The dance-performative research Izbrano telo (The Exquisite Corpse) forms part of Emanat's series of projects by young (but not exclusively so) artists, dedicated to researching the language of per-formance. With this kind of research we seek to break the concentration of creative processes fo-cused purely on the product and to refocus them primarily on developing the performative language and reflecting on the questions of WHAT and HOW in producing an original creation. In collabora-tion with Cankarjev dom, movement research conducted by three different artists will be presented before the public, freely using the surrealist principle of the parlour-game cadavre exquis (the exquis-ite corpse) to reflect on the structure of a presentation, on the development of a performative lan-guage, or on the methodology of the work being developed through research. Their investigation of movement-based forms will be presented by Alja Branc, Jasmina Križaj and Neža Kokalj.

The presentations will be followed by a Q&A session with the artists hosted by Maša Radi Buh.

Jasmina Križaj (1982) is a dancer and choreographer based in Maribor, whose work is integrated into a broader European context. She graduated in choreography from De Hogeschool voor de Kun-sten, De Theaterschool, Amsterdam, department SNDO – School for New Dance Development. Her shows have been presented at many national and international festivals. For the last few years Jasmina has worked in partnership with the Swiss artist Simon Wehrli. She is currently finishing her second year of body-oriented psychotherapy studies and is a practitioner of Taoist healing methods (Chi Nei Tsang I, II, III).

Neža Kokalj (2002) is currently completing her dance studies at Anton Bruckner Privatuniversität in Linz, Austria. She previously attended the dance programme at the Secondary Preschool Educa-tion, Grammar School and Performing Arts Grammar School Ljubljana. In Ljubljana, she has con-tributed to the critical platforms Kriterij and Aplavz since 2019, and has worked in interdisciplinary projects with musicians and visual artists in Linz and Copenhagen.

Alja Branc (1994) is a dancer, performer and artist working between Slovenia and Hungary. She received her first contemporary dance education within the context of the dance programme at the Secondary Preschool Education, Grammar School and Performing Arts Grammar School Ljubljana and continued her studies at the Budapest Contemporary Dance Academy. Alja works in partner-ship with different Slovenian and Hungarian artists, and it is this collaboration and the sharing of creative processes that deeply inspire her work and research in the field of dance and, as a result, allow her to share her findings and the passion for developing movement.

triad, a set or group of three

A hundred minutes for existence. 
 

The 100-minute dance-music show TRIS (TRIAD), modifying and synthetising three independent dance-music projects developed over the last four years, constructs a cohesive unit of architecture. Bringing together three very dissimilar, exceptional music artists, Ana Pandur’s Tris offers a reflection on ways of being. 

The path traversed by TRIS ranges from the emergence of an intangible third entity at the intersection of the idioms of music and dance, through the quest for the freedom of flight, on the assumption of an ideological shift of a creative mind, culminating in the establishment of one's own playing field of silence, whiteness, solitude and the body incorporated therein.

Marija brez glasu Voiceless Mary, a duo with percussionist Špela Mastnak and featuring music by Matej Bonin, is a slip, an intangible third entity that emerges at the intersection of two languages, on the borderline between projection and reality. The starting point is always the individual experience of a dancer and musician, whose narrative relates solely to the familiar, interlaced with the question of where in the process is the dimension of the universal, the common human, the connective, which flows comfortingly back into the particular. The female (dancing) body remains a permanent fixture, walking the line between communicating with the self and the externality, while remaining a field of projections, doubts, as well as the search for one's own space, at once a subject and an object. 

Črni zvoki Black Sounds, a duo with Damir Avdić and his music, provides a starting point for reflection on the meaning and power of creativity, while raising questions about the ideological abuse of the transformative power of art. With Black Sounds we explore the field of freedom, the break with convention, the intersection of the moment of the personal and the real in a creative act and their implications in the social. Lorca's text, as inspiration and ideological foundation, lends substance to the overriding theme, which is in paradoxical relation to the distortion of meaning that the text has been subjected to in the 20th century, with an emphasis on historical repetition. Articulating a trans-genre freedom, the quest for meaning and the beauty within, or in spite of, a given context, is crucial. Black Sounds thematises the eternal recurrence of the same and the longing for the freedom of flight. Every system that resembles a game also entails a possibility of error, of slipping. At the same time, a slip can result in an ideological distortion that turns a newly created game, bereft of a final thought, into a tool of manipulation whilst also manipulating it. The scales can tip one way or the other. Searching for the intersection of two worlds where the imminence of the end/death is always a foregone conclusion, whether for production, ideological or political reasons, it examines the various consequences of the ideological abuse of creative thought.

Beli šum White Noise, a dance solo featuring music by Matej Bonin as the negative, leads to the creation of its own playing field. The solo is defined by silence, whiteness, solitude and the body incorporated therein. What are the rules of the game in a given situation, what is allowed, where are the limits and what defines them. Creating one's own space when all that is left is solitude. Who sees whom and how the limits of one's world affect the limits of one's freedom. The dance-music project White Noise addresses the themes of loneliness, isolation, punishment and the symbolic exclusion resulting from non-conformity with the current social paradigm and its implications.

Ana Pandur, je avtorica, koreografinja, plesalka, hispanistka in filozofinja je že v času študija na FF v Ljubljani kot izhodišče svojega umetniškega ustvarjanja in preučevanja privzela flamenko in njegovo aplikacijo v sodobne uprizoritvene prakse. Po izobraževanju iz klasičnega baleta je med letoma 2002 in 2004 študirala flamenko ples in teorijo na akademiji Amor de Dios v Madridu. Po povratku v Slovenijo je ustanovila PKD Flamenko, ki ga vodi še danes in iz katerega izhajajo najvidnejša imena sodobne flamenko panorame v našem prostoru. Zadnjih dvajset let deluje kot plesalka, koreografinja in plesna pedagoginja, povezuje flamenko s sodobnimi uprizoritvenimi praksami, s sodobnim plesom in gledališčem. Na Akademiji za ples v Univeze Alma Mater Europaea predava kot nosilka predmeta Medkulturne plesne prakse. Je avtorica številnih plesnih predstav, s poudarkom na interdisciplinarnem ustvarjanju, v katerem vzpostavlja svojstven avtorski, koreografski in uprizoritveni jezik, povezan s flamenkom. Kot koreografinja, plesalka ali performerka sodeluje s številnimi glasbeniki, režiserji in koreografi doma in v tujini, obenem pa se intenzivno posveča oblikovanju giba za gledališče in ustvarjanju lastnih projektov.

Matej Bonin, rojen leta 1986 v Kopru, je diplomiral iz kompozicije pod mentorstvom prof. Uroša Rojka na Akademiji za glasbo v Ljubljani. Izobraževanje je nadaljeval na Univerzi za glasbo in uprizoritvene umetnosti v Gradcu, smer kompozicija-glasbeni teater, pod mentorstvom prof. Beata Furrerja. Za svoj študij v tujini je bil prejemnik štipendije Ministrstva za kulturo Republike Slovenije. 

Za svoja dela je prejel več nagrad, med drugim Prešernovo nagrado Univerze v Ljubljani leta 2008, na priporočilo dirigenta in skladatelja Petra Eötvösa je bil v letu 2014 prejemnik nagrade Gargonza Arts Award. Na 62. mednarodni skladateljski tribuni Rostrum v Talinu 2015 je zmagal v kategoriji “do 30 let” s skladbo Cancro (za simfonični orkester). Leta 2016 je bil prejemnik delovne štipendije Ministrstva za kulturo. V letu 2017 je svoje delo Shimmer II predstavil na festivalu “cresc...Biennale für Moderne Musik Frankfurt Rhein Main”, v sklopu kompozicijskega seminarja, ki ga organizira Ensemble Modern. Septembra 2021 je bila v Kölnski operni hiši premierno izvedena kratka opera Lunarium, za katero je Bonin prispeval glasbo. Med zadnjimi deli velja izpostaviti dela Gimnastika ne/smisla II (2021), Eppur si muove IV – koncert za saksofon, tolkala in orkester (2022) Gimnastiko ne/smisla III (2023). 
Njegova dela so bila izvedena na številnih festivalih doma in v tujini (Musica Viva Festival Munich, Warsaw Autumn, Alte Oper Frankfurt, Budapest Music Center, New Directions Festival, Gare du Nord Basel, Cankarjev dom, Slovenski glasbeni dnevi, Slowind festival, Bienale za sodobno glasbo Koper, itd.) 

Damir Avdić, kitarist, pisatelj in performer, rojen v Tuzli 1964. 
Objavil je pet romanov, "Na krvi ćuprija" (2005), "Enter Džehenem" (2009), "Tiket za revolucijo" (2012), "Ne želim da pobjedim" (2014), "Rodeo" (2017) in zbirko pesmi "Kuda sestro".
Samostojno je objavil osem albumov: Od trnja i žaoka (2004), Mrtvi su mrtvi (2008), Život je raj (2010), Mein kapital (2012), Human reich (2013), Manjina (2015), Amerika (2017) in Radikalno šik (2019).
Monodramo "Most na krvi", z avtorskim besedilom  je uprizoril z režiserjem Maretom Bulcem v gledališču Glej (2009). Avtorsko dramo "Mefisto" pa v Mini teatru, v produkciji Maska (2016). Ustvarja glasbo za gledališče in film. Prejel nagrado Vesna, za najboljšo filmsko glasbo v Portorožu za film Družinica (Jan Cvitkovič) in film Ivan (Janez Burger) (2017), ter Boršnikovo nagrado za najboljšo glasbo v predstavi Antigona (Eduard Miller), SNG Drama (2017).

Špela Mastnak je slovenska tolkalistka, ki živi in ustvarja v Frankfurtu na Majni v Nemčiji in se večinoma ukvarja z različnimi glasbenimi in gledališkimi projekti. 
Tesno sodeluje z Ensemble Modern, HR Symphony Orchestra, ansamblom za sodobno elektronsko glasbo NAMES, No Borders Orchestra in pa gledališkim režiserjem Ulrichom Raschejem in skladateljem Nico van Werschom, katere glasbeno teatralna dela so redno nagrajena z nagradami in posebnimi dosežki za gledališče na nemškem govornem področju.
Do sedaj je ustvarjala s kreativnimi umetniki, režiserji in skladatelji sodobne in gledališke glasbe kot so Heiner Göbbels, Meg Stuart, Helga Davis, Richard Tognetti itd., ter skupaj s Paulom Beckettom na rezidenci v Stiftung Bauhas Dessau predstavila lasten glasbeno vizualni projekt. Z kontrabasistko Margherito Naldini prav tako ustvarjata glasbo za neme filme. 
Špela je nastopila na festivalih, kot so Salzburg Festspiele, Salzburški bienale, Cresc Biennale Frankfurt, Darmstadt Ferienkurse für Neue Musik, Schnittpunkt Neue Musik Santa Cruz Festival v Boliviji itd.

 

ARTISTS
Ana Pandur is an author, choreographer, dancer, Hispanist and philosopher. She already explored flamenco and its application in contemporary performance practices as part of her studies at the Faculty of Arts in Ljubljana. After training in classical ballet, she studied flamenco dance and theory at the Amor de Dios Academy in Madrid between 2002 and 2004. Returning to Slovenia, she founded PKD Flamenco, which is the central organization for the development, promotion, and education of flamenco spawning our country’s biggest names in the genre. Over the past twenty years she has worked as a dancer, choreographer and dance pedagogue, connecting flamenco with contemporary performance practices, contemporary dance and theatre. At the Academy of Dance at the University of Alma Mater Europaea, she lectures as a course convenor in Intercultural Dance Practice. She has created numerous dance performances, with a focus on interdisciplinary work, in which she establishes a unique authorial, choreographic and performance language related to flamenco. As a choreographer, dancer or performer, she works in partnership with various musicians, directors and choreographers locally and internationally, while also dedicating herself to choreographing movement for the theatre and producing her own projects.

Matej Bonin, born in 1986 in Koper, graduated in composition from the Ljubljana Academy of Music under the mentorship of Prof. Uroš Rojko. He pursued further studies (music theatre composition) at the University of Music and Performing Arts in Graz in the class of Prof. Beat Furrer. His musical studies abroad are supported by the Ministry of Culture of the Republic of Slovenia. In 2008, he was awarded the Prešeren Prize of the University of Ljubljana for his work, and he won the Gargonza Arts Award in 2014 following a recommendation by composer and conductor Peter Eötvös. 
At the 62nd International Composers' Tribune Rostrum in Tallinn 2015, he won the "under 30" category with the composition Cancro (for symphony orchestra). In 2016, he was the recipient of a work grant from the Ministry of Culture. In 2017, he presented his work Shimmer II at the "cresc...Biennale für Moderne Musik Frankfurt Rhein Main" festival, as part of the composition seminar organized by Ensemble Modern. In September 2021, the short opera Lunarium, for which Bonin contributed music, premiered at the Cologne Opera House. His last works include Gymnastics no/smisla II (2021), Eppur si muove IV – concerto for saxophone, percussion and orchestra (2022) Gymnastics no/smisla III (2023).
His works have been performed at numerous festivals at home and abroad (Musica Viva Festival Munich, Warsaw Autumn, Alte Oper Frankfurt, Budapest Music Center, New Directions Festival, Gare du Nord Basel, Cankarjev dom, Slovenian Music Days, Slowind Festival, Biennale for contemporary music Koper, etc.).
He regularly collaborates with internationally renowned soloists and ensembles (RTV Symphony Orchestra, Slovenian Philharmonic orchestra, Ensemble Modern, Norrbotten NEO, accordionist Luka Juhart, violist Megumi Kasakawa, hornist Saar Berger, singer Irena Tomažin, percussion duo Drumartica, OL-SK duo, Savasa Trio, Shanghai Sinfonietta, Slowwind ensemble, Divertimento Ensemble, neuverBand, MD7 ensemble, and many other performers).
Matej Bonin is also active as a composer of music for dance theatre and collaborates with choreographers Mirjam Klebel and Tomaž Simatovic.
Collaborations with dance choreographers (Ana Pandur, Mirjam Klebel, Irena Tomažin, Tomaž Simatovič) also play an important role in his work.
He has written the music for the dance performances: Islands in the fog (2010), Paradise on stage (2014) and Telo glasu (2015), Beli Šum (2022). 
Bonin is an assistant professor in the field of music theory at the Academy of Music in Ljubljana.

Damir Avdić, guitarist, writer and performer born in Tuzla in 1964, is a versatile and remarkable multi-talented author. He has written four novels: The Bridge over Blood (Na krvi ćuprija, 2005), Enter Džehenem (2009), Ticket for Revolution (Tiket za revoluciju, 2012) and I Don’t Want to Win (Ne želim da pobijedim, 2014), and a book of poetry Where to, Sister (Kuda sestro). He has release eight solo albums: Od trnja i žaoka (2004), Mrtvi su mrtvi (2008), Život je raj (2010), Mein kapital (2012), Human reich (2013), Manjina (2015), Amerika (2017) and Radikalno šik (2019).
He staged the monodrama Most na krvi, with the original text, with director Mare Bulc at the Glej Theatre (2009), and the original drama Mefisto at Mini teater, in the production Maska (2016). He composes music for theatre and film. He received the Portorož festival’s Vesna Award for Best Film Score for the film Družinica (Jan Cvitkovič) and the film Ivan (Janez Burger) (2017), as well as the 52nd Maribor Theatre Festival Award for his stage music in Antigone directed by Eduard Miller and produced by the SNT Drama (2017).

Špela Mastnak is a Slovenian percussionist based in Frankfurt am Main, Germany, mostly focusing her career on various music and theatre projects.
She works closely with Ensemble Modern, HR Symphony Orchestra, the contemporary electronic music ensemble NAMES, No Borders Orchestra and award-winning artists theatre director Ulrich Rasche and composer Nico van Wersch.
Her collaborations with creative artists, directors and composers of contemporary and theatre music include prominent names such as Heiner Göbbels, Meg Stuart, Helga Davis, and Richard Tognetti. She presented her music-visual project with Paul Beckett at a residency at Stiftung Bauhas Dessau. She writes music for silent films with double bassist Margherita Naldini.
Her festival appearances include Salzburg Festspiele, Salzburg Biennale, Cresc Biennale Frankfurt, Darmstadt Ferienkurse für Neue Musik, Schnittpunkt Neue Musik Santa Cruz Festival in Bolivia, etc.

Duration: 60 minutes

The Machine is a duet between Bojana Robinson, a choreographer and dancer, and a breathing machine occasionally used by her daughter. Although the device has entered Bojana’s life to alleviate her child's medical condition, the artist explores her personal relationship with a technological device that directly and indirectly affects her life.

The choreographer explores the nature of the machine, tracing its evolvement into the performance’s subject and ways of embodying the relationship between devices and humans.
 

The origins of the City of Women festival date back to 1995. Initially a one-off event of the Office of Women's Policy, a year later the festival’s organisation was entrusted to the Association for the Promotion of Women in Culture – City of Women, and the festival ran continuously for the next 30 years. The festival would not have survived to this very day without sisterhood, solidarity, mutual support and awareness of the differences created by class, race and other contexts.

That is why this festival’s edition foregrounds the importance of sisterhood, a theme also addressed by dramaturg, playwright and director Varja Hrvatin. In the fantasy-performative show Sukeban, borrowing its title from the Japanese term for female delinquents and girl gangs formed as a direct result of and feminist response to male gangs' refusal to accept female members, Varja Hrvatin employs the format of an interactive game to problematize the representation of women in the online environment and portray a world of female superheroes fighting against sexism and discrimination.

Predstava je v slovenščini z angleškimi nadnapisi.

Ustvarjalna ekipa poziva gledalke k možnosti aktivnega in anonimnega sodelovanja v predstavi, za kar potrebujejo le mobilni telefon s povezavo na splet.

In her new work, Counterfeits, Imprints and Other Intrusions, Magdalena Reiter returns to the solo form revisiting and questioning some of the topics she has dealt with as an author in recent years – from the attempt to analyse collective memory in the context of the influences of visual and film iconography to the reference field in which she has formed herself as a dance maker. She emphasizes the power, as well as the violence of visual imagery and the instability of influences that mark both our collective consciousness and her personal creative path. Through the body in motion, she opens up a dual relationship and a dialogue with the field of references, which involves both respecting and dissecting the elements down to their most elementary particles.

The performance is being created as a choreographic hyperreality that is both playful and analytical, literal and metaphorical, raising perhaps the most relevant question of Reiter’s new performance – the performative body at the moment of going on stage and the extent to which it is possible to escape the limits of one’s own reproduction.

Magdalena Reiter (PL / SLO) je koreografinja, plesalka, pedagoginja , ki od leta 2002 živi in ustvarja v Sloveniji. Je diplomantka Državne baletne šole v Gdansku, Poljska, in akademije P.A.R.T.S. (Performing Arts Research and Training Studios) v Bruslju, Belgija.

V produkciji nevladnih organizacij ali v okviru javnih zavodov in plesnih skupin (Studio za suvremeni ples, Anton Podbevšek Teater, Lutkovno gledališče Ljubljana, Polish Dance Theatre – Poznan Ballet, Bodhi Project idr.) je ustvarila več kot dvajset avtorskih solov in skupinskih projektov, ki so bili prikazani doma in v tujini, med njimi: Vibracija posamezne strune (s Katarzyno Chmielewsko in Jakubom Truszkowskim), Preludiji in fuge (z Matejo Rebolj), Conversation pieces, Alica v Čudežni deželi, Forma interrogativa, Attention, Transland, Pars pro Witacy, Bližnji plani, Solo za dva glasova (z Milanom Tomášikom in Anjo Golob) idr. Njene predstave so bile prikazane tako doma kot v drugih evropskih državah.
Kot koreografinja deluje v gledališču, operi in filmu. Kot pedagoginja in mentorica je poučevala v Sloveniji in tujini (Folkwang Universität der Künste, Zagrebška plesna akademija, Zagrebški plesni center, SEAD – Salzburg Experimental Dance Academy, SVŠGL, skupina En-knap / EKG, na delavnicah v Franciji, Italiji, Avstriji, Belgiji, na Poljskem idr.). 
Je prejemnica nagrade Ksenije Hribar za koreografski opus (2023). 

Je pobudnica in umetniška vodja VIBRE – Mednarodnih delavnic in festivala sodobnega plesa v Ljubljani (2013–2020) ter ustanoviteljica Zavoda Mirabelka. 

Izvedba skladbe:
Žiga Faganel - violina
Alja Mandič Faganel - violončelo
 

The performance forms part of Magdalena Reiter's body of work with the umbrella title Povečava, which is funded by the Ministry of Culture of the Republic of Slovenia throughout the 2024/2025 period.

COUNTERFEITS, IMPRINTS AND OTHER INTRUSIONS: Magdalena Reiter from Mirabelka productions on Vimeo.

in Vodopivec is returning to the stage with a fresh stand-up comedy show titled "Elektro Banana." You can expect a new hour of material, inspired by all the crazy events of the recent period, as well as directing his first film, going through a divorce, and writing this text.

Did you know that comedians write the descriptions of their own shows?

"Elektro Banana" is Tin's sixth show, following his past performances in "Superdupermega / 360 degrees" (2011), "Replika" (2012), "Desert" (2014), "RocknRoll" (2018), and "Peti element" (2019).

"After such a varied performance, you can't be bored!" once wrote the legendary British critic Steve Bennett about my performance. Pretty cool, right?

Special guest: Alen Mastnak

Arms that never knew me is a solo performance choreographed by Charlie Brittain in collaboration with performer and co-choreographer Milan Tomášik.

The performance is woven from reflections on the multiple facets implicit in the question, of ‘what it is to be human’. The body unfolds as living memory, an organism acting in dense, charged structures intertwined between cruel reality and fleeting dimensions. After a trilogy of resonating solo works, Within (2006), Off-beat (2011) and Solo 2016 (2016), it is Tomášik’s first solo performance where the authorship is conceptually and choreographically shared. 

Charlie Brittain, je o soustvarjanju predstave dodal: »Ustvarjalni proces predstave Roke, ki me nikoli niso poznale je bil izpolnjujoč in pomemben, omogočil mi je prostor in čas za poglobljeno preizpraševanje plasti lastnega kreativnega procesa, pa tudi priložnost za drzne umetniške podvige v partnerstvu in ustvarjalni afirmaciji navdihujočega soavtorja. Navdušuje me, s kakšno močjo ustvarjalčev koncept ali zvedavost oplajata kreativne odločitve in kompozicijo dela, zato je bilo raziskovanje tematik, temeljnih za človekovo dojemanje lastnega življenja, vznemirljivo in tudi zahtevno. Z Milanom sodelujeva že več kot pet let in najin proces vedno doživljam kot spodbuden in razvojen. Fascinirajo naju podobna vprašanja, usmerjava se k raziskovanju vseh vidikov ustvarjalnega procesa, ki je vedno rigorozen in nikoli dokončen.«
 
Izvirno glasbo sta soustvarila Jakub Mudrák in Eduardo Raon. Slednji je povedal, da je bil glavni izziv najti način »kako izreči/zveneti kot/biti neka določena stvar ob hkratnem razkrivanju raznovrstnih, neskončnih, drugih potencialnih stvari, ki bi lahko bile? Bi se to lahko zgodilo s tega izhodišča? S katerega koli izhodišča? Tega, onega, naslednjega. Da vsak trenutek nosi ves mogoči potencial izraznosti? In toliko potenciala, da ta postane otipljiv?«

The first guest of Alma's Evenings is the author Agata Tomažič who will reveal the attractions of her travels in conversation with Dr. Andrej Blatnik.
Agata Tomažič (1977) has authored the book Zakaj potujete v take dežele? (Cankarjeva založba 2016), winner of the 2017 Krilata Želva Award, and is co-author of Blodnik po Istri (Društvo za dolgovezenje, 2019) and several books of fiction. Her latest novel, Čmrljev žleb (Goga 2022), a genre hybrid of family saga and whodunit, is set in an idyllic mountain village Strmčnik. She contributed to Delo and Pogledi, and now works at the Research Centre of the Slovenian Academy of Sciences and Arts (ZRC SAZU). 

The Alma's Evenings series is dedicated to talks with writers-cum-travellers about their work and the books they love, about their favourite paths and those they still wish to tread, as well as about the music and gastronomy typical of their favourite places.

The literature that the series focuses on is literature that initiates change. Changing the readers, changing the readers’ understanding of the world, changing the world. 
 

One does not need to point out that 21st-century social relations have overstepped the boundaries of "normality". The question is whether we can render them meaningful through learning know how to live together and working towards a common goal, and above all, whether our heart is truly in it. 

Is our social core healthy enough to establish new social foundations? And when in the face of overpowering environmental challenges our "self-preservation" instincts tell us to escape or retreat in the name of safety, this also results in feelings of loneliness, isolation and helplessness. All these changes call for restrictions and adjustments, which implies a call for a new order, new ways of self-organised coexistence, autonomous zones and communes. 

The show Doors Wide Closed provides a series of possible suggestions and ways of creating a sense of freedom when dealing with various physical limitations of spaces. In his play Behind Closed Doors French playwright Jean Paul Sartre establishes the fundamental premise that we are condemned to a life in co-existence for eternity. In its very essence, the show presents an example of a post-apocalyptic interior and off-stage exterior, populated and cohabited by an entity of like-minded people removed from the outside world. Here, they seemingly and literally push back boundaries and confront restrictions through various art forms. With their directness, they create a genre conglomerate that enables parallel readings of the personal and social and a unique interpretation of the role of the body in a "new" social reality.
 

Quartet is a  performance for two dancers and two cameras. The exploratory excursion is dedicated to the internal and external architectures of our relationships. The cameras monitor the actions live,  acting as a mirror and voyeur; they emphase and change what is already visible and reveal what is hidden from view.

The  primary processes of the choreography and the performance itself are reduction, duplication and  montage. Reduction to the most basic elements of relationship, movement and physical  proximity. The walk, touch and gaze that blend together to form the score of the quartet. The gaze of the couple, the  gaze of the cameras, and the gaze of the spectator. And play, as the intrinsic nature of relationships and the very act of performance. A game of the possible combinations of reduced and re-extended elements. The focal point between body and two-dimensional image is the game of dichotomy between pleasure and violence, coexistence and alienation. 

Shown from different perspectives, the fabricated story reveals itself to the spectators enabling them to observe the construction of performative reality.

QUARTET: Magdalena Reiter from Mirabelka productions on Vimeo.