Dance

“Between” is a duet that started from pure movement, everything else came after: the movement inspired the concept and the music was composed as the piece evolved. Moreover it is a creation from two equal choreographers. Though it can be interpreted in various ways, this duet is a metaphore for the emotional luggage we carry with us that often stops us from progressing and gets us stuck, so we are left in a sort of limbo until we choose to confront it or let it go.

Within this video I wanted to express the emotions caused while being lied and cheated on. For me seeing myself in this dreadful situation became my inspiration. It was very interesting to observe my inner condition travelling from total destruction to hysterical need to survive not to get drown in the evil harmful thoughts. The most depressive event of my early years became the most powerful taking me closer to my instincts and empowering me.

She presented here author's work “Die (Women”) within the finals of the 22nd Festival of Choreographic Miniatures (2018), Serbia and on a  F. A. K. I. festival in Zagreb (2019). She collaborates as a choreographer with director Luka Jovanov on the plays “Clear end”  (2018, Serbia), ” Love reading (2019, Serbia)”, Back to the sea, far from the island ” (2020, Serbia). At the 23rd Festival of Choreographic Miniatures in 2019, she won the third prize, the Critics' Award and the Encouragement Award with the choreographic miniature “Vita Brevis”.At the 24th Festival of Choreographic Miniatures in 2020, she realized theatre play “Vita Brevis”at Bitef Theater (2020, Serbia).She worked as an assistant of theater director and choreographer at ” Theather Duško Radović” on a play ” Stolen prince and listen princess ” (Serbia,2021).

The play Vita Brevis is based on motifs from the book of the same name by Justin Gorder, which through the memories of the main character re-examines the consequences of losing tenderness, touch, support, security, intimate relationship in general, essentially love. The line of the narrative flow is the internal process of reconciliation with the loss in stages defined through the research of Freud's work of sadness and personal experiences of the participants. It defines the path to recovery, cross-cut by circumstances, everyday life, time that does not wait for any emotional breakdown to be completed and healed, and combines tenderness towards oneself with scars that arose as a result of losing that same tenderness. This is a show about happiness, vengeance, games, inconvenience, low passions, horrors, contradictions. This is a play about beats

V solu se, kot napove njegov naslov »Ljubezen: v treh delih«, ukvarjam z ljubeznijo in tremi načini, kako jo doživljam. Načini so med sabo jasno ločeni, vsi imajo prostorsko isto izhodišče, njihovi trojnosti sledi tudi zvočna podlaga. Tako je koreografija razdeljena na tri dele, ki pa še vedno nosijo podobnosti, v moji izkušnji doživljanja ljubezni so namreč njihovi načini prepleteni; v prvem se zlahka znajde nekaj tretjega, v drugem nekaj prvega. Čustva ki se pojavljajo in moje reakcije nanje ostajajo podobni, ker vsi še vedno izhajajo neposredno iz mene. Posebno pozornost posvečam tudi svoji orientaciji v prostoru in odnos do gledalca, kakršnega s to vzpostavljam; frontalna orientacija, ki namiguje, da plešem zanj, ali stanje brez vzpostavljenega fronta, kjer se gibljem zase, ne zanima me njegova prisotnost. As the title »Love: in three parts« suggests, in this solo I approach love and the three ways I experience it. The ways are clearly divided, all have the same starting point in space and the sound design also follows their trinity. The choreography is therefore segmented into three parts, which do still remain connected as, in my experience of love, the ways intersect as well. The first one may contain some of the third, the second some of the first. The emotions appearing and my reactions to them remain similar because they all stem directly from me. I pay special attention to my orientation in space and the consequential relation to the spectator; the frontal orientation which suggests I’m dancing for a watcher, or a state without an established front, where I am moving for myself without regard for the spectator. V prvem delu se ukvarjam z nežnostjo, prijaznostjo, afekcijo, željo po pomoči ljubljenemu, kjer ves svoj fokus postavljam na drugo osebo in njeno dobrobit. Tu nase pozabim, pozornosti ne posvečam svojim potrebam, svoji prezentaciji ostalim, vem samo za svojo ljubljeno fiksacijo. Primer tega načina je, ko na primer nekdo zboli in potrebuje pomoč, lahko pa tudi zgolj nekdo/nekaj, ki mi ljubezni ne (more) vrača(ti). The first part is all about tenderness, kindness, affection, the wish to help the loved one. I direct my focus at the other person and their welfare. I forget about myself, my needs, the way I present myself to others, I only know about my beloved fixation. An example of this is when someone gets sick and needs assistance, or perhaps just when someone/thing cannot/will not return the love. Z drugim delom doživljam zabavo, strast, viharnost, počutim se živo. Tu se mi ne zdi, da svoj fokus usmerjam v ljubljeno, saj do tega pride samo od sebe. V teh trenutkih sem z ljubljenim najbolj povezana, en drugega zabavava, navdušujeva, ko ta del plešem, si predstavljam, da sem na avanturi. Ker pa je ta način tako viharen, tako poln občutkov, dogodkov in energije, pa nikoli ne traja zelo dolgo. Utruja, zahteva veliko kondicije, pa naj bo to fizična ali čustvena. With the second part I experience joy, passion, turbulence, vitality. I do not feel that I am directing my focus toward the loved one, it happens spontaneously. During those moments I feel a strong connection with the loved one, we entertain and thrill each other, as I dance this part I imagine that I am on an adventure. Because of how this way is so turbulent and full of emotions, sensations, events and energy, it cannot last a long time. It is tiring, requires a lot of physical, as well as mental stamina. Tretji del je pogosto posledica utrudljivosti prvih dveh. Najočitnejši občutek je dolgčas, z njim pa tudi naveličanost, opazni postajajo ustaljeni vzorci, lahko pride do frustracije. Pri tem načinu ljubezni se moj fokus povrne name. Tu opazujem, končno se začnem zavedati svoje prezentacije ostalim, ki je bila pozabljena v prvem delu, opazim tudi manj očarljive lastnosti ljubljenega. Zdi se, da zgolj zapravljam čas, pa vendar ima tudi ta čas svojo vlogo; nudi mi počitek in me prizemlji. The third part is often a consequence of the first two. The most obvious feeling is boredom, accompanied by apathy, noticing of established patterns, often also some frustration. With this way of love, my focus returns to myself. As I observe I finally start to gain consciousness of my presentation to others, forgotten in the first part, I start to notice the less charming attributes of the loved one. I may feel like I am wasting time, but this time does have an important role; it grounds me and allows me to rest. Za izvajanje teh delov se trudim njim pripisane občutke doživljati medtem ko jih plešem, moj ples pa (se trudi) biti njihov čim bolj avtentičen prevod v gibanje. Pri tem mi pomagajo mentalne slike, kot je pri drugem delu omenjena predstava avanture, prav tako pa tudi zvočna podlaga, katero sem sestavila iz zvokov videov, ki sem jih brez specifičnega cilja snemala preteklo leto. V njih nastopajo moji najbližji prijatelji, družina, sošolci, pojavi se zvok prizora ob jezeru, ki sem ga posnela, ko sem se preselila zavoljo študija plesa… vsi torej predstavljajo moje ljubezni, preko sola pa so razvrščeni glede na tri skupine občutkov, ki jih v meni vzbudijo. To perform these parts, I try to sense their respective feelings as I am dancing them, and my dance is (trying to be) their upmost authentic translation into movement. For that, I help myself with mental images (as is the imagining that I am on an adventure in the second part) and the sound design, which I assembled out of the sounds of videos I had been filming without a specific purpose for the last year or so. The videos display my closest friends, family, schoolmates, there is a sound from a scene next to a lake, which I filmed when I moved to a foreign country to study dance… all of them representing my loves, perhaps slightly tainted by some sadness because of their perceived absence or inaccessibility.

Dis Dance

These past two years we keep listening and reading the following phrase: “Please keep your distance”.

Social Distancing is something new in our lives at least as a rule. We somehow got obliged to not get close to each other, to hide our mouths and smiles, to gradually distance ourselves from the outer world.

Isolation became part of our everyday routine, or just our main routine. We started working, eating, reading, practising, rehearsing, having fun, working out, socialising just within our four walls, keeping the distance, away from what seems to be real , away from what we know and what we need, away from any other interaction. We were far and we came even further from the essence of our human existence.

Our idea started off with questioning all the above, while living in countries and societies that suddenly changed. Our roles shifted within, as people and as artists.

So where do we fit now?

What is our disDance?

Through this project, we want to explore every potential meaning of the word distance and its practicality through movement and dance, combining it with the possibilities of technology and projections.

Distance as a rule, as a law, as an obligation, as an oppression.

Distance as a choice, as a geographic element, as a walk, as a safe space.

Distance as proximity from me, you, the other, from a viewer, a reader, an audience.

Distance as a state, an illness, a depression, a refusal of living.

Distance as a gap between cultures, as walls, as borders.

Distance as the unknown, the fear, the breath.

‘In Touch’ is an experimental piece that reinterprets the materiality of physical contact using sound. Based on recognizable everyday noises of touch, the piece explores collective sensory experiences and plays with the audience's expectations. Using their skin as a means of communication, the performers from PUC explore alternative worlds of the senses that unfold with the music. The movements of the dancers are linked to sound events. This often results in unexpected and therefore surreal combinations of action and sound. The visual effect is sometimes reinforced, sometimes reduced, or even contradicted by the auditory element. The piece is created in dealing with the global lack of human contact during the pandemic and thus emphasizes the importance of physical and social closeness.