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[ Confi-dance ]
The dancers are straight and sincere, and their movements are
filled with witty ideas, innovations and incarnations of feelings; they
fly across the stage in all directions, but also concentrically circle
around it, overcoming gravity. They complement, make contact and
intertwine with each other, and they reflect masculin behavioural
optics while seeking incentives, leveling their energies, but also
offering shelter to each other. In this process they are entirely
immune to the attitude of "dead seriousness" and "profoundness": they
never fall short of positive stimuli and hearty humour.
Daliborka Podboj, VECER, September 9th 2004
As suggests the title of the performance Confi-dance,
the choreographers and performers, Goran D. Bogdanovski and Dejan
Srhoj, tackled the essence of creativity connected with the
relationship between doubts and confidence into their own and
co-creator’s creativity and demands of the audience and the producers.
Mojca Kumerdej, DELO, September 9th 2004
Among other ideas in the last “existentialist”
monologue, there has appeared a statement that the character’s father
managed to achieve with a gun that performance in June to be repeated
ten times. I assume they will call upon some terrorist organization for
Confi-dance.
Katja Praznik, DNEVNIK, September 3th 2004
...The last work by Fico Balet, titled Confi-dance, is
a performance which means for Slovenian contemporary dance a deviation
from the steady commemorations of the movement. The situation is
complex, but in short I could describe it like this: the Slovenian
contemporary dance has started to revolve in a completely disoriented
and non-creative dead end afterwards the choreography as a classical
method of the movement (usually a virtuosic one) lost its monopoly in
this art (since the sheer virtuosity got suddenly caught in the loop of
emptied dance technicism). Such quandaries cannot be solved either by
research of style or their authenticity, or by parody, or stillness, or
by “back to nature”, or combination of the techniques. All of the above
can be, after all, perfectly legitimate if the creators perform in
front of the audience (or better say: display) their existential
quandary, or break free from their own entanglement. And exactly that
has been done by Bogdanovski and Srhoj.
Rok Vevar, DELOSKOP, September 9th 2004
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