš and Tanja Vrvilo repeat 55 moves in a game from 1977, and this consecration of the father of society of spectacle leads to an anti-spectacle in their distinctive style. Accompanied by unrestrained electronic music by Helge Hinteregger, the performers do battle with models and words, pronouncing Latin and Sanskrit palindromes.

A living legend of Croatian alternative theatre, Damir Bartol Indoš has, for a few decades already, been a truly unique phenomenon not only on the domestic performance scene. Looking to the horizons of the philosophy and origins of performance, he builds his performance strategy around impossibility of political engagement. Regardless of whether they are primarily movement, gesture, music or text, his works are always both games, and at the same time, far more serious.

Running time: 40 min, theater

Mala Kline (Slovenia)
Bliss
21:30, Zagreb Dance Center, Ilica 10

Grozničava potraga za istinom nerijetko odvodi u ludilo, a grozničava potraga za smislom, redom i odgovorima rezultira kaosom, zaumom i tišinom. Umjetnost zato postavlja pitanja, kad je ionako ‘s druge strane’. U predstavi ‘Bliss’ slovenske plesačice, koreografkinje i autorice pomiješane su sve te sastavnice. Kolektiv potpuno raznorodnih izvođača, od stand-up komičara koji to nije preko drag-queen koja bi to jako željela postati do plesačice koju više zanima zašto pleše nego kako to radi, spaja potreba da se u sustavu bez pravila izraze na najbolji ili jedini mogući način. Strategije šestočlanog ansambla potpuno su različite, od šoka do ugode, i pridonose manifestaciji scenske shizofrenije više pojedinačno nego u suigri. Procesuiranje rezultata ove igre identiteta i pojavnosti naporan je posao za one koji nevjericu moraju zamijeniti činjenicama. Svi ostali možda će na trenutak pronaći sreću u ovom kolažu monodrame, mjuzikla, eseja i tragedije.

Slovenska plesačica i performerica Mala Kline od 1995. radi profesionalno, najprije u slovenskoj kompaniji En-Knap a kasnije i u kompaniji Ultima Vez Wima Vandekeybusa. Među najvažnijim slovenskim plesnim i novokazališnim autorima, svoj koreografski i redateljski rad ostvaruje samostalno i u suradnji s umjetnicima iz drugih područja.

The feverish quest for truth often leads to insanity, a frantic search for meaning, order and answers that result in chaos, zaum, and silence. Art asks questions because it is already ‘from the other side’. In the performance Bliss by a Slovenian dancer, choreographer and author, all these elements are mixed. The collective of very diverse performers, ranging from the stand-up comedian who isn’t, to the drag queen who would very much like to be, to the dancer who is more interested in why she is dancing than how, is connected by the need to be in a system without rules, where they can express themselves in the best, or only, way. The strategies of the six-member ensemble are completely different, from shock to niceness, and they contribute to this display of scene schizophrenia, more individually than in cooperation. Processing the results of this game of identity and appearance is hard work for those who need to replace disbelief with facts. Everyone else will, maybe, for a moment, find happiness in this collage of monodrama, musical, essay and tragedy.

Slovenian dancer and performer Mala Kline has worked professionally since 1995, first with the Slovenian company En-Knap, and later with Wim Vandekeybus’s company, Ultima Vez. Among the most important Slovenian dance and New Theatre authors, her own choreographic and directorial work is done both independently and in collaboration with artists from other fields.

October 23
Branko Brezovec (Croatia):
Saloma / Salome
22:30, Avenue Mall, Avenija Dubrovnik 16

Listopad / October 24

Branko Potočan (Slovenia)
Kroz oči dodira / Trough the Eyes of a Touch
20:00, Museum of Contemporary Art, Gorgona,
Avenija Dubrovnik 17

Ako bi ples, po nekim tvrdnjama, trebao ukinuti svoju glazbu kako bi pokret ostao u fokusu a upravo njegov ritam i onaj primarni, možda bi trebalo razmisliti i o vizualnosti plesa. Gledajući oko sebe, slovenski koreograf Branko Potočan zaključio je kako je ples, kao i suvremena zbilja, previše opterećena pogledom i izgledom. Od svih ljudskih osjetila pogled je postao primarno, ponekad i jedino, ali sigurno odlučujuće oruđe za ‘usvajanje’ izvanjskog svijeta. Stoga je u projektu ‘Kroz oči dodira’ Potočan svoju pažnju usmjerio na dodir kao osjet koji na početku života otvara i, najvjerojatnije, na kraju i zatvara naša vrata percepcije. Za humanu interakciju potreban je Drugi, i osnovno pitanje ove koreografije je kako tog Drugoga vidjeti i osjetiti, te kako se signali pritom miješaju, poništavaju ili pojačavaju, te koliko se pritom ‘slika’ mijenja. Jer, nažalost, nešto možemo gledati ali ne smijemo dotaknuti dok s druge strane, mnogo toga što dotičemo – ne želimo (ni) vidjeti.

Brano Potočan plesačku karijeru je započeo u Plesnom Teatru Ljubljana a nastavio u kompaniji Wima Vandekeybusa Ultima Vez. Po povratku u Sloveniju, tad već ne samo izvođač nego i koreograf, osnovao je skupinu Fourklor, s kojom već sedamnaest godina uspješno nastupa u matičnoj državi, ali i cijeloj regiji. Iako nije uvijek i jedni autor Fourklorovih produkcija, i ta skupina i Potočan sam konstante su slovenskog suvremenog plesa.

If dance should, due to some theory or other, abolish music to let movement be the focus, with just its rhythm being primary, maybe it would be necessary to consider the visual aspect of dance. Looking around, Slovenian choreographer Branko Potočan concluded that dance, just like contemporary reality, is overly burdened with views and appearance. Of all the human senses, sight has become the primary, sometimes the only, and certainly a decisive tool for ‘acquiring’ the outside world. For this reason, in the project Through the Eyes of Touch,  Potočan focussed his attention on the sensation of touch that, at the beginning of life opens and, probably, at the end closes our door of perception. For human interaction the Other is required, and the basic question of this choreography is how to see and feel that Other, and how that can mix, cancel or enhance signals, and how much it changes the ‘picture’. Because, unfortunately, some things we can see but are not allowed to touch, while, on the other hand, much that we touch, we don’t want to see (at all).

Branko Potočan’s dancing career started in Dance Theatre Ljubljana, and continued in Wim Vandekeybus’s company, Ultima Vez. After returning to Slovenia, already a choreographer even then, in addition to performing he founded the group Fourklor, with which he has been performing successfully for 17 years, in Slovenia and throughout the region. He is not the only author of Fourklor productions, Potočan and the group have been constants of Slovenian contemporary dance.

Ana Catarina Vieira / Angelo Madureira (Brazil/Croatia)
Nafta / Oil
21:30, Zagreb Dance Center, Ilica 10

U vrijeme ekonomskih kriza kao što je ova kojoj kraj vide samo mešetari ljudskim sudbinama i glasovima, dok dežurni katastrofičari prognoziraju svijetu ni dvostruko dno neće pomoći, ekonomija je druga po važnosti ‘ona riječ’. Prva je, naravno, još uvijek ali u sve većoj panici, nafta. Ona je svjetska tema, pa je i predstava koju u koprodukciji festivala Perforacije i riječke udruge Drugo more zaslužila tako zvučno ime. Riječ je o projektu brazilskih koreografa Ane Catarine Vieire i Angela Madureire temeljenog na povijesnim referencama, poput već pomalo zaboravljene priče o riječkoj rafineriji, preko kojih se bave temama ekonomije i ekologije, na razmeđi kojih stoji ponekad i puko preživljavanje. Uronjenost u kontekst, na čemu inzistira ova koprodukcija, povezuje iskusne brazilske umjetnike sa skupinom pet suvremenih plesača iz Rijeke.
Kako je riječ o gradu koji unatoč svojoj, barem za domaće prilike, iznadprosječno vitalnoj kulturnoj matrici suvremenom plesu nudi malo ili ništa, ova suradnja je iznimna prilika da svi profitiraju, kako bi ekonomije znanja i ekonomije plesa na način kako to najbolje znaju demonstrirale silu nad ekonomijom tranzicije. Dvostruko dno Drugog mora i Perforacija pokazat će, stoga, da fosili kao pokretačko gorivo ipak moraju imati i — alternativu.

Ana Catarina Vieira i Angelo Madureira brazilski su plesačko- koreografski par čija suradnja traje više od desetljeća.
O njezinoj uspješnosti i učinkovitosti svjedoči trinaest produkcija, od kojih su pojedine ovjenčane i brojnim nagradama, kako latinoameričkim tako i europskim. Jamac kvalitete ovog izuzetnog dua leži i u isprepletenosti klasičnog baleta i suvremenih tehnika, što upotpunjuje njihov i autorski i pedagoški profil.

In times of economic crisis such as this, in which the brokers in human destiny and votes, while the sentries of catastrophe predict that not even a double dip can help the world,  ‘economy’ is the second most important ‘it’ word. The first is, of course, ‘oil’. It is a global issue and this performance, a co-production from Perforations and the organization Drugo More from Rijeka, deserves that attractive name. This project from Brazilian choreographers Ana Catarina Vieira and Angela Madureira is based on historical references, such as the already forgotten story of the Rijeka refinery, through which they deal with issues of economy and ecology, at the crossroads of which sometimes stands basic survival. Immersion in this context, on which this co-production insists, links experienced Brazilian artists with a group of five contemporary dancers from Rijeka. As, despite Rijeka’s quite lively – at least  for this country – cultural scene, contemporary dance is rarely, or never, on offer. This collaboration is a great opportunity that benefits everyone, so the economies of knowledge and of dance can demonstrate power over an economy of transition. With this, the double dip of Drugo More and Perforations will show that fossils as a driving fuel still need to have — an alternative.

Ana Catarina Vieira and Angelo Madureira are Brazilian dancer-choreographers whose collaboration has lasted more than a decade. The proof of their success and efficiency is thirteen productions, of which some have received numerous awards, both in Latin America and Europe. The guarantee of the quality of this exceptional duo lies in the blend of classical ballet and modern techniques, which supplements their auteur and educational profile.

Listopad / October 25

Via Negativa (Slovenia)
MandićMachine; Tonight I Celebrate
20:00, Teatar &TD, Savska 25

Međunarodna izvedbena skupina sa sjedištem u Sloveniji, Via Negativa je posebna pojava na ex-yu prostorima. Skup izvođenju sklonih i za izvođenje spremih osobnosti najrazličitijih profesionalnih i privatnih biografija spojio je redatelj Bojan Jablanovec u jedinstveni kolektiv koji već cijelo desetljeće zabavlja publiku željnu kazališnih uzbuđenja drukčije vrste. Serija pojedinačnih radova okupljenih po grupnim prezentacijama s temom sedam smrtnih grijeha privukla je pažnju ne samo regionalno, već i Europe, što je rezultiralo promjenom strategije i odustajanjem od najavljenog samoukinuća. Danas etablirani članovi ove ne slobodne grupacije rade za projekt, dok je na početku projekt radio za njih. Via Negativa pristupila je mediju performansa i kazališta fleksibilno, ali asketski: njihova kritika je razorna i pametna, što je kombinacija koja provokativnost i estetizaciju stavlja u drugi plan.

MandićMachine

Jedan od najboljih slovenskih glumaca još uvijek donekle mlađe generacije, jedan od onih na koje se računa kako u ulogama gnjevnih mladih ljudi u modernom repertoaru tako i na postdramska iskakanja u suvremenom, Marko Mandić boluje od tipične glumačke kletve. Od toliko odigranih uloga ostali su mu fragmenti, i njegovo je unutarnje zrcalo slomljeno kao i on sam. Via Negativa mu je spas u kojem može sve što i kako želi, prvenstveno ponovno sklopiti i rasklopiti samoga sebe. Nakon što je u ranijim solo izvedbama sebe stavio u fokus dozirajući svoju prisutnost na najveću moguću mjeru, kao ‘MandićMachine’ se vraća ishodištu – svim svojim ulogama. Njih čak 37 ponavlja, ne u kronološkom slijedu, kako bi i na taj način ponovno pokazao tko je zapravo Marko Mandić.

Tonight I celebrate

‘Draga publiko, volim vas!’ lako je čuti na koncertu, ali ne i u teatru. Kazališni akteri to rade suptilnije, točnije radili su dok mladi glumac Slovenskog mladinskog gledališča Uroš Kaurin nije odlučio svoj performans posvetiti upravo publici. Njegov angažman u platformi Via Negativa tako dodaje onom njezinom manje negativnom aspektu, dok Kaurinu samom daje priliku da svoj glazbeni ukus i svoju narcisoidnost, igru sa zadanim i željenim/žuđenim identitetima, izvede iz vlastite kupaonice. Slavodobitna kombinacija zvonkog glasa, besprijekorne pjesmarice i požrtvovnog nastupa čini performans ‘Večeras slavim’ prvorazrednom atrakcijom svakog festivalskog programa. Ali, Kaurinu ne treba vjerovati… njegovo slavlje ima grotesknu notu koja se gledatelju vraća u lice.

An international performance group based in Slovenia, Via Negativa is a special phenomenon in ex-Yugoslavia. A set of characters who are predisposed and ready to perform, personalities with diverse professional and private biographies, joined together by the director Bohan Jablanovec into a unique collective which has already for a decade been entertaining audiences eager for theatrical thrills of a different kind. A series of individual pieces, gathered together by group presentations on the theme of the Seven Deadly Sins, has attracted attention  not just in this region, but also across Europe, and has resulted in a change of strategy and the abandonment of their planned self-cancellation. Today the established members of this ‘captive’ group work for this project, as, in the beginning, the project worked for them. Via Negativa approaches the medium of performance and theatre in a flexible way, but ascetically: their critique is destructive and smart, a combination that puts provocation and aestheticism into the background

Mandićmachine

One of the best Slovenian actors who is still of a somewhat younger generation, one of those who can be counted on in the roles of the angry young men of modern repertoire, but also for post-dramatic jumps into the contemporary, Marko Mandić suffers from the typical actors’ curse. From the many roles he has played, he is left with fragments, and his inner mirror is as broken as he is, himself. Via Negativa is his salvation, in which everything can be as he wishes, which is firstly to disassemble and reassemble himself. After making himself the focus of earlier performances, he now rations his own presence as much as possible, and as Mandićmachine he returns to his starting point – to all of his previous roles. He repeats 37 of them, not chronologically, so that he can, in that way, show again who Marko Mandić really is.

Tonight I Celebrate

“Dear audience, I love you!” is likely to be heard at a concert, but not in a theatre. Theatre actors do it more subtly, or, more specifically, they did do it more subtly, until a young actor with the Slovenian Youth Theatre, Uroš Kaurin, decided to devote his every performance to the audience. His involvement with the Via Negativa platform adds to its less negative aspect, while to Kaurin himself, it gives the opportunity, in a game with the default and preferred/desired identities, to perform in according to his musical taste and his own narcissism, from his own bathroom. A winning combination of a piercing voice, impeccable song and a devoted performance makes Tonight I Celebrate a first class attraction on any festival program. But Kaurin is not to be trusted… His celebration has a grotesque note that can come back to slap the viewer in the face.

Listopad / October 26

Perforations cooking team (Croatia)
Večera invazivnih vrsta / Invasive species dinner
20:00, Club SC (Student Center), Savska 25

Invazivna večera predstavlja ukusni pristup pokušajima kontrole invazivnih vrsta te spaja naizgled nespojivo: gastronomiju i zaštitu prirode. Invazivne strane vrste su one vrste koje su slučajnim ili namjernim unošenjem od strane čovjeka dospijele izvan područja svoje prirodne rasprostranjenosti, a u novom području uzrokuju ekološku i ekonomsku štetu. Uz činjenicu da danas predstavljaju jedan od najvažnijih razloga izumiranja vrsta i gubitka biološke raznolikosti u svijetu, invazivne vrste mogu negativno utjecati na ljudsko zdravlje i prouzročiti velike štete pojedinim granama gospodarstva. Jednom uspostavljene, populacije invazivnih vrsta je gotovo nemoguće istrijebiti, a troškovi njihove kontrole izrazito su visoki i perpetualni, te se u Europi procjenjuju na približno 12 milijardi eura godišnje.

Stoga, if you cannot beat the enemy – eat the enemy! Korištenjem invazivnih vrsta u kulinarstvu direktno se smanjuju gustoće njihovih populacija i utjecaj na domaće vrste, što opet smanjuje i troškove njihove kontrole, a vas čini sretnima i sitima. Ultimativna win-win situacija. Ne čudi stoga što su institucije zadužene za upravljanje invazivnim vrstama u SAD-u prepoznale gastronomiju kao važno sredstvo u upravljanju ovim vrstama i što već postoji nekoliko invazivnih kuharica, ali i cijeli pokret ljudi koji se hrane isključivo invazivnim vrstama, tzv. invazivori.

Na ovoj jedinstveno ukusnoj i edukativnoj večeri imati ćete priliku probati jela pripravljena od nekoliko invazivnih biljaka i životinja te naučiti ponešto o njima. Oni najhrabriji moći će sve zaliti šalicom čaja od ambrozije ili zlatnice, i zasladiti ju žlicom meda od bagrema – koji je, što vjerojatno niste znali, također invazivna strana vrsta.

Let’s eat our way through the problem of invasive species!

Dobar tek!

Invasive dinner is delicious approach that attempts to control invasive species and combines the seemingly incompatible: gastronomy and environmental conservation. Invasive alien species are those species that are accidentally or deliberately introduced outside their natural habitat; in the new habitat they can cause ecological and economic damage. Besides the fact that today they present one of the main causes behind the extinction of species and the loss of biodiversity in the world, invasive species can also negatively affect human health and cause great damage to certain sectors of the economy. Once established, populations of invasive species are almost impossible to destroy, and the cost of controlling them is high and perpetual; in Europe it is estimated to be approximately 12 billion euro per year.

So, if you can not beat the enemy – eat the enemy! Using invasive species in cooking, directly reduces the density of their population and the impact on native species, which in turn reduces the cost of their control, and makes you feel happy and satisfied. The ultimate win-win situation. No wonder then that the institutions responsible for the management of invasive species in the United States recognize gastronomy as an important tool in managing these species, or that there are already a few invasive species cookbooks, or that there is a whole movement of people called ‘invasivores’, who exclusively eat invasive species.

On this uniquely delicious and educational evening you will have the opportunity to try food made from invasive plants and animals, and learn about them. The bravest will have opportunity to pour a cup of tea of ambrosia or goldenrod, and sweeten it with a spoon of acacia honey – which is also, as you probably know, an invasive alien species.

Let’s eat our way through the problem of invasive species!

Bon appetit!

Ljiljana Tasić / Dušan Bročić (Serbia)
Hot Lollipop
22:00, Teatar &TD, Savska 25

Gotovo potpuno umirena plesna predstava, rock koncert na kojem je nešto otišlo u pogrešnom pravcu, ili koncept? ‘Hot Lollipop’ je sve to, na svoj način. Zanima ga stilizacija i ekspresija kroz minimalnu ekspresivnost. Ovo zaista jest plesni komad u kojem ima jako malo plesa, i glazbeni performans u kojem je glazba, paradoksalno, u drugom planu. Ili možda ipak nije…

Niska kaloričnost ove ‘vruće lizalice’ nije stoga plod dijetne, i zato primarno namjerne, svjesne i samonametnute sputanosti, nego konteksta u kojem su velike geste već toliko kontaminirane da izlaz postoji samo u nedjelovanju ili pak u djelovanju minimalnom razinom artificijelnosti i naglašenog ‘pozerstva’. Na višak informacija pop kulture i kulture koja više i nije nego pop, Ljiljana Tasić i Dušan Bročić odgovaraju tišinom geste, koja minimalističkim ponavljanjem sama sebi tek stvara prostor za djelovanje. To djelovanje više je od deskripcija, a manje od poziva na konkretnu akciju. Ova lizalica je zato puno iznenađenja, skrivenih ispod (pre)slatkog preljeva.

Beogradski interdisciplinarni umjetnički tandem Ljiljana Tasić i Dušan Bročić regionalnu su pažnju na sebe skrenuli upravo ovom produkcijom. Nastala kao svojevrsni nastavak komada ‘Single-angle’ kojim su počeli suradnju. Ljiljana Tasić pripadnica je suvremenoplesne scene Srbije koja polako sama sebi stvara mjesto pod suncem, dok je Dušan Bročić vizualni umjetnik koji je u svijet plesa ušao komponiranjem i izvođenjem elektroničke glazbe za nezavisne produkcije.

An almost entirely calm and peaceful dance performance, a rock concert in which something went in the wrong direction, or a concept? Hot Lollipop is all that, in its own way. It is interested in stylization and minimal expression. This is a dance piece in which there is actually very little dancing, and a musical performance in which the music is, paradoxically, in the background. Or maybe not…

The low calorie content of these ‘hot lollipops’ is not due to a diet, or a deliberate, conscious and self-imposed constraint, but to a context in which great gestures are already so contaminated that the only possible way out is non-action, or action with a minimal level of artificiality or obvious ‘posing’. In response to the overload of information in pop-culture and culture that is no longer ‘pop’, Ljiljana Tasić and Dušan Bročić answer with the silence of gesture, which opens for itself a space for action with minimalistic repetition. The effect is more than description, and less than a call for concrete action. That is why this lollipop is full of surprises hidden beneath the (too) sweet toppings.

This Belgrade-based interdisciplinary artistic duo, Ljiljana Tasić and Dušan Bročić, have attracted regional attention with this production. Formed as a kind of continuation of the piece Single Angle, on which they first collaborated, Ljiljana Tasić is a member of the Serbian contemporary dance scene, which is slowly creating its own place in the sun, while Dušan Bročić is a visual artist who has entered the world of dance with the composition and performance of electronic music for independent productions.

Instalacije / Installations →

Listopad / October 17 – 26
Petra Zanki / Tea Tupajić (Croatia)
Igra objektima / Game with Objects
Teatar &TD, Savska 25

U želji da obrnu perspektivu i u fokus postave one koji su uvijek izvan njega, Petra Zanki i Tea Tupajić prije nekoliko su godina počele, specifičnim projektom  nazvanim jednostavno Curators’ Piece nagrizati matricu mehanizma funkcioniranja suvremenoumjetničke scene. Nije baš da se prije njih nitko nije bavio onima koji programiraju, selektiraju, odlučuju, prosuđuju i predlažu, ali ovakvoj vrsti suradnje nitko se nije nadao. U koordinaciji s mnogim europskim i svjetskim kulturnim ustanovama, ali i izvaninstitucionalnom scenom, okupile su niz kustosa s područja uglavnom izvedbenih umjetnosti koji su pristali da budu ‘s ove strane zrcala’. Dio projekta ‘Curators’ Piece’ je i video ‘The Game with Objects’, svojevrsni psihološki test i obična igra koja kroz zamišljanje i izlaganje priča vježba maštu, retoriku, pristupačnost i običnost onih koji umjetnosti, ponekad, kroje sudbinu.

Autorski tandem na granici mogućeg, performerica i autorica Petra Zanki i redateljica Tea Tupajić, savršeni su par za ono što im je namjera: približiti se onima koji imaju određenu i još teorijski neodređenu moć i tako ih pokušati ne razvlastiti nego ukrotiti. Spremnost kojom se žrtve predaju Šala je u ovom projektu postala istina, a parodija umjetnosti – umjetnost sama.

In order to reverse the perspective and put the focus on those who are always outside of it, Petra Zanki and Tea Tupajić started the specific project called simple The Curators’ Piece, to erode the matrix of mechanisms that function in the contemporary art scene. It is not that no one has before dealt with those who program, select, decide, judge and suggest, but no one before hoped for this kind of cooperation. In coordination with many European and worldwide cultural institutions, as well as the non-institutional scene, they gathered a series of curators, mainly in the field of performing arts, who agreed to be ‘on this side of the mirror’. Part of The Curators’ Piece is also the video The Game with Objects, a kind of psychological test and a simple game in which, imagining and presenting stories exercises fancy, rhetoric, accessibility, and the ordinariness of those who, sometimes, create the destiny of art.

An auteur duo on the border of the possible, performance artist and author Petra Zanki and film maker Tea Tupajić, are the perfect match for what they intend: to draw closer to those who have defined but also theoretically undefined power and attempt, not to strip them of it, but to tame them. In this project the joke becomes that truth and parody of art – art itself.

Listopad / October 21 – 26
Martina Nevistić (O.N.E.) (Croatia)
Evolucija Revolucija /Evolution Revolution
Teatar &TD, Savska 25

Priroda je oduvijek bila inspiracija. Nažalost, češće kao mrtva. Umjesto cvijeća u vazi i mrtvih riba na novinama, performans ‘Evolucija revolucija’ uzima prirodu kao živu tvar i bavi se ne samo njom nego čovjekovim odnosom prema/s njom. Ekološka tematika ovog rada pretpostavlja i takvu svijest posjetitelja te dobru volju da uvidi kolike su značajne promjene koje svojim djelovanjem ali i nedjelovanjem čovjek može napraviti (u) prirodi. Uz uobičajena pitanja kad je posrijedi odnos čovjeka i njegovog okoliša, ovaj rad bavi se i samim čovjekom i njegovim stremljenjima, jer odnos prema prirodi nerijetko i vrlo točno reflektira i odnos čovjeka prema – ljudima. Tko ne voli pse, ne voli ni ljude, kaže se. Gdje su pritom amebe? Martina Nevistić možda želi pokazati kako su u evolucijskom smislu oni bez svijesti o okolišu zapravo amebe.

Martina Nevistić suvremena je plesačica i koreografkinja, članica Zagrebačkog plesnog ansambla. Posljednjih godina javlja se i autorskim projektima koji su sve udaljeniji od plesa,  iako nikad potpuno. U čestoj suradnji s također izvođačicom, ali i likovnom umjetnicom Ivom Korenčić, producira radove na granicama njihovih ‘primarnih’ disciplina.

Nature has always been an inspiration. Unfortunately, more often when dead, as ‘still life’. Instead of flowers in a vase, or a dead fish in newspaper, the performance Evolution Revolution takes nature as a living substance, and deals not only with it, but also with the human relationship to/with it. The ecological theme of this piece assumes that the viewer is conscious of and willing to see what significant effects human action or inaction can have on nature. Along with the common questions about the relationship between man and the environment, this work deals with man himself, and his aspirations, because the relationship to nature often very accurately reflects the relationship of man to people. It is said that the person who doesn’t like dogs does not like people. What about amoebas? Martina Nevistić perhaps wants to show that, in evolutionary terms, those without environmental consciousness are amoebas.

Martina Nevistić is a dancer and choreographer, and a member of the Zagreb Dance ensemble. In recent years she has appeared in auteur projects away from the dance world, but always in some way connected to it. In frequent collaboration with the performer and artist Iva Korenčić, she produces works on the borders of their ‘primary’ disciplines.

Listopad / October 22 – 25
Dance Lab Collective (Croatia)
Is-land
Gliptoteka HAZU, Medvedgradska 2

Što je važnije iskustvo ili znanje? Je li potrebno vidjeti rad, čak i plesni, ili se o njemu sve može i posredno saznati? Vrijedi li više osobna rekonstrukcija, pa makar i spajanjem iz različitih izvora prikupljenih dijelova, ili pak jedinstveni čin prisutnosti konkretnoj izvedbi? Ova i slična pitanja postavlja rad skupine autora, a prema konceptu Petre Hrašćanec Herceg naziva ‘is-land’. Riječ je o site specific komadu kojem je koreografija samo ishodište, dok tek tragovi i refleksije jednokratnog performansa postaju rad u svim njegovim multimedijalnim modifikacijama.

Koreografkinju je inspirirala posebnost otočića Taljurić, okrugle ravne ploče nevelikog promjera i bez vegetacije na rubu Kornatskog arhipelaga. Iznimnost ove arhitekture bez arhitekta i njezin usamljeni položaj čine njegovu eksploataciju nemogućom, i zato se u ovom radu ambijentalno izvedena koreografija prenosi slikom i tonom u galerijski ili kazališni kontekst. Ponovno sklopljeni, tragovi koreografije čine njezinu izvedbu ponovno mogućom. Kako su ti tragovi doprinos različitih umjetničkih osobnosti, i ovaj potvrđuje da nijedan čovjek nije ‘o-tok’.

Prije produkcijska platforma nego plesni ansambl, dance-lab collective prisutan je na hrvatskoj suvremenoplesnoj sceni već više od deset godina. Petra Hrašćanec Herceg članica je zagrebačkog Studija za suvremeni ples, a kao koreograf se javlja unazad nekoliko sezona s projektima koji plesu daju i druge dimenzije. Takav je i ‘is-land’, ostvaren uz pomoć cijelog tima suradnika, među kojima su istaknuti domaći i inozemni dramski, filmski, glazbeni i likovni umjetnici: Saša Božić, Zdravka Ivandija, Danko Stjepanović, Nenad Sinkauz,  Josip Visković, Bruno Pocheron.

Which is more important: experience or knowledge? Is it necessary to see a piece, even a dance piece, or is it possible to learn everything about it indirectly? Is personal reconstruction worth more, even when put together from different sources of collected parts, than the single act of presence at a specific performance? These and similar questions are raised in this group work by concept from Petra Hrašćanec Herceg, called is_land. It is a site-specific piece in which the choreography is only the beginning, as the traces and reflections of this one-time performance become the piece with all of her multimedia modifications. The choreographer was inspired by the uniqueness of the small island of Taljurić, a flat, round slab, small in diameter and without any vegetation, on the the edge of the Kornati archipelago. The uniqueness of this architecture without an architect, and its lonely position, makes its exploitation impossible, and therefore, in this piece, the ambient performed choreography is transferred by image and sound into the gallery or theatre context. Once re-assembled, the traces of choreography make her performance once again possible. These traces contribute to different artistic personalities, and this confirms that no man is an is_land.

Previously a production platform, rather than a dance ensemble, dance-lab collective has been present on the Croatian contemporary dance scene for over ten years. Petra Hrašćanec Herceg is a member of the Zagreb Studio for Contemporary Dance, and has worked as a choreographer in the last few seasons with projects that give dance other dimensions. is_land is such a project, achieved with the help of a whole team of collaborators, including prominent local and international drama, film, music and visual artists: Saša Božić, Zdravka Ivandija, Danko Stjepanović, Nenad Sinkauz, Josip Visković, Bruno Pocheron.

DUBROVNIK

Listopad / October 27

Via Negativa (Slovenia)
MandićMachine; Tonight I Celebrate
20:00, Art radionica Lazareti, Frana Supila 8

Međunarodna izvedbena skupina sa sjedištem u Sloveniji, Via Negativa je posebna pojava na ex-yu prostorima. Skup izvođenju sklonih i za izvođenje spremih osobnosti najrazličitijih profesionalnih i privatnih biografija spojio je redatelj Bojan Jablanovec u jedinstveni kolektiv koji već cijelo desetljeće zabavlja publiku željnu kazališnih uzbuđenja drukčije vrste. Serija pojedinačnih radova okupljenih po grupnim prezentacijama s temom sedam smrtnih grijeha privukla je pažnju ne samo regionalno, već i Europe, što je rezultiralo promjenom strategije i odustajanjem od najavljenog samoukinuća. Danas etablirani članovi ove ne slobodne grupacije rade za projekt, dok je na početku projekt radio za njih. Via Negativa pristupila je mediju performansa i kazališta fleksibilno, ali asketski: njihova kritika je razorna i pametna, što je kombinacija koja provokativnost i estetizaciju stavlja u drugi plan.

MandićMachine

Jedan od najboljih slovenskih glumaca još uvijek donekle mlađe generacije, jedan od onih na koje se računa kako u ulogama gnjevnih mladih ljudi u modernom repertoaru tako i na postdramska iskakanja u suvremenom, Marko Mandić boluje od tipične glumačke kletve. Od toliko odigranih uloga ostali su mu fragmenti, i njegovo je unutarnje zrcalo slomljeno kao i on sam. Via Negativa mu je spas u kojem može sve što i kako želi, prvenstveno ponovno sklopiti i rasklopiti samoga sebe. Nakon što je u ranijim solo izvedbama sebe stavio u fokus dozirajući svoju prisutnost na najveću moguću mjeru, kao ‘MandićMachine’ se vraća ishodištu – svim svojim ulogama. Njih čak 37 ponavlja, ne u kronološkom slijedu, kako bi i na taj način ponovno pokazao tko je zapravo Marko Mandić.

Tonight I celebrate

‘Draga publiko, volim vas!’ lako je čuti na koncertu, ali ne i u teatru. Kazališni akteri to rade suptilnije, točnije radili su dok mladi glumac Slovenskog mladinskog gledališča Uroš Kaurin nije odlučio svoj performans posvetiti upravo publici. Njegov angažman u platformi Via Negativa tako dodaje onom njezinom manje negativnom aspektu, dok Kaurinu samom daje priliku da svoj glazbeni ukus i svoju narcisoidnost, igru sa zadanim i željenim/žuđenim identitetima, izvede iz vlastite kupaonice. Slavodobitna kombinacija zvonkog glasa, besprijekorne pjesmarice i požrtvovnog nastupa čini performans ‘Večeras slavim’ prvorazrednom atrakcijom svakog festivalskog programa. Ali, Kaurinu ne treba vjerovati… njegovo slavlje ima grotesknu notu koja se gledatelju vraća u lice.

An international performance group based in Slovenia, Via Negativa is a special phenomenon in ex-Yugoslavia. A set of characters who are predisposed and ready to perform, personalities with diverse professional and private biographies, joined together by the director Bohan Jablanovec into a unique collective which has already for a decade been entertaining audiences eager for theatrical thrills of a different kind. A series of individual pieces, gathered together by group presentations on the theme of the Seven Deadly Sins, has attracted attention  not just in this region, but also across Europe, and has resulted in a change of strategy and the abandonment of their planned self-cancellation. Today the established members of this ‘captive’ group work for this project, as, in the beginning, the project worked for them. Via Negativa approaches the medium of performance and theatre in a flexible way, but ascetically: their critique is destructive and smart, a combination that puts provocation and aestheticism into the background

Mandićmachine

One of the best Slovenian actors who is still of a somewhat younger generation, one of those who can be counted on in the roles of the angry young men of modern repertoire, but also for post-dramatic jumps into the contemporary, Marko Mandić suffers from the typical actors’ curse. From the many roles he has played, he is left with fragments, and his inner mirror is as broken as he is, himself. Via Negativa is his salvation, in which everything can be as he wishes, which is firstly to disassemble and reassemble himself. After making himself the focus of earlier performances, he now rations his own presence as much as possible, and as Mandićmachine he returns to his starting point – to all of his previous roles. He repeats 37 of them, not chronologically, so that he can, in that way, show again who Marko Mandić really is.

Tonight I Celebrate

“Dear audience, I love you!” is likely to be heard at a concert, but not in a theatre. Theatre actors do it more subtly, or, more specifically, they did do it more subtly, until a young actor with the Slovenian Youth Theatre, Uroš Kaurin, decided to devote his every performance to the audience. His involvement with the Via Negativa platform adds to its less negative aspect, while to Kaurin himself, it gives the opportunity, in a game with the default and preferred/desired identities, to perform in according to his musical taste and his own narcissism, from his own bathroom. A winning combination of a piercing voice, impeccable song and a devoted performance makes Tonight I Celebrate a first class attraction on any festival program. But Kaurin is not to be trusted… His celebration has a grotesque note that can come back to slap the viewer in the face.

Listopad / October 28

Manuel Pelmus (Romania)
Inkonst
20:00, Art radionica Lazareti, Frana Supila 8

I plesna predstava ima svoj početak i kraj, ali oni su nešto drukčiji nego kod ostalih izvedbenih umjetnosti. Ples nikad ne počinje prvim korakom, nego tišinom prije njega. Vrlo brzo, međutim, nastupa hijerarhijski zadana podjela osjetila kojima se percipira ples, i vid dolazi na prvo mjesto dok sluhu ostaje tek glazba, dah i korak. Ovim ‘posljednjim stvarima’, svojevrsnom eshatologijom plesa, bavi se koreograf i izvođač Manuel Pelmus. On prikuplja ostatke plesa, ali ne kao relikvije kojima se treba klanjati, nego kao višak spreman za reciklažu i daljnju proizvodnju izvedbenosti. Umjesto plesačkog tijela, čuju se njegovi odjeci, a pokret sam je već prepričan. Odsutnost jednog osjetila izoštrava ostala, kaže se, ali Pelmusov komad ne izoštrava samo osjetila, nego i ono što bi, po jedno filozofskom principu, ona trebala puniti sadržajem.

Jedan od najvažnijih predstavnika rumunjskog suvremenog plesa Manuel Pelmus individualnu je karijeru započeo 1998. Iako zbog svoje sklonosti konceptualnom plesu prepoznat u međunarodnom kontekstu, nerijetko se bavi i situacijom kod kuće, a kako mu ples nije jedino izražajno sredstvo i ne smatra da bi trebalo biti, čuven je postao po nizu performansa naslova ‘Rumunjska povijest plesa’ kojima je intervenirao u programe najvećih europskih plesnih i kazališnih festivala.

Even a dance performance has a beginning and an end, but they are somewhat different from other performing arts. Dance never starts with the first step, but with the silence before it. Very quickly, however, occurs the default hierarchical division of the senses which are used to perceive the dance, and vision comes to the fore, while the ears are left with only the music, the breath, and the footsteps. These ‘last things’, a kind of eschatology of dance, are what interests the choreographer and performer Manuel Pelmus. He collects remnants of dance, but not as relics that should be worshipped, but as surplus, ready for recycling and further production of performance. In place of a dancing body, its echoes are heard, and the movement itself is already retold. The absence of one sense sharpens the others, it is said, but, in Pelmus’s piece, it doesn’t only sharpen the senses, but also that which it should, according to one philosophical principle, fill with content.

One of the most important representatives of Romanian contemporary dance, Manuel Pelmus’s individual career began in 1998. Although well known internationally for his inclination for conceptual dance, he often also works in his home context, and even though dance, to him, is not the only means of expression, and he doesn’t believe it should be, he has become famous for a series of performances entitled A Romanian History of Dance, with which he has been in the programs of some of Europe’s biggest dance and theatre festivals.

Listopad / October 29

Božidar Jurjević (Croatia)
bez naziva / no name
20:00, Art radionica Lazareti, Frana Supila 8

U vremenu toliko punom apsurda i paradoksa da je i sam kraj povijesti povijest već pregazila,

pitati se što je povijest, pogotovo iz takozvane perspektive takozvanog malog naroda, iluzorno je koliko i čekati njezine partikularne ili univerzalne završetke. Čak više ni hodanje gol i bos ne pomaže, barem tako smatra Božidar Jurjević. Ne pomaže, ali ni ne odmaže, nego predstavlja jednostavni oblik života, poput onog davnog lektirnog uzgajanja vlastitog vrta ili poslovičnog pometanja pred vlastitim vratima. Spojivši nespojive sintagme, i njihove konkretne posljedice, Jurjević ide iz krajnosti u krajnost, od bosonogog performera postaje konzument i klijent globalnog hotelskog lanca. Kao što veliki hoteli više nisu za male ljude, tako ni velika povijest više nije za – ikakve. Zapravo, kaže u opisu svojeg rada ovaj dubrovački umjetnik: nema više povijesti, postoje samo ručnici. Mala osveta njihovom krađom možda je čin nemoći,ali i zametak pobune.

Jedan od rijetkih koji se u zbilji domaćih izvedbenih i likovnih umjetnosti odlučio za performans kao primarni i gotovo jedini umjetnički izraz, Dubrovčanin Božidar Jurjević kao da je ostatak neke prošle matrice. Međutim, u tranziciji kojom se s otporom i pripadajućom boli bavi u većini svojih radova, on je izuzetno aktivan. I prisutan, kad god se ta prisutnost ne mjeri parametrima koji s umjetnošću nemaju veze.

Time is so full of absurdity and paradox that the end of history is trampled by history itself.

To ask yourself what is history, especially from the so-called perspective of a so-called small nation, is as illusory as waiting its particular or universal end. Not even walking naked and barefoot helps any more, or at least Božidar Jurjević doesn’t think so. It does not help, but nor does it hinder, rather represents a simple way of life, as in old stories, when people were growing their own vegetables, or, proverbially, sweeping in front of their own door. Connecting unconnected phrases and their specific consequences, Jurjević goes from one extreme to another; the barefoot performer becomes the consumer and the client of a global hotel chain. Big hotels are no longer for little people, just as great history is no longer for – anyone. In fact, when describing his work, this artist from Dubrovnik says that there is no history any more, there are only towels. The small revenge of stealing them might be an act of helplessness, but also the seed of a rebellion.

One of those rare local performing and visual artists who has chosen performance as his primary and almost sole artistic expression, Božidar Jurjević, from Dubrovnik, is like the remnant of some past matrix. However, in transition, with its resistance and accompanying pain, which most of his works deal with, he is extremely active. He is also present, whenever that presence is not measured with parameters that have nothing to do with art.

Alen Čelić (Croatia)
Koncert / Concert
22:00, Art radionica Lazareti, Frana Supila 8

Nastupom Novih Gondolijera, mladog hrvatskog benda s iskusnim članovima, Perforacije 2011. u posljednjoj od svojih ovogodišnjih mijena dubrovačkoj publici daju jednostavno – kvalitetnu zabavu i nadu da domaća kvalitetna glazba još ima šanse. Grupa je nastala 2008. kad su je odlučili oformiti gitarist, vokalist i autor pjesama Alen Čelić i bubnjar Veljko Popović. Nakon pridruženja novih članova, Ive Jerkunice na trubi i kontrabasista Piera Malkoča, New Gondoliers polako postaju klupska atrakcija. S iskustvom iz ranijih angažmana, jer Čelić je bio frontman berlinskih  demobendova Slaven Bilic & The Red Cards i Ghostlovers a Popović član u Hrvatskoj bitno poznatijeg Leuta Magnetika, i nizom nastupa po manjim prostorima duž jadranske obale, ovaj bend tek gradi svoju reputaciju među ljubiteljima takozvanog alternativnog folka, koji oni sami nazivaju gentleman pop. Na trenutke nježna na način americane, suptilna zbog natruha jazz instrumentarija, te ugodna u interakciji s publikom, glazba New Gondoliersa tek sigurno ima svoju hrvatsku sljedbu, ali do nje još treba doprijeti. Uvrštenje u program Perforacija, i pomalo izdvojena ali časna pozicija na samom kraju festivala, ne može u tom smislu biti kontraproduktivno.

With performance of the New Gondoliers, a young Croatian band with experienced members, Perforations 2011 wants to give audiences in Dubrovnik some simple, but high-quality entertainment, and the hope that good local music still has a chance. The group was formed in 2008 by guitarist/vocalist/songwriter Alen Čelić and drummer Veljko Popović. After the addition of new members Ivo Jerkunica, on trumpet and Pier Malkoč on double bass, the New Gondoliers have slowly become a club attraction. With the experience from their previous engagements (Čelić was the lead singer of bands Slaven Bilic & The Red Cards and Ghost lovers while Popović was a member of the Leut Magnetik) and a series of gigs at small venues along the Adriatic coast, this band has built its reputation among fans of so-called alternative folk, which they themselves call ‘gentleman pop’. At times gentle, in the American way, subtle with a trace of jazz instruments, and lovely audience interaction, the music of the New Gondoliers certainly has a Croatian following, but needs to extend it further. Their appearance on the Perforations program in the slightly separated, but venerable, position at the end of the festival, cannot, in this sense, be counterproductive.