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					                   Photo| Rebato Bran olica

                                              contemporary scene


                Absolute Movement Ensemble                                                                                            CONTACT:
                         Artistic Director:                                                                                        Suzana Sliva
                         Suzana Sliva                                                                                              Park Ribnjak 1
                                                                                                                                   10 000 Zagreb

C                  TYPE OF WORK:                   makes each new project original        a circle that represents the high-       fax: + 385 1 481 47 35
               contemporary dance, dance           and interesting.                       est point of internal life, a ring       mob: + 385 91 514 12 50

               theatre                                                                    that is a part of heaven’s influ-
                                                       CURRENT PRODUCTIONS                ence, a ring with a seal (symbol
                    ABOUT THE COMPANY                                                     of power and rule), a circle of
               Founded in 1998, the name of        Bed                                    destiny.
               the group was inspired by the       choreographers: Rajko PavliÊ,
               term „absolute music“, meaning      Igor BarberiÊ and Suzana Sliva             REVIEW EXTRACT
               music that follows its own rules    number of perfomers: 6        real acrobats, the dancers
               and communicates by its own         There is a defined theme „bed“         devotedly perform their technically
               means. The members of this          and the three choreographers           demanding dance sequences and their
               group are young professional        created their choreographies in        courage, energy and determination
               dancers, ready for new chal-        their own, unique way. The per-        draw all the attention... Suzana Sliva
               lenges. It is an experimental       formance is in fact three percep-      remains persistent in her original
               company that tirelessly explores    tions of one idea.                     approach and realization of her own
               and creates their own original                                             vision of contemporary dance expres-
               dance expression. Excellent tech-   A Secret Bond                          sion...
               nique and top shape are required    choreographer: Suzana Sliva            Jutarnji list
               for their performances therefore    number of performers: 9
               they remain faithful to Graham      All secrets of this world abide in

                                                                                                                                                                   Photo| Æeljko Jelenski
               and Horton technique (yet, they     heaven. And the circle is a sym-
               do not ignore classical ballet,     bol of heaven. This performance
               Cunningham and Release tech-        talks about a protective circle, a
               niques). Their mutual aim is to     ring that symbolizes alliance (vow),
               not repeat themselves, which        a ring as a means of recognition,
      6                                                                                                                                                      Bed
      Photo| Æeljko Jelenski
                Atelier Chorégraphique
                         Artistic Director:         itself. At the core of the work        or pianists, or submariners, or       story retold, but rather an inti-
                         Mark Boldin                stands the belief that what            philosophers, or wanderers.           mate and honest account of the
                                                    makes theatre alive and lively are     Satie’s music is not only the         women’s emotions, evoked by
                                                    the life forms called performers       background, but the initiator and     his voice and charisma. It is a
                                                    themselves.                            commentator, inspiration for          dance with an idea that lives on
C                 TYPE OF WORK:                     In their struggle against extinc-      improvisation and soft pillow for     long after his death and homage
               dance theatre                        tion they perform throughout           dreams and hopes to land on.          to his incredible art and unforget-

                                                    Croatia and Europe. Atelier            Satie’s verses and thoughts are       table stage appearances.
                    ABOUT THE COMPANY               Chorégraphique continues its           the driving force for the verbal
               The company was established in       voyage through time and space,         pieces of the performance which       NMQP (No More Questions
               2001 by a group of inspired cho-     seeking to improve and renovate        is structured as an association       Please) and Self-portrait
               reographers and dancers from         itself, facing new challenges with     assembly, and dance and move-         NMQP (duration 10 min)
               the Croatian National Ballet in      each new production under the          ment are inseparable elements of      choreography: Mark Boldin
               Zagreb out of their need for a       inspired and uncorrupted guid-         life of Satie’s work on the stage.    number of performers: 2
               space for continuous artistic cre-   ance of the theatre spirit itself.                                           The duet contrasts two worlds of
               ation. At present, Atelier Choré-                                           A Night With the King                 a couple in their everyday life. On
               graphique is a group of closely          CURRENT PRODUCTIONS                choreography: Mark Boldin             the surface it is a humorous
               linked artists from the entire                                              number of performers: 2               account of repetitive arguments
               spectrum of the stage and relat-     ERIK! A SA’TI(E)!                      The performance is a two-             and fights, their stubbornness
               ed arts, searching to expand their   choreography: Mark Boldin              woman show presented by two           and inability to communicate. At
               potential, exchange their knowl-     number of performers: 4                outstanding dance artists, Ersilia    the core it depicts an accumula-
               edge and share the joy of cre-       A kaleidoscope that consists of        Nikpalj and Giulia Ferrari. In the    tion of all the love they once felt
               ation with their audience.           music by Satie, verses, miniature      one-hour event they lead us           and still share, though somewhat
               The company’s repertoire policy      songs, pieces for the piano, nur-      through an evening of 17 song by      forgotten. In a short flash their
               is to create a dance theatre that    tured casual thoughts, witty           the king of rock’n’roll. His pres-    mutual passion seems like a
               does not stop at dancing alone,      remarks and thoughts about art,        ence, whether alive or not, is felt   dream that passes as fast as the
               but aims at a fusion of all stage    dogs and life. Four performers         equally by them on stage, spend-      blink of an eye, but lasts long
               knowledge. It is a living theatre    are at one moment Satie, or his        ing a night in Heartbreak Hotel,      enough to change the world, and
               that, like a living organism,        companions, or friends, or lovers,     as well as by the audience. The       finally their mood.
               breathes, moves and reproduces       or fish, or thinkers, or passers-by,   performance is not another Elvis
Self-portrait (duration 20 min)       each image a different intonation.
choreography: Mark Boldin
number of performers: 1                   REVIEW EXTRACTS
This is a journey through pictures    ...The duets are very beautiful,
of the personal past. In nine         dance-like and performed with
stages, the author depicts scenes     expression, and each of them opens a
from personal experience and          new story...
dreams, which he feels are part       Vijenac
of the human collective back-
ground and of which he is not         ...Choreographer and dancer Mark
sure that they are limited to a       Boldin has worked on various proj-

                                                                                                        Photo| Radomir Sara en
certain stage on the time-line.       ects, but their unvarying magic lies in
Symbols of archetypes lead him        the choice of powerful themes, what
through that moment of self-          distinguishes him essentially from
analysis, finding parallels to the    most Croatian choreographers.
composers’ personal drama.            Instead of generalities of the lack of
                                      any kind of explanation of the per-
                                                                                A night with the king
Amore...mio                           formed in the sense of a storyline or a
choreography: Mark Boldin             thematic skeleton, he almost always
number of performers: 7               comes to the point.
A cycle of love duets dreamt and      Radio 101
told by mime. A man-woman
couple, a man-man couple as
well as woman-woman couple
and variations of all three demon-
strate that love, be it old or new,
past or present, usual or unusual,        CONTACT:
has no limits in the same way         Atelier Chorégraphique

                                                                                                        Photo| Radomir Sara en
that the dance which can              Jagodnjak 25
express love has no limits either.    10000 Zagreb
A series of illustrations, in this    Croatia
case dance images, is viewed as       tel / fax: ++ 385 1 4618 568
if on a cinema screen. A potpour-     mob: ++ 385 98 180 96 78
ri of well known melodies gives
                                                                                     ERIK! A SA’TI(E)
                          Artistic Directors:        general. BADco. has performed        possibility of infectious behaviour.    the possibilities of the body’s
                          collective                 in Croatia, Slovenia, Bosnia and                                             movement within the extent of a
                                                     Herzegovina, Serbia and Monte-       Fleshdance                              step. I have translated that spatial
                                                     negro, Poland, Czech Republic,       choreographer: Nikolina Pristaπ         limitation of movement to the
C                 TYPE OF WORK:                      Germany, UK, Holland,                number of performers: 3                 range of my torso, arm, head, so
               dance, live arts, theatre             Luxembourg, Romania, Lithuania,      Fleshdance is a choreography in         they might also move within the

                                                     Latvia, Norway, Sweden, Italy,       which the tactile potential of a        step’s interval. I used a treadmill
                    ABOUT THE COMPANY                USA, Austria and Greece.             surface does not govern move-           as a starting point of the choreog-
               BADco. is a Zagreb based per-                                              ment but rather the movement            raphy’s conceptualization because
               forming group founded in 2000.            CURRENT PRODUCTIONS              makes visible the appearance of         it offers the possibility of moving
               The members of the group are:                                              surfaces and their qualities. Flesh     without travelling through space,
               Pravdan DevlahoviÊ (choreogra-        Deleted Messages                     is not a boundary between the           moving above one single point. I
               pher), Tomislav Medak (philoso-       director: Goran Sergej Pristaπ       body and external materiality; it is    can imagine my body resembling
               pher), Goran Sergej Pristaπ (dra-     number of performers: 6              a surface which determines              a treadmill in an everyday pedes-
               maturge), Nikolina Pristaπ (chore-    Deleted Messages is a perform-       movement by its ability to see by       trian, street environment.
               ographer), Ivana Sajko (dramaturge)   ance about the phenomena in          means of tactility, to desire with-
               and Ivana IvkoviÊ (dramaturge)        collective movement. As with         out watching, to dissolve in the        RibCage
               and Ana Kreitmeyer (dancer). The      quarantine, the number of spec-      moment of sensation and afflic-         directors: BADco.
               artistic work of BADco. is not so     tators allowed to enter varies       tion. The joy of flesh is neither its   number of performers: 5
               much determined by the choice of      according to the size of the room    yearning nor the possibility of its     RibCage is a performance based
               topics as by the production of        ∑ one person per three square        realization; it grows in the process    on a play written by Ivana Sajko.
               problems through specific man-        meters of floor space. The audi-     of the multiplication of erogenous      A play with two characters and
               ners of cooperation and self-         ence is invited to freely move       zones and levels of intensity on        stage directions written to be
               organization of authors in the        through the performance space.       the surface it creates.                 spoken in the first person, this is
               process of creation. The authors      The behaviour and self-organiza-                                             a text which carries its politicality
               see their performances as per-        tion of the audience is a compo-     Walk This Way                           in the manipulations of reality. The
               forming machines which can be         nent of performance strategy, thus   choreographer: Pravdan                  performance is conceptualized to
               included in different referential     making the performance space         DevlahoviÊ                              be a small performing mechanism
               contexts such as social, political,   responsive. Epidemic intelligence    number of performers: 1                 which „plugs into“ other mecha-
               intimate, dance and artistic in       comes into effect through the        In this choreography, I explore         nisms such as family, war, terror-
ism, nuclear warfare strategies,     to shut one’s eyes, to listen to the        REVIEW EXTRACT
prison, pop music and the like.      body of the other and find the          ...The performance is the result of an
   Ivana Sajko won the Marin         mute language of communication.         unpredictable process. The Croatian
DræiÊ award for the text Rib Cage.   2 is a struggle for stability through   performing arts collective BADco.
   Goran Sergej Pristaπ won the      the minimal mechanisms that             loosens the boundaries not only
award for best performer at the      support the structure: breathing,       between spectator and dancer, but lets
Zlatni Lav (Golden Lion)             sounds, vibrations of the air,          our search for the self-deleting per-
International Festival in Umag.      memory of space, feeling for the        formance become „the performance“.
                                     invisible other. Nikolina Bujas-        About ourselves in the meeting with
Solo Me                              Pristaπ won first award for most        others...The basis for BADco.’s work
choreographers: Pravdan              perspective young choreographer         is both theoretical and conceptual;
DevlahoviÊ and Nikolina Pristaπ      in Europe at the Julidans Festival      about art and democracy, about bor-
number of performers: 2              in Amsterdam.                           ders and the subtle codes we send and
Solo Me is a solo for two per-                                               receive. But what makes Deleted
formers ∑ choreographers. It is a    Man.Chair                               Messages a somewhat utopian experi-
construction in which two differ-    choreographer: Goran Sergej             ence is the feeling of living here and
ent choreographic solo materials,    Pristaπ                                 now. Take responsibility...
opinions, processes come in touch    number of performers: 3                 Svenska Dagbladet
with each other. Although both       Man.Chair is a dance performance
solos were made individually and     inspired by and using as a ready-
can be performed as such, the        made the performance art piece
idea of juxtaposing, adjoining and   Man∑Chair, created in 1982 by
refracting one material in another   D.B. Indoπ, a respected Croatian
seemed very interesting to be        performance artist. The perform-
researched.                          ance reconstructs, remakes, remix-
                                     es and upgrades the original piece         CONTACT:
2                                    using dance improvisations and          BADco.
choreographer: Nikolina Pristaπ      individual approaches of dancers        DeæeliÊev prilaz 26

                                                                                                                                   Photo| Miljenko Bengez
number of performers: 2              towards the semantic character-         10000 Zagreb
2 is intimate ∑ it unites two dif-   istics of the original piece.           Croatia
ferent bodies, two different natu-      D.B. Indoπ won the award for         tel: ++385 98 317 586
res of movement. 2 is an attempt     best performer at the Zlatni lav        fax: ++385 1 4846 189
to keep in contact in spite of       (Golden Lion) International Festival
intentionally imposed obstacles:     in Umag.                      
                Bajza/KovaË/KovaË/Tropp                                                                                                CONTACT:
                          Artistic Directors:                                                                                      Kristina Bajza
                          (group of authors)                                                                                       Froudeova 7
                                                                                                                                   10000 Zagreb
                                                                                                                                   mob: + 385 98 867 630
C                 TYPE OF WORK:                      parts are transformed into a            and we do not dare to choose
               contemporary dance and acting         drama situation and others into a       only one and affirm with convic-

                                                     physical situation, often into both     tion that it is the right one?
                    ABOUT THE COMPANY                at the same time. They investi-
               This group of authors (Kristina       gate to what extent words and           Morning                               worldly (physical) seems to be a
               Bajza, Maja KovaË, Mario KovaË        movement can merge or obstruct          authors: Kristina Bajza, Maja         starting place to enter the
               and Sanja Tropp) started with         each other.                             KovaË, Mario KovaË and Sanja          unknown.
               their cooperation in 2003 and                                                 Tropp
               have created two full-evening             CURRENT PRODUCTIONS                 number of performers: 3                   REVIEW EXTRACT
               performances so far. From the                                                 The starting point for this project   ...all three performers skilfully
               very beginning, their work allows     Birds Birds Birds                       is the play by Sarah Kane 4.48        immersed themselves into painful
               for all forms of theatre and there-   authors: Kristina Bajza, Maja           Psychosis. The text is poetic         states of mind, exhausted facial
               fore it is impossible to say at the   KovaË, Mario KovaË and Sanja            enough to move away from its          expression and excellently integrated
               beginning of the creative process     Tropp                                   dramatic identity, especially after   the uncoordinated movements
               whether the final product will be     number of performers: 3                 choreographic interventions. The      (twitches or dance) of the body...
               a drama or physical material. It is   Based on the motifs of Radovan          exploration focuses on how far a      Slobodna Dalmacija
               team work in which directing,         IvπiÊ’s drama Daha, the perform-        body can go in nonverbal expres-
               acting, dance and choreography        ance tries to investigate in what       sions of emotions such as anxi-       ...Performers-authors balance very
               interweave, furthermore, all          way the same body functions in          ety, weakness or inhibition, in       successfully between drama and dance
               means are allowed in the realiza-     conditions of complete and utter-       other words, how a body reacts        sequences, sometimes separating them
               tion of an agreed upon idea. So       ly unrestricted freedom. Is it pos-     on the stage in conditions of         completely, sometimes counterpoint-
               far, they have used text as their     sible that absolute freedom             imposed physical and mental           ing, and at other moments setting
               starting point, which in then sub-    sometimes inhibits and restricts        obstruction and limitation. An        them as illustrations of one another...
               jected to fragmentation and a         us exactly by the innumerable           intense desire for suicide as the     Vijenac
               detailed transformation – some        possibilities that lie in front of us   last act of breaking up with the
                     Photo| Eva kraljeviÊ i Mario SardeliÊ

 Birds Birds Birds

                     Photo| Eva KraljeviÊ & Kan
                Banana Guerilla
                          Artistic Directors:
                          Oliver FrljiÊ
                          Petra Zanki

C                  TYPE OF WORK:                      broader, European context and               CURRENT PRODUCTIONS                Group dynamics is another field
               theatre performances                   the position of our society in this                                            of interest and the performance

                                                      context. Banana Guerilla attempts       Death of Danton                        explores the changes to which it
                    ABOUT THE COMPANY                 to emphasize the manipulative           direction: Oliver FrljiÊ               is subjected (micropolitics of the
               Banana Guerilla was founded in         potential and metaphysical back-        number of performers: 6                performance and relations
               2005 by Oliver FrljiÊ and Petra        ground of the notion identity. Our      This performance is conceived as       between the performers, pro-
               Zanki with the intent to explore       society is strongly marked as           a machine with the possibility of      duced by a particular context of
               other possibilities of communica-      being in search for identity.           plugging into another machine (a       performing). The performers are
               tion among participants in a cre-      Banana Guerilla works on denoun-        literary one or a social one, for      not only observed, but are also
               ative process. It is not a regular     cing identity as a stabile entity. It   example) rather than a (re)produc-     observers.
               artistic organization with an          blurs the boundaries and shows          tion of stabile entities (presup-
               established hierarchy, but rather      identity as a dynamic, almost           posed meaning, for example).           LAREDO
               a space of creation and investiga-     incomprehensible reality.               The starting point of this work is     SOUVENIRS / living the mem-
               tion of new modes of creativity.       Most members are also active in         the idea of different connections      ories
               The impulse for establishing this      other projects and institutions         which can be established between       author: Petra Zanki
               organization was the book by           and they consider Banana Guerilla       the performance and diverse con-       number of performers: 5
               Jacques RanciËre, The Ignorant         as a unique space for examining         texts of its occurring. The con-       This is a stage recomposition of
               Schoolmaster, whose ideas and          possibilities that they lack in their   cerns are quantitative potential,      memories and a story about
               the insisting on an anti-methodol-     institutional work.                     productive ability and parameters      existing and non-existing cities. It
               ogy approach were implemented          Banana Guerilla is an organization      which influence the productive-        is created as a combination of a
               in the artistic environment and        with a wide range of artistic activi-   ness of a performance. Apart           video record and live performance.
               became a mode of communica-            ties. Apart from theatre, they plan     from the perceptive changes that       The audience is invited to take a
               tion between the members.              to expand their work to dance,          occur, it is also focused on the       journey into the world of Laredo,
               The work of Banana Guerilla is         new media, publishing, social           decrease and increase of its own       created from our dreams and
               related to not only the local social   activism, etc.                          functionality, depending on the        desires, and the experiences of
               and artistic context, but also to a                                            spatial quality of a given location.   those who we have met on our
Banana Guerilla
Vile Velebita 1g
10 000 Zagreb

way. The stage displays the illu-          REVIEW EXTRACT
sion of travelling to a big, illumi-   ...The open feature of performed
nated city, a place that is always     material invites the audience to vol-
                                       untarily intervene in the performance

                                                                                                  Photo| Maurizio Terlizzi
somewhere else. Our journey is
unintentionally directed to far-       (by choosing a desired destination of
away places. Is it possible to         the journey) and consequently, it
express a universal relationship       draws them into the creation of a per-
through the marginal, discarded,       ceptional-emotive impact of the per-
emptiness? The story, text and         formance...
                                                                                Death of Danton
movement create Laredo as a vir-       Vijenac
tual, cybernetic world ∑ a place of
moving non-place. A place of
memory or retelling reminis-
cences. A place of theatre non-

                                                                                                  Photo| Marinko MurgiÊ & Marko Kaplan

             Burka                                                                                                                  CONTACT:
                      Artistic Director:                                                                                         Neda MaroviÊ TurkoviÊ
                      Neda MaroviÊ TurkoviÊ                                                                                      Franza Liszta 22
                                                                                                                                 10430 Samobor
O               TYPE OF WORK                     graphic pattern.                      thus creating a noun that can             Croatia
            free dance and dance theatre                                               denote a concept of „the neces-           tel: + 385 1 336 10 30

                                                     CURRENT PRODUCTIONS               sity of walking“                
                 ABOUT THE COMPANY
            The Burka Dance Company is an        The Rare Appearance of the                REVIEW EXTRACT
            independent non-institutional        Expected                              ...dancer Tatjana Liktar dances the
            theatre-dance company which          choreography: Neda MaroviÊ            man’s everlasting disquiet, struggle
            nurtures contemporary free dance     TurkoviÊ                              and loneliness. She persistently ìpro-
            expression through original thea-    number of performers: 1               duces movementsî: forceful, rough,
            tre-dance projects created by        The performance is a chamber          sharp, repetitive, exhausting. Her
            independent artist Neda MaroviÊ      and intimate ìproduction of move-     gaze emphasizes the intensity of the
            TurkoviÊ.                            mentsî which does not aspire to       struggle she is dealing with and of the
            Her artistic work is based on a      be aesthetically likeable, functio-   emotions she is expressing or suppres-
            broad perception of dance/move-      nal or dance-like. The movements      sing... The ending is emotive and
            ment that refuses to exist within    are the reflection of the external    physical exhaustion, while movement
            the boundaries of either traditio-   restrictions of the stage, marked     subsides and is only expressed as twit-
            nal or modern choreography. As       with objects of wasted lives. The     ches and wriggles which relate to the
            a starting point in her work, she    performer creates new composi-        precisely marked and walked direc-
            chooses improvisation and indivi-    tions by embodying emotive            tions of paths and discarded objects of
            dual work with bodies, and moti-     investment and, at the same           wasted lives...
            vation for the movement is emo-      time, skilfully avoids the traps of   Glasnik Samobora i Svete Nedelje
            tion and/or making an effort to      the a priori expected.
            conquer space. The resulting work
            is intimate and personalized cho-    Images of Our Movement
            reography, rather spontaneous        Neophod*
            and one that comes from within       *a word play consisting of the
            rather than following a choreo-      words „necessary“ and „walk“,
                                      Photo| Tom Marvar

The Rare Appearance of the Expected
                The Crystal Cube of Brightness Company
                          Artistic Director:
                          Jasminka Petek-Krapljan

C                 TYPE OF WORK                        years, she has developed an          Cinnamon Coloured Room              performance opens a completely
               dance theatre                          authentic and recognizable style,    authors: Jasminka Petek-Krapljan    new world, with the same

                                                      very poetic, characterized by a      and Jasmin NovljakoviÊ              protagonists, but showing the
                    ABOUT THE COMPANY                 strong sense of the visual and       number of performers: 10            other side of what seems to be a
               The Crystal Cube of Brightness         enriched with carefully chosen       The performance deals with the      beautiful life at first sight. It is a
               was founded in 1979 in the town        details.                             relationship between a man and      choreographic insight into the
               of Sisak. Since that time, its arti-                                        woman, offering variations in the   cruel duality of glamour, which at
               stic director, Jasminka Petek-             CURRENT PRODUCTIONS              relationship when they are          the end inevitably becomes one.
               Krapljan has choreographed more                                             partying and drinking, which
               than twenty performances. The          Behind Closed Doors                  produces an explosion of energy         REWIEV EXTRACT
               company participated in numerous       authors: Jasminka Petek-Krapljan     presented in a very dynamic         ...Dance theatre of Jasminka Petek
               festivals of alternative theatre all   and Jasmin NovljakoviÊ               choreography, accompanied by        Krapljan...has attracted the audience
               over the world (Switzerland,           number of performers: 12             equally dynamic music and           for fifteen years with her strong
               Germany, India, Belgium, etc.)         The performance reveals              interesting visual solutions.       personal expression.
               and won a number of prizes at          memories of a boy presented in                                           Her performances...lyrically weave
               choreography contests both in          beautiful pictures, which resemble   The Night of a Great Season         impressive images, imbued with
               Croatia and abroad. Being the          photos in a family album due to a    authors: Jasminka Petek-Krapljan    carefully and precisely chosen music.
               only dance company (studio) in         skilful play of light and shadow.    number of performers: 8             Movement and dance are solemn,
               the region, The Crystal Cube of        The atmosphere is gloomy and         Supermodels, fashion and            significant and perhaps distant. Each
               Brightness is of enormous              sad, indicating moments in life of   glamorous way of life are the       object on the stage carries a symbolical
               importance for the town of Sisak       ordinary people in war times, yet    topic of this performance. The      meaning, and all together always
               and the surrounding area.              never becoming a direct              audience, while waiting for the     create a profound whole and idea.
                  In her work, Ms Petek-Krapljan      interpretation.                      beginning of the performance are    Vijenac
               is mainly concerned with                                                    exposed to fashion magazines
               emotional states in a broad                                                 scattered on tables in the hall,
               sense, interpreted by                                                       with Fashion TV on the screen.
               contemporary dance. During the                                              However, the beginning of the
Jasminka Petek-Krapljan
Dom kulture KKV
©etaliπte V. Nazora 12
44000 Sisak
tel: + 385 44 54 33 57, 54 33 92
fax: + 385 44 54 51 53
mob: + 385 91 154 33 68

                                                         Cinnamon Coloured Room

                                   Behind Closed Doors

                dance-lab collective                                                                                                  CONTACT:
                         Artistic Director:                                                                                       Nensi LaziÊ
                         Nensi LaziÊ                                                                                              Dolac 9
                                                                                                                                  10 000 Zagreb
C                 TYPE OF WORK:                         CURRENT PRODUCTIONS              eventually becoming elusive.             mob + 385 91 559 88 09
               dance research

                                                    The Third Imaginarium is a proj-     Part II - BorderLines
                   ABOUT THE COMPANY                ect divided into three separate      choreography: Nensi LaziÊ                that it fits into an intellectual investi-
               The company was formed in            parts: 7 Stages, BorderLines and     number of performers: 3                  gation that incorporates Judson
               2003 in need to research the         Nine in One. The third part is not   The defined space are lines, and         Church and travels through Trisha
               established dance forms and to       materialised, but is conceptually    the dancers, by repetition of            Brown and Anne Teresa de
               explore new methods for creat-       imagined therefore the audience      movement, build a simple struc-          Keersmaker...
               ing dance vocabulary and dance       imagine it themselves according      ture on these lines. The space 
               performances. Several choreogra-     to a written model. The project      remains unchanged and the
               phers create their artistic works    explores movement in geometri-       attention is more focused on
               within dance_lab collective (Petra   cally restricted spaces and the      time and its continuum.
               HraπÊanec, Nensi LaziÊ and           ways of physical presentation
               Roberta Milevoj). The productions    within the defined forms.                REVIEW EXTRACT
               by dance_lab_collective have                                              ...BorderLines is a stimulating con-
               been presented on a number of        Part I - 7 Stages                    ceptual work, establishing disciplined
               dance events in Croatia.             choreography: Nensi LaziÊ            structure within an extremely con-
               In 2006, Nensi LaziÊ’s choreogra-    number of performers: 2              fined space: for almost the full half-
               phy BorderLines was selected to      The dancers move within 7            hour each woman’s steps did not
               be presented at Aerowaves,           squares in a structured improvi-     deviate from her straight line and
               London with 9 other performanc-      sation and by following certain      when they suddenly weaved out of the
               es. It was selected among more       rules thus defining them themati-    light and back through it, to left and
               than 300 works from all over         cally by individual parts of their   right, it was the sign for the work to
               Europe                               bodies. The space imposes its        end... LaziÊ has created a pared down,
                                                    own rules and (de)forms the          deconstructed dance text of such
                                                    dancers and their movements,         breathtaking, yet simple, intensity
              Photo| EkS-scene


                                                   Photo| Kan
                                 7 Stages (2005)

                Dance Soloists                                                                                                        CONTACT:
                         Artistic Director:                                                                                        Jasminka Neufeld
                         Jasminka Neufeld                                                                                          ©tefanoveËka 83
                         ImroviÊ                                                                                                   10000 Zagreb
                                                                                                                                   tel: + 385 1 285 94 23, 299 33 18
C                 TYPE OF WORK:                    ing, which reflects an intimate      an exhibition of sculptures and            fax: + 385 1 66 00 650, 66 85 500
               multimedia projects                 story about relationship of a        landscape paintings and the sec- 

                                                   mother and daughter. The emo-        ond part is a dance performance
                   ABOUT THE COMPANY               tive and social complexity of        in which visual material that has
               The name Dance Soloists stands      motherhood is represented in the     already been seen on the exhibi-
               for Jasminka Neufeld ImroviÊ and    complexity of performing process,    tion is used in animated form.
               Ivan Branko ImroviÊ, a wife and     which represents the „story“ in
               husband, dancer and sculptor        different media and modes. The           REVIEW EXTRACT
               (painter, drawer) who have creat-   project has resulted from a series   ...a mother and daughter are in the
               ed a number of multimedia proj-     of drawings titled A Drawer’s        foreground, real mother and daugh-
               ects together, always combining     Diary by sculptor and painter Ivan   ter: Jasminka, who used to be the
               their own dance and visual arts.    Branko ImroviÊ, whose works are      Dancer and has become the Bearer
               Therefore, their projects consist   displayed as slides and are merg-    and Vanesa, little, charming future
               of dance, painting, sculpting,      ing with the moving bodies on        Dancer, mother’s „multiplied burden
               exhibitions, music and often        stage.                               wrapped in the cradle“, „intention,
               poetry.                                                                  awakening, pride“, protected and sur-
                                                   Modelling the Landscape              rounded by shiny pink Disney world.
                  CURRENT PRODUCTIONS              authors: Jasminka Neufeld            Father is also here, silent and present,
                                                   ImroviÊ (choreography) and Ivan      as a silhouette of the one who follows

                                                                                                                                                                            Photo| Renato Bran olica
               Mother and Child                    Branko ImroviÊ (sculptures)          and records, the Drawer...
               authors: Jasminka Neufeld           number of performers: 4              Vijenac
               ImroviÊ (choreography) and Ivan     A multimedia project in two
               Branko ImroviÊ (sculptures)         parts: the first part is a dance-
               number of performers: 2             visual performance in which the
               The performance is a co-play of     audience can observe creation of
               dance, music, poetry and paint-     sculptures inspired by dance and                                                               Modelling the Landscape
     Mother and Child
                        Photo| Renato Bran olica

                Histeria Nova
                         Artistic Director:
                         Marija ©ÊekiÊ

C                  TYPE OF WORK:                     concerned with movement as a         sical ballet, contemporary dance,      defined choreography, music and
               contemporary dance, multimedia        phenomenon occupying space           butoh and free jazz. It is an          light structure (created in 2002),

               projects                              and consisting of rhythm, energy,    attempt to create Dance which          the performer is left with a new
                                                     time, space geometry and             dwells within the opposite             space for interpretation but almost
                    ABOUT THE COMPANY                dynamics. Therefore, her move-       dynamics of two dancers, com-          no room to „improvise“.
               Histeria NOVA was the pseudo-         ment is abstract and mathemati-      pletely different in terms of their    Accompanied by the digitally
               nym for Marija ©ÊekiÊ from 1998       cally precise.                       race, sex, age, nationality, cultur-   processed sound of the dancer’s
               to 2005 and the Histeria NOVA                                              al background, dance education         breath (lavalier headset), the
               Artistic Association was founded          CURRENT PRODUCTIONS              and artistic expression, political     entire performance creates ONE
               in July 2005. It is structured in                                          and religious beliefs. Their differ-   active thought within a mutual
               three different directions: produc-   Sjena / Shadow                       ences create one mutual thought,       construction set by an even more
               tion / coproduction of original       choreography: Marija ©ÊekiÊ          a movement in which they both          complex structure, but „free“
               multimedia artistic projects with-    number of performers: 2              look the same.                         movement accords.
               in the field of experimental cho-     The frequency of the „Alpha-
               reography, interactive stage per-     Theta border“ inside the human       One - reconstructed                         REVIEW EXTRACT
               formance and electroacoustic          brain (fully active mind and fully   choreography: Marija ©ÊekiÊ            ...the richness of three personalities
               theatre; Crolateral movement in       relaxed body) ranges between 7-      number of performers: 1                (Marija, Tadashi and Zoran) gradu-
               the form of professional semi-        8 Hz, which corresponds to the       Every abstract movement in dance       ally revealing themselves in each new
               nars, lectures and workshops;         resonant frequency of the Earth      reveals a „story“... underneath        sequence reflect three almost life stories,
               and art and science research          and ionosphere (7.83Hz). This        which there is a dynamic thought,      which, although different, show what
               which explores and develops           correspondence indicates the         a visual picture defined by the        is universal in all of us a human
               new, original ideas integrating       existence of a universal planetary   nature of movement and the con-        being...
               art+science.                          truth created by the balanced        scious will of a dancer to shift       Vijenac
               In her artistic work as a choreog-    energy dynamics between Man          and move inside, outside and
               rapher and dancer, Marija ©ÊekiÊ      and Nature. Sjena (Shadow) bal-      within the boundaries of these
               is always research-oriented and       ances between the forms of clas-     movements. Within a strictly
V.K.A. Stepinca 13
31400 –akovo
tel / fax: ++385 31 81 47 18
mob: ++ 385 95 905 83 18 can look as a cage (icosahedron);
especially when the dancer enters, ten-
der and trembling and exhausted, in
contrast to its provocative, safe stabili-
ty. Like two inseparable opposites
which make one: indifferent night
tranquility and engaged, quivering

                                                   Photo| sandra VitaljiÊ
                Kelkope Company                                                                                                         CONTACT:
                         Artistic Director:                                                                                          Maja Korman
                         Tamara SaviÊeviÊ                                                                                            Svetog Mateja 79
                                                                                                                                     10000 Zagreb
C                   TYPE OF WORK:                    nine life stories. Each of them          REVIEW EXTRACT                         mob: + 385 91 578 76 15
               jazz ballet                           deals with a certain prejudice and their one-hour-long fairytale, the

                                                     tries to enlighten the viewer        dancers portray the path of an indi-
                    ABOUT THE COMPANY                through music and movement.          vidual who attempts to follow his or
               In their fourteen years of continu-   The energy and skills of the nine-   her own dreams, searches for love,
               al work, the members of the           teen performers are a perfect        tries to fulfil his or her purpose and
               Kelkope Company have always           medium for expressing our            faces a number of choices offered at
               searched for their own artistic       everyday thoughts, with a little     the same time...
               expression, changing and acquir-      help from popular sounds             Vecernji list
               ing new experiences. As a result,     (Madonna, Justin Timberlake,
               their performances are always         Skunk Anansie...).
               different, both in terms of con-
               cept and the danced material.         Lost Worlds... Myth... The
               However, with the strong jazz         Symphony of Life
               dance background of the per-          choreography: Tamara SaviÊeviÊ
               formers and their emphasized          number of performers: 12
               physicality, their performances       The performance deals with the

                                                                                                                                                                          Photo| Goran Varsomopulus
               are always very dynamic, ener-        always present duality: Is it bet-
               getic and attractive.                 ter to pursue one’s own dreams
                                                     and walk one’s own path or lose
                   CURRENT PRODUCTIONS               oneself in the mass, not taking
                                                     any risks? The performers reflect
               Free Your Mind                        on the multitude of choices
               choreography: Tamara SaviÊeviÊ        offered to every person and the
               number of performers: 19              consequences arising from a par-                                                                    Free Your Mind

               This is a dance project shaped as     ticular choice.
Free Your Mind

                 Photo| Goran Varsomopulus
                k.o. /combined operations/
                          Artistic Directors:
                         Æeljka SanËanin
                         Saπa BoæiÊ
C                  TYPE OF WORK:                        dramaturge), Æeljka SanËanin         cient possibilities of speech on       graphic practices, attempting to
               performing arts, contemporary            (choreographer, dancer / per-        human solitude and the necessity       emphasize the tangibility of the

               dance                                    former), Barbara MatijeviÊ (chore-   of mirroring in the Other through      dance medium, its perceptive vis-
                                                        ographer, dancer / performer) and    an increased referentiality of lan-    ibility and semiotic elusiveness.
                    ABOUT THE COMPANY                   Andrej VuËenoviÊ (video artist).     guage. The performance deals           The landscape of choreography is
               k.o. / kombinirane operacije /                                                with the lover’s discourse as a        deliberately sculptural, affirming
               (combined operations) was formed             CURRENT PRODUCTIONS              place of creation, a space where       Barthes’s idea of the punctum: a
               in December 1998 through a clear-                                             language in its neglected, denied      detail that escapes every rational-
               ly excessive lapse of staging their      Roland Barthes: Lover’s              aspect surprisingly becomes a          isation. Expanding the territory of
               first performance EXIT at The            Discourse                            model of simulated, non-realistic      manipulation, from performer’s
               Festival of Youth in Kikinda (Serbia).   authors: Selma Banich, Saπa          action. In other words, the work       body via performing space to the
               Imagined as a collaboration of           BoæiÊ, Oliver FrljiÊ, Milan Marko    on the project is directed towards     perception of recipients, the per-
               the artistic duo Saπa BoæiÊ and          Jastrevski, Æeljka SanËanin and      the re-evaluation of the amorous       formance attempts to multiply the
               Æeljka SanËanin, k.o has devel-          Andrej VuËenoviÊ                     discourse to the profit of a poten-    signifying process by the con-
               oped non-institutional models of         number of performers: 4              tially structured performative fact.   stant transformation of the dance
               artistic work and production in          Conceived as a multimedia hap-                                              material therefore dissolving its
               contemporary dance and per-              pening, freely touching on the       Solo: Cycle / 1 / project On           own need for conceptual meaning.
               formance surroundings. Up to             delicate curves of Barthes’ text,    Labour
               the present, k.o has created nine        the performance questions the        choreography: Æeljka SanËanin              REVIEW EXTRACT
               autonomous and collective dance          modes of an author’s creativity      number of performers: 1                ...What Æeljka SanËanin manages to
               performances in which they have          and collective work in the perfor-   A choreographic essay which            do is emotive distance, separateness
               collaborated with different artistic     mative media. Starting from the      refers to different aspects of         from her own body which she manip-
               individuals and a great number of        thesis by the famous French          artistic work phenomena in the         ulates on a purely physical level in
               independent organizations from           philosopher on the dislocation of    medium of dance and choreogra-         order to perhaps create a sign that
               the Croatian and international art       lover’s language from the repre-     phy. Through auto-referentiality,      may or may not have a personality...
               scene. The group is comprised            sentative model of reality, the      the performance explores the           Vijenac
               of: Saπa BoæiÊ (director / dance         performance affirms the ineffi-      normative ideology of choreo-
Æeljka SanËanin
k.o. Theatre Group
KlekovaËka 32
10 000 Zagreb
tel / fax: + 385 1 29 92 105
mob: + 385 98 94 78 725
or + 385 98 97 70 587

                                      Photo| Andrej VuËenoviÊ

                                                                                                    Photo| Petra Zanki
                               Solo                             Roland Barthes: Lover’s Discourse
                Liberdance - Free Dance Company                                                                                    CONTACT:
                         Artistic Director:                                                                                    Rajko PavliÊ
                         Rajko PavliÊ                                                                                          JuriπiÊeva 7
                                                                                                                               10000 Zagreb
C                 TYPE OF WORK:                      with a wide range of dance artists   „ethno dance“. The film serves       tel / fax: + 385 1 481 36 55
               contemporary dance                    and to produce theatre works as      as a counterpoint to a rapturous,    mob: + 385 98 164 77 60

                                                     well as choreographies in the        poetic atmosphere that suddenly
                    ABOUT THE COMPANY                amusement industry.                  turns into an „anti-happy ending“.
               The company was founded by            The company has performed in
               Rajko PavliÊ who is the choreog-      Croatia and abroad (Germany,         There is No Business like
               rapher of the majority of the per-    Mexico, Italy).                      Show Business or Neue kroat-
               formances. His style is specific in                                        ische Kunst                              REVIEW EXTRACT
               terms of fusion of highly physical        CURRENT PRODUCTIONS              choreography: Rajko PavliÊ           ...the dance-film-musical performance
               contemporary dance with other                                              number of performers: 10             in three parts leaves the audience
               dance forms, such as ethno, show      Domesticus vulgaris or Plain         A musical-dramatic staging, deal-    moved and convinced that goodness
               dance, breakdance and ballroom        Domestic                             ing with an idea on what should      or beauty really (sometimes, often?)
               dance.                                choreography: Rajko PavliÊ           be the new Croatian art. The per-    hides in small things also, as well as
               In over two decades of artistic       number of performers: 4              formance is a satire and deals       in, at first glance, simple but perhaps
               work, the company has always          A music and dance project,           with values in a consumer’s          basic emotions. The personal sinceri-
               seen fragmentariness as the basic     inspired by albums Zeleni kader      world and the influence of media.    ty, self-irony and warmth of the cho-
               approach to movement thus trans-      and Domesticus vulgaris (by          It is performed by an outstanding    reographer along with his consistency
               forming images into associative       Croatian band Cinkuπi) and the       Croatian actress Zrinka CviteπiÊ,    in the credible and gifted building of
               ideas. This play of rational and      animated film Ciganjska by Marko     who is accompanied by an ethno       his own dance world, unique on the
               irrational is reflected in move-      MeπtroviÊ and Davor Me ureËan.       band.                                Croatian dance scene, which com-
               ment that becomes either struc-       Every song is a motivation to                                             bines regional roots and contemporary
               tured and balanced or dispersed       dance, creating a distinctive cor-                                        dance education win respect...
               and fragmentary.                      pus poeticum of music and                                                 Vijenac
               Such an approach to dance art         movement, which, consciously or
               has opened up many possibilities      unconsciously, becomes a gen-
               for the company to collaborate        uine source of contemporary
                                                                                                         Photo| Renato Bran olica
                                          Photo| Davor ViπnjiÊ

There is No Business like Show Business                          Domesticus vulgaris or Plain Domestic
                llinkt!           dance project
                          Artistic Directors:         dance art that is aware of its con-    about non-aggressive communi-          at the table, and later on, into a
                          Iva Nerina Sibila           text, that feeds from it and nour-     cation, staring at the notebook,       dance with which the dancers
                          Katja ©imuniÊ               ishes it. The company has per-         book, dance record of one’s own        occupy the whole café.
                          Ljiljana Zagorac            formed in Croatia and abroad           body on the stage, about uncov-
                                                      (Italy, Germany, Poland).              ered time.                             llinkt! dances text / Talking to
C                   TYPE OF WORK:                                                                                                   Lilia
               site responsive dance perform-             CURRENT PRODUCTIONS                Zagreb - Dessau, 15 hours by           choreography: Katja ©imuniÊ

               ances                                                                         train                                  number of performers: 1
                                                      Fragile Points of the City             short film, duration: 6 min            The choreography Talking to Lilia
                    ABOUT THE COMPANY                 concept: Katja ©imuniÊ                 author: Barbara Blasin                 is a dance solo based on a radio-
               llinkt! dance project is an indepen-   number of performers: 2-7              Zagreb - Dessau, 15 hours by train     drama of the same name written
               dent, cross-media, collaborative,      Dance-urban actions on damaged,        is part of the Café Café project. It   by Katja ©imuniÊ.
               research-oriented group of authors     abandoned, badly treated and for-      is an artistic documentary video
               who produce original works and         gotten but culturally valuable loca-   record of llinkt!’s performance at     llinkt! dances text / Without
               research the relation between          tions. The performances establish      Urban Lab in Dessau, Germany.          title
               dance and other arts /media/phe-       the interaction of a concrete archi-                                          choreography: Ljiljana Zagorac
               nomena/events. Their research          tectonic point, a text by an archi-    Café Café                              number of performers: 2
               into dance art takes llinkt! to dis-   tecture theoretician and dance.        concept by: Katja ©imuniÊ and          Without title is a poem by con-
               placing dance from safe theatre        They are performed in Zagreb, but      Ljiljana Zagorac                       temporary Croatian poet Branko
               spaces into unsafe urban loca-         are also applicable in other cities.   number of performers: 6                Maleπ performed as a dialogue
               tions (airports, city squares, art                                            Urban intervention in a café, when     between dance and sign lan-
               galleries, abandoned buildings,        Gentle Gymnastics                      its many visitors are in their usual   guage of the deaf.
               waiting rooms, coffee bars and         choreography: Katja ©imuniÊ            numbers, the dancers are sitting
               libraries), shifting dance towards     number of performers: 4                at two tables wearing clothes not          REVIEW EXTRACT
               other media and arts (video,           Performance based on a novel by        different from the other guests ∑      ...Enough has already been written
               architecture, radio-play, computer     Erich Kästner Das doppelte             casual, usual for such a location /    about the wonderful effects of coffee.
               animation etc.).                       Lottchen. It is about forgotten        communication. Their movements,        If the side effects are as charming as
               llinkt! dance project strives to       bravery and uncompromisingness         at first similar to other visitors,    could be seen in Café Venezia in
               open new grounds for the devel-        of childish creation, seriousness      very slowly become repetitive,         Rathauscenter yesterday, then we
               opment of dance and to promote         and fragility and almost equally       then change and turn into a dance      invite the inhabitants of Dessau:
Katja ©imuniÊ
Prisavlje 10
10000 Zagreb

„Drink more coffee!“... Mixed with
the guests in the café, a quartet of
young female performers emerge from
the anonimity of the mass by dancing
simple and playful choreographies
developed from short, technically
demanding compositions in the pas-
sages among the waiters, children and
guests. This time, the guests do not
shake their heads in irritation, but
they laugh, inspired, perhaps wonder-
ing why they still do not feel the same
side effects from their coffee.
Mitteldeutsche Zeitung

                                                              Photo| Renato Bran olica
                                          Gentle Gymnastics
                         Artistic Director:          enough space for the performers      of an action of the dancers, painter     one another at least in their minds
                         Irma Omerzo                 to build their own expressions       and musician.                            if not in reality. A love story told
                                                     according to their sensibilities.                                             in film-like clarity, Mi ∑ Nous takes
                                                     MARMOT has performed both in         Euro vision                              the audience from laughter to
C                 TYPE OF WORK                       Croatia and abroad (Slovenia,        choreography: Irma Omerzo                tears, reaching out with deeply
               contemporary dance                    Bosnia and Herzegovina,              number of performers: 5                  personal, yet universal themes.

                                                     Hungary, Czech Republic, France,     The reality in which live provoked
                   ABOUT THE COMPANY                 Portugal and USA).                   me to re-examine and express             In Our City
               Irma Omerzo graduated from the                                             my personal vision of society and        director and choreographer:
               Centre Nationale de Danse                 CURRENT PRODUCTIONS              Europe through the medium of             Irma Omerzo
               Contemporaine, Angers France,                                              theatre.                                 A dance-video project in the form
               and joined Philippe Decoufle’s        Short Programme No 1                 Considering Croatia’s situation as       of a short dance film shot in a
               company DCA as a dancer and           author: Irma Omerzo                  a candidate for the membership           typically urban situation. This film
               assistant choreographer               number of performers: 5              in the European Union, I find            also criticises the society in which
               (1993∑2000). She returned to          Shot Programme No 1 is a per-        myself facing an intricate geo-          we live. The film was programmed
               Croatia and founded her own           formance developed in 2006 as        graphical, historical, political, eco-   on Videodanse 2005, the Beau-
               company Marmot in 2001. She           continuation of one part of dance-   nomic, ethnical, ethical and cul-        bourg festival in Paris and was
               has also collaborated with Croatian   exploration project Let’s Continue   tural web of causes and conse-           the winner of a special award at
               companies and dance artists on        with Movement (2004). It is about    quences, relations, systems,             the Napolidanca Film Festival in
               their projects.                       triple expression and the direct     laws, statistics, norms, human           Italy in 2005.
               MARMOT produces performanc-           interaction of dance, drawing and    destinies, frustrations and expec-
               es and video dance projects in        music which develop simultane-       tations.                                      REVIEW EXTRACTS
               which the author shares the           ously. The form is structured                                                 ...The gently witty choreography
               issues of her personal interest       improvisation where the three        Mi - Nous                                played games with space to comment
               with the public. Therefore, the       elements are equally important       choreography: Irma Omerzo                on the relationship. Ms. Omerzo
               directive in her artistic work is     and represented during the per-      number of performers: 2                  sometimes placed them close together,
               sincerity to the material both in     formance. The performance is         A subtle love relationship between       yet made them seem emotionally dis-
               form and approach. In this sense,     dealing with the phenomenon of       a physically separated man and           tant. At other times when they stood
               her choreographic work is never       trace as something that is or is     woman is reflected in the subtle         apart, they appeared emotionally
               completely defined but leaves         not left behind as a consequence     movements in their effort to reach       united. A changing sense of psycholog-
Irma Omerzo
MaæuraniÊev trg 7
10000 Zagreb
mob: + 385 98 746 009
fax: + 385 1 492 33 17

ical distance helped enliven this hour-
long dance for two people...
The New York Times

Irma Omerzo’s piece is firmly rooted
in the narrative, engaged, ludic dance
theatre, with the clever use of props
and the equal treatment of dance and
text. Although at a first glance the
humorous, excellently performed story
might seem as a high-quality easy
entertainment in the vein of History
of the World: Part I, the ending
undoubtedly points to the seriousness

                                                        Photo| Jasenko Rasol
of her attitude and the hopelessness of
the situation reminiscent of the
supreme absurdity in the film No
man’s land.
                                          Euro vision
                          Selma Banich, Sandra
                          BaniÊ, Ana BaniÊ, Mila
                          »uljak, Adam Semijalac

C                   TYPE OF WORK                      number of performers: 4                orangecut                             by their very presence. By this
               collaborative performing art/          A multidisciplinary performance        choreography: Selma Banich and        automatism, the performers take

               performance research                   that deals with the structuring of     Sandra BaniÊ                          over the role of the audience as
                                                      the absurd by questioning per-         number of performers: 2               active participants in the perform-
                    ABOUT THE COMPANY                 formance strategies and con-           The situations of joint work on       ing situation. The definition of the
               The co-authorship initiative OOUR      tents, by creating a different real-   the material, the marking of indi-    relation audience∑performers is
               was established by a group of          ity in a joint adventure and by        vidual dancer’s identity, the peri-   realized in a symbiotic way.
               authors from different fields of       socializing ∑ while making a stu-      ods of waiting, support and cheer-
               art who are willing to explore lim-    pid performance.                       ing up each other are integrated      Limb
               itations of their own authorial dis-                                          into a fragmented code of the         authors: Selma Banich and
               positions and oppositional friction    to be confirmed                        physical material with the inten-     Adam Semijalac
               within given performative con-         choreography: Selma Banich,            tion of humanizing, uncovering        number of performers: 2
               cepts. In 2006, OOUR plans to          Sandra BaniÊ and Zrinka Uæbinec        and demystifying working process.     A collaboration between a dancer
               produce Come forward (sport            number of performers: 3                                                      and musician that investigates a
               event). The group has performed        Here is time facing existence as       blackbox-the first box                possibility of achieving the tran-
               their productions at various theatre   such, in order to make you feel        authors: Selma Banich, Sandra         scendental through various phas-
               events and dance festivals in Cro-     that there is something mysteri-       BaniÊ, Ana BaniÊ, Branko CvjetiËa-    es of emitting corporal projection
               atia and abroad (Spain, Germany).      ous about continuum and that we        nin, »uljak, IvkoviÊ and Semijalac    in relation to the affirmation of
                                                      must not be all too astonished         number of performers: 4               sound, which is perceived as a
                   CURRENT PRODUCTIONS                with the failure of our attempts       An interactive performance that       material projection through the
                                                      to use it for precise description      deals with the ways of defining       same body.
               H                                      of nature; here is existence facing    and the possibilities of position-
               authors: Selma Banich, Sandra          time as such, in order to make         ing performing situations in which
               BaniÊ, Ana BaniÊ, Mila »uljak and      you feel that there is something.      the audience become direct sub-
               Adam Semijalac                                                                jects of performing mechanism
II. apatinski odvojak 9
10040 Zagreb
phone: + 385 1 461 33 43
mob: + 385 91 547 10 33
fax: + 385 1 461 33 43

...orangecut is a performance that
opens up to an „error“. This means
that the dancers integrate elements,
incited by their own beings, into the
structured material in each new per-
formance. This is not mere means of
reproduction, but a living organism...

...already recognizable feature of
OOUR, filtering choreography to just
a few phrases, is used to its very
extreme here ... Their dance is a flow
and should only be continuous or

                                                                                Photo| IIvana IvkoviÊ
                                             Photo| IAlan VukeliÊ
something that is to be confirmed...

                                         H                          Orangecut
                         Artistic Director:                                                                                       Natalija ManojloviÊ
                         Natalija ManojloviÊ                                                                                      mob: + 385 91 880 51 51

C                 TYPE OF WORK                          CURRENT PRODUCTIONS                 Exc(a)use me                              REVIEW EXTRACT
               dance theatre                                                                concept by: Natalija ManojloviÊ       ....The manner in which the perform-

                                                    Corrosion ltd.                          number of performers: 5               ers take the role of machine and rep-
                    ABOUT THE COMPANY               choreography: Natalija ManojloviÊ       The performance deals with            resent only tools without faces and
               The company was founded in           number of performers: 4                 something called „denf“, a spe-       names is excellent in every respect.
               2003 and gathers five dancers        The performance is intended as a        cific problem of discomfort or        With a continuous mechanical move-
               who cooperate with musicians,        choreographic exploration. It is        trouble that appears in various       ment of their own bodies, they merge
               visual and new media artists.        inspired by the procedures of           forms and is a result of a number     with the surroundings as if we are
               They explore media such as           rationalisation of task fulfilment in   of situations (for example, when      watching a play of vertical and hori-
               drama theatre, video and installa-   industrial production where pro-        a child is reciting a poem in front   zontal lines...
               tion. The artistic vocabulary used   ductivity is more important than        of everybody in the class and
               in their works is accessible and     humanity. Therefore, they investi-      starts to squeeze his trousers
               humorous and their mode of           gate the body as machine. The           with his hand out of embarrass-
               operation is always open to          process of production is an illus-      ment). In a humorous and very
               experimentation. In their work,      tration of the relationship of the      sincere manner, the performers
               they explore everyday situations     workers to a machine, of a com-         create this kind of situation on
               and interpersonal relations in an    pany to an employer, of a dancer        stage.
               urban environment by using non-      to the body. In the process of
               verbal as well as verbal ways of     work, they search for an econom-
               communication, often interpret-      ical movement and the chance to
               ing them in a humorous manner.       replace the body with machine
                                                    and the machine with body. The
                                                    movement refers to functionality
                                                    in industrial production, the laws
                                                    of mechanics and „metalness“
                                                    of the sound.
Exc(a)use me
                Puls Company                                                                                                             CONTACT:
                          Artistic Directors:                                                                                         Udruga profesionalnih plesnih
                          Ana-Maria BogdanoviÊ                                                                                        umjetnika „Puls“
                          Katarina –ur eviÊ                                                                                           Park Ribnjak 1
                                                                                                                                      10000 Zagreb
C                  TYPE OF WORK                        formers and choreographers.          pated woman and single mother             Croatia
               contemporary dance, multimedia                                               as well as an observation of this         tel/fax: + 385 1 376 00 62

               projects                                    CURRENT PRODUCTIONS              important social issue in a broad-        mob: + 385 91 511 21 50
                                                                                            er sense, in today’s reality.             or + 385 98 478 585
                    ABOUT THE COMPANY                  THC Positive                                                         
               Puls is a professional association,     choreography: Katarina –ur eviÊ          REVIEW EXTRACT              
               founded in 2001, that gathers           number of performers: 6              ...Katarina –ur eviÊ is not an
               professional dancers, pedagogues        The performance deals with the       aggressive feminist, she just assembles
               and choreographers with the aim         problem of drug addiction. By        her own pictures in a touching and
               of cultivating and further develop-     using the stair-like construction    humorous manner. These pictures are
               ing dance art. In this sense, Puls      of the auditorium as the stage       performed in a very impressive and
               is a dance centre that provides         and placing the audience on the      powerful way by IvanËica Horvat, a
               education to young dancers as           real stage space, the choreogra-     Croatian-Spanish dance artist...
               well as being a dance company.          pher plays with the ups and          Vijenac
               As a company, they produce per-         downs of drug addicts in numer-
               formances both for the theatre          ous aspects of their life, leading
               stage and other spaces. Also,           to a tragic end.
               they are very open for collabora-
               tions with artists in other fields of   Where has My Navel
               arts, and they consequently par-        Disappeared?
               ticipate in manifestations that are     choreography: Katarina –ur eviÊ
               not directly related to dance as        and IvanËica Horvat
               guest artists. However, they col-       number of performers: 1
               laborate with other Croatian            The performance is a reflection
               dance companies on dance proj-          of the author’s new personal
               ects as well, as teachers, per-         experience of being an emanci-
                                  Photo| Petar BaburiÊ
Where has My Nevel Disappeared?

                Silvia Marchig                                                                                                        CONTACT:
                                                                                                                                   Silvia Marchig
                                                                                                                                   RastoËine 4
                                                                                                                                   51000 Rijeka
C                 TYPE OF WORK                          CURRENT PRODUCTIONS              material. They attempt to direct          tel: ++385 98 644 358
               contemporary dance                                                        the viewer to what is usually hid-

                                                    Cardioadapter                        den from them: to their weak-
                    ABOUT THE ARTIST                choreography: Silvia Marchig         nesses and inabilities and here
               Silvia Marchig is a dancer, dance    number of performers: 2              they reveal their own human and
               pedagogue and choreographer.         Cardioadapter is a device for        performing vulnerability.
               She finds research material for      recharging a mobile heart, the
               her performances in herself and      heart of a person who cannot             REVIEW EXTRACTS
               the other dancers, musicians and     attach themselves to a particular    ...Following her obvious intention, an
               artists she collaborates with. The   space. The feeling of freedom is     intrinsic approach to movement,
               traces of performing and person-     crucial for a person with a mobile   Marchig has collaborated this time

                                                                                                                                                                            Photo| Jasenko Rasol
               al biographies, chosen depending     heart. In cases where this feeling   with two excellent dancers, Zrinka
               on a specific area of research,      finds itself suspended in empti-     ©imiËiÊ and Maja MarjanËiÊ, letting
               build the basic tissue of a per-     ness, such a person needs a car-     them both create their own dance
               formance. The intention of her       dioadapter.                          vocabulary of restlessness and
               performances is to communicate,                                           anguish... She evokes states of unbear-
               and this primarily on an emotional   The Left Thigh                       able sentimentality, gives touchable                              The Left Thigh

               level.                               choreography: Silvia Marchig         and formed emotion. Her perform-
                                                    number of performers: 5              ance therefore has a soul...
                                                    This is a dance∑vocal performance    Vijenac
                                                    that consists of five solos, which
                                                    occur simultaneously and inter-      ...The dancing body is subjected to
                                                    sect, hiding and emphasizing each    testing, to self-questioning, so that
                                                    other. The performers draw the       each dancer listens for herself how it
                                                    viewer’s focus to unusual angles     sounds, how much it can endure,
                                                    of observing the performed           what it can do... Vijenac
     The Left Thigh

                      Photo| Jasenko Rasol
                Sodaberg Choreographic Laboratory/Art Organistion
                         Artistic Director:
                         Marjana KrajaË

C                  TYPE OF WORK                    creation and research. In her              CURRENT PRODUCTIONS              Seducing Pablo Escobar - A
               choreographic research / contem-    choreographic work, Marjana                                                 Solo

               porary dance                        KrajaË is oriented to research on      Lady Macbeth has Nothing to          choreography: Marjana KrajaË
                                                   new performing concepts in the         Lose/Phase II - Research on          number of performers: 1
                    ABOUT THE ARTIST               field of contemporary dance            Opera                                The major drug dealer of the
               Sodaberg is a choreographic labo-   expression, often in fruitful con-     choreography: Marjana KrajaË         Medellin Cartel was the first man
               ratory and art organisation that    frontation with other fields of art.   and Selma Banich                     in the history of crime to make a
               gathers artists from different      Her strictly defined performing        number of performers: 2              billion US dollars. Loved by many
               fields of contemporary dance pro-   strategies of high visual quality      The performance deals with the       and persecuted by only a few,
               duction and further. Sodaberg’s     are determined by an effort to         confrontation between choreo-        Escobar’s life came to an end at
               conception, research, choreogra-    create choreographic materials         graphic and vocal material. The      the age of 43. On November
               phy, education as well as a new     that are formally clear and com-       deconstruction of the libretto for   6th, 1985, a bloody deed shocked
               approach to music use (for exam-    plete, yet semantically open and       Verdi’s opera Lady Macbeth           the world public: Pablo Escobar’s
               ple, traditional opera material)    associative. Within these param-       leads to the creation of a new       men attacked the Columbian court
               positions their work within a new   eters, her poetics is being built      musical score and the dramatur-      of law and murdered a number of
               Croatian dance scene. The initia-   on two levels which always inter-      gy is concentrated around the        guardians of the law. It was a
               tive was founded in 2005 by cho-    weave in her performances:             motif of Lady Macbeth’s mad-         desperate attempt to escape
               reographer and dancer Marjana       impressive visuality (resulting        ness and gradual defragmenta-        being handed over to the United
               KrajaË, choreographer and dancer    from her cooperation with visual       tion of her world. Ranging from      States of America. Even though
               Nensi LaziÊ and theatre theoreti-   artists) and transparent dance         abstract movement to a soprano       he was unable to change it, he at
               cian Andrej MirËev. Author/chore-   language (resulting from her           performance which is very dra-       least wanted to defy the law and
               ographer and dancer Selma           intensive work on the articulation     matic at moments, the entire         eliminate the policemen. This
               Banich, sound-designers Darius      of movement quality).                  performance takes place at the       indescribable bloody deed was
               Gall and Guido Henneboehl as                                               point in which choreography          witnessed by journalist Elizabeth
               well as video-artist Anna Safary                                           transforms into opera and vice       Mora who interviewed Pablo
               are also regular support to the                                            versa.                               Escobar six times.
Sodaberg Choreographic
Marjana KrajaË
OpatiËka 6
10000 Zagreb
mob: + 385 98 182 78 41

Discovery Channel News
Pablo and Elizabeth met for the
seventh time...

...Among visiting Croatian choreog-
raphers, the cerebral game of
Marjana KrajaË, Seducing Pablo
Escobar, turned out to be remarkable
in terms of a completely different way
of thinking about dance, where the-
atre and narrative elements are pres-
ent in distorted form, overburdened
with meanings which are interpreta-
tive traps at the same time...

                                                                 Photo| Rodion
Radio 101

                                         Lady Macbeth in Furio
                Space +
                          Artistic Director:          aims of the association as well as     What happens when we break          nerability, anonymity, intelligence,
                          Æak Branko Valenta          provides support and working           up the definition? Can we escape    talent, desires, fears, strength...
                                                      conditions for further development     the defined circumstances? The      The author attempts to detect and
                                                      to performers and unestablished        possibilities are numerous.         evoke all these. And these
C                  TYPE OF WORK                       artists in other fields of perform-    However, we are seduced even-       women are unique, different,
               performing arts, site-specific,        ing arts. It also encourages multi-    tually. There remain fragmented     intriguing and charismatic. The

               street actions, art installations,     media, experimental and alterna-       evidence of a possible crime,       feeling of connection is strong
               multimedia                             tive forms of artistic expression.     possible relationships, possible    and elusive, it becomes timeless,
                                                                                             personalities and states of the     universal. The body of the per-
                    ABOUT THE COMPANY                     CURRENT PRODUCTIONS                protagonists, and the positions     former is a medium through
               Since 2001, the Association for                                               within the triangle become unsta-   which the heroines speak. The
               Performing Arts Space + has            Slippings                              ble and slippery.                   music record (soundtrack) and
               been involved with the education       author: Jasmina SafiÊ                                                      verses serve as a „memory stick“
               of young talents in dance and          number of performers: 3                Heroines                            that enables the viewers to evoke
               movement theatre by organizing         The performance resulted from          choreography: Mila »uljak           the heroines if they want to.
               workshops, trainings, video lec-       research on the definition of leit-    number of performers: 1
               tures and presentations held by        motif and the theory of crime fic-     The research began in a rather      Kurzschluss
               both Croatian and foreign teach-       tion works of art. A strict defini-    unusual manner: the verses were     concept and director:
               ers. The association also produces     tion of leitmotif in a crime story     created first, then the music and   Aleksandar Acev
               dance and mime productions with        is a constant. Suppressed and          eventually the choreographic        number of performers: 2
               intent of ensuring space, mentor-      seductive, yet scary, the atmos-       material. The heroines are all      Movement that collapses, is
               ship and logistics to young artists,   phere opens up three positions ∑       three. They are the author’s        imbalanced and without control
               in other words, providing a safe       the detective, the murderer and        impression of some female per-      forms the main ingredients of the
               environment for creative expres-       the victim. By investigating the       sons. What connects the author’s    gestural material of this perform-
               sion and experimentation in the        typicality, determination and exclu-   female friends, anonymous hero-     ance. The act of establishing com-
               field of performing arts.              siveness of the protagonists, their    ines in everyday life and the       munication that always eludes
               In cooperation with other similar      relationship and the situations        women who became important          and burns out spontaneously.
               organizations, it launches projects    which they have found or will find     figures in the last century? They   The movement arises from a
               which are conceived in accor-          themselves in, an attempt at           are all special in some way. In     momentary internal necessity and
               dance to the main priorities and       defining their profile is made.        what way? Progressiveness, vul-     emotional charge and the result-
ing energy pulsates between           Relief
explosion and collapse, instability   directors: Æak Branko Valenta
and stability.                        and Frits Vogels
                                      number of performers: 3
Trsat stairs                          The performance, inspired by
moderator and co-creator: Æak         female characters from the Alfred
Valenta                               Hitchcock’s films Birds, Rebecca
co creators, performers &             and Psycho, does not intend to
authors of the installations: 15      transfer the film stories into the-
This is a creative exploration of     atre language, but deals with
the Trsat stairs, an emblematic       three women and their internal
space in the town of Rijeka, which    fear. What happens when they
includes a spiritual dimension        meet? Relief was performed in
apart from the urban one.             Croatia as well in Germany,
Respecting the authentic atmos-       Hungary and Romania.
phere, the author and performers
structured their performance              REVIEW EXTRACT
around this very space, which,        ...the first original choreographic
with its surrounding houses, side     work by the versatile artist (Mila
exits and resting spaces imposed      »uljak) who delighted the audience
itself as a unique stage in an open   with her performance, but with her
space, containing hidden mes-         voice as well. The author first wrote

                                                                                                                Photo| Deni ©esniÊ
sages that should only be read        verses related to her own contempla-       CONTACT:
through.                              tion about heroines and, with the       Prostor+
                                      help of Adam Semijalac (who made        J.P. Kamova 30
                                      an excellent soundtrack for the per-    51 000 Rijeka
                                      formance), set them to music and        Croatia
                                      sang them, and only then did she        tel: +385 51 216 280
                                      start to work on the choreography...    mob: +385 98 168 88 80
                                      Novi List                     
                The Studio Contemporary Dance Company
                         Artistic Director:
                         Bosiljka VujoviÊ-Maæuran

C                 TYPE OF WORK                       Portugal, Peru etc.).                  questions make us face the great      their environment without the
               contemporary dance                                                           musical work of Igor Stravinsky       intention of presenting concrete

                                                          CURRENT PRODUCTIONS               and awaken the reflections of the     solutions. Instead, it uses move-
                   ABOUT THE COMPANY                 for adults                             ancient rites written in our genes.   ment as a tool to express emo-
               The Studio Contemporary Dance         A woman who speaks too                 And in glass, concrete and metal.     tions and the moral of the story.
               Company is the oldest dance           much
               company in Croatia (founded in        choreography: Mirjana Preis            Kaputt                                The Nightingale
               1962). The work of the company        number of performers: 3                choreography: Mirjana Preis           choreography: Desanka Virant
               is based on the tradition of          The performance talks about an         number of performers: 2               number of performers: 9
               contemporary dance expression,        eternal subject, a woman: about        A relationship between two people,    A fairytale about a nightingale and
               which always embraces new             her frustrations, relationship with    unpredictable, complex, framed        the Emperor of China presented
               cultural trends and adjusts to the    her partner, her life in the „man’s    in ordinary everyday space inside     in dance form talks about values
               requirements of artistic and          world“ and the search for her own      a coat. The coat represents love,     in life.
               cultural communication. In its long   self. The characters are carica-       hate, conflict of destinies and
               history, the company has produced     tures, and the dancing figures are     eventually love again, everything         REVIEW EXTRACT
               numerous contemporary dance           inventive, somewhat comic and          that life brings along - it may       ...the choreography by FariË is really
               performances in collaboration with    detached from the complex reality.     represent the end as well as the      dance and music, and it is very clear
               respected Croatian and foreign                                               beginning of something new.           in mastering the space. The move-
               choreographers. Also, the company     The Rite of Spring                                                           ment is interwoven with and supple-
               has participated in various TV        choreography: Matjaæ FariË             for children                          mented by music, without conceding,
               shows. The Studio Contemporary        number of performers: 11               Ugly Duckling                         without yielding...
               Dance Company produces                How could the rite of fertility look   choreography: Desanka Virant          Vijenac
               performances for adults as well       like? What sort of meaning would       number of performers: 6
               as for children. The company has      that kind of rite have in today’s      Based on the original story by
               performed successfully abroad         urban environment? Is it today a       H.C. Andersen, the performance
               (Germany, Sweden, Lithuania,          rite of beginning and new rebirth      speaks about a complex relation-
               Azerbaijan, South Korea,              or an urban rite of death? These       ship between an individual and
Bosiljka VujoviÊ-Maæuran
Teslina 7
10000 Zagreb
mob: + 385 91 65 27 392

                                                       Photo| Renato Bran olica

                           Woman who speaks too much

                                                                                                              Photo| Renato Bran olica
                                                                                  Woman who speaks too much
                Dance Centre                    Tala
                          Artistic Directors:         developing them, keep up with          There is no bad outcome because        or you simply want to make a
                          Larisa Lipovac              new trends, advance and acquire        each emotion, thought, sense and       performance. Lift is...
                          Tamara CuriÊ                better working conditions, educa-      exhilaration has already enriched
                                                      tion and involvement in systems        the cosmic garden.                     Men in Skirts, Women - Too!?
C                 TYPE OF WORK:                       of modern funding of art and cul-                                             choreography: Larisa Lipovac
               contemporary dance                     ture. The Centre has successfully      Lift                                   and Tamara CuriÊ

                                                      collaborated with many theatres        choreography: Larisa Lipovac           number of performers: 6
                    ABOUT THE COMPANY                 and festivals, on a national and       and Tamara CuriÊ                       The performance consists of
               TALA Dance Centre is a non-prof-       international scale.                   number of performers: 5                three parts. Part one, WHITE, is
               it artistic organisation established                                          You are on your way out, you           abstract minimalistic movement,
               in 2000 by Larisa Lipovac and              CURRENT PRODUCTIONS                lock the door, you walk along the      the beginning, purity: men and
               Tamara CuriÊ, two artists who have                                            corridor... A routine. You approach    women are the same, wearing
               been active in contemporary dance      The Seed                               the lift. A routine? You enter. What   skirts, in unison, yet they are indi-
               as professional dancers and cho-       choreography: Tamara CuriÊ             do you do in the lift? You waste       viduals, each showing their char-
               reographers over a number of           number of performers: 2                your time on thinking, you watch       acter and their stories begin to
               years. The Dance Centre’s pro-         In the beginning, there was stone      yourself in the mirror, you think      reveal themselves. Six dancers
               gramme is the popularization of        and lava. Stone became lava and        what would happen if the lift          with six different stories ∑ who
               contemporary dance among chil-         lava became stone, and it was the      stops, you are in an awful hurry       are they in skirts? Part two,
               dren, youth and adults through the     way of things for a long, long         but everybody has decided to go        BLACK, is physical: a competition
               preparation and realization of dif-    time... too long to count. And then,   somewhere at the same moment           and game between the individu-
               ferent programmes in the area of       seed-buds were planted and the         and you never reach the ground         als; as in life, they struggle, fight,
               contemporary dance.                    seed sprouted. Fragile and alone,      floor, you feel fear, discomfort,      win or lose, but they keep on
               The aim is to achieve cooperation      in the middle of the dominion of       nervousness, you hum, you are          going. But, there are interrup-
               and develop networking with            elements, too powerful to even         silent, you meet people you have       tions, little solos, in which the
               dancers, choreographers, cultural      notice it... But, in the desolated     never seen before (you are not         dancers, one by one, are getting
               institutions, centres and organiza-    universe it was not alone. Perhaps     sure if they live here), you look at   colours / personality / skirts. Part
               tions in Europe and worldwide.         it will grow, perhaps it will not.     the floor, „good morning“, „good       three, COLOUR, ends up in a
               The Dance Centre is oriented to        Perhaps it will become that which      bye“, someone is staring at you,       room where the atmosphere is
               regional programme through net-        observes and carries gifts, and its    you want to stop the lift, you want    very warm, representing the idea
               work of partners so as to keep         fruits bear new seed.                  to make love between two floors...     that everybody, with all their
colours, personalities, philoso-     Balloons                                 peculiarity, originality and the power
phies of life and thoughts, can      choreography: Larisa Lipovac             of expression. Her dance is strict, con-
harmoniously exist together in       and Tamara CuriÊ                         trolled movement...
one small space, a room.             number of performers: 2                  Vjesnik
                                     This project is intended for chil-
Aquaplan                             dren. We would like to show              ...The story generated by movement
choreography: Larisa Lipovac         them, in a different dimension, a        attempts to point to the absurdity of
number of performers: 1              creative way of expression that          existing male-female roles, which
A solo multimedia performance,       we achieve through movement.             restrict and separate therefore increase
which is an interaction of move-     We explore the body at zero              the personal confusion and disorien-
ment, drama text and video and       gravity through different situa-         tation of an individual instead of
light. The contact between the       tions. The balloon takes on the          decreasing it...
audience and performer is of great   characteristics of humans and            Novi list
relevance therefore the audience     the humans (dancers) take on
is seated around the stage and       the characteristics of the balloon.
the performer tries to bring the     Our improvisations create frag-
audience into the world and sys-     ments that make a dramaturgical
tem of the Aquaplan by means         sequence and turn the play into a

                                                                                                                          Photo| Slavica SubotiÊ
of mime, text, movement, sound       story. The performance stimu-
∑ everything the performer is        lates imagination and opens up
experiencing. The three states of    creative opportunities in other
water represent three spatial        artistic fields.
plans ∑ male space is the space
of ice, stiff and restricted, and        REVIEW EXTRACTS                                                           Lift

the man feels pleasant here,         ...In her creation, as a choreographer       CONTACT:
unlike the woman; female space       and the only performer, she was very     Tamara CuriÊ
is the space of steam, imagina-      personal, sincere and open to the        Boæidara Magovca 50
tion and play, and the woman         audience, to which she wanted to         10000 Zagreb
feels pleasant here, unlike the      transfer her own deep emotional          Croatia

                                                                                                                                                          Photo| Slavica SubotiÊ
man; liquid state is a mutual        experience... To Larisa Lipovac, it is   tel: + 385 1 66 81 009
space ∑ the area of harmony          as if there is no border between the     mob: ++ 385 98 236 811
where all begins and ends, it is     performance and life. Very intellectu-
the unity and togetherness of a      al, broad, free, sensitive and utterly
man and a woman.                     controlled. She stands out for her                                                          Lift
                To Dance                Theatre Troupe
                         Artistic Director:                                                                                           Iva PaviËiÊ
                         Iva PaviËiÊ                                                                                                  Zrinsko-Frankopanska 7
                                                                                                                                      10430 Samobor
C                  TYPE OF WORK:                         CURRENT PRODUCTIONS                   REVIEW EXTRACT                         tel: + 385 1 336 37 38
               alternative movement theatre                                                ...Director Iva PaviËiÊ continually        mob: + 385 98 325 478

                                                     Immersing Silences                    creates extremely visual characters, all
                   ABOUT THE COMPANY                 choreography: Iva PaviËiÊ             the while working on the plasticity of
               TO Dance Theatre Troupe was           number of performers: 3               the dramatic scenes. Therefore, the
               founded in 2000. Artistic director,   This is a dance-theatrical perform-   dominating aspects of the stage are
               choreographer and performer, Iva      ance that deals with mystery,         gigantic sculptures of glaring colours
               PaviËiÊ, abides by the new tech-      intimate worlds, fiction and sus-     and unnatural size. Amongst them
               niques of dance where she com-        pense. There are two versions of      the three dancers lose their human
               bines the art of improvisation and    the performance: one is site-spe-     traits in pursuit of more shaped
               the harmony of structured and         cific and the other a theatre ver-    frames of mind and consciousness.
               well-rehearsed dancing skills.        sion.                                 The dance forwards their existence
                                                                                           into different and unusual dimen-

                                                                                                                                                                            Photo| Nina –ur eviÊ
                                                                                           sions of space and time...

                                                                                                                                                       Immersing Silences

Immersing Silences

                     Photo| Nina –ur eviÊ
                Trafik [transitive-fiction-theatre]
                         Artistic Director:
                         Magdalena Lupi

C                 TYPE OF WORK                       Italy, Spain, Slovenia and Yugo-     What would happen if an individ-     given reality and escape into illu-
               physical theatre, contemporary        slavia) and won awards for their     ual was the wind, and the margins    sion.

               dance, mime, site-specific theatre    work.                                were the air, the weather charts
                                                                                          and the place where he or she            REVIEW EXTRACTS
                    ABOUT THE COMPANY                    CURRENT PRODUCTIONS              could record his or her presence?    ...the piece is good not only because it
               TRAFIK is an independent theatre                                           How could the three typical Adria-   bravely takes the choreographically
               company founded in Rijeka in          Greetings from the Adriatic          tic regional winds, bora (north-     demanding theme of wind descrip-
               1998 with the aim of exploring        director: Edvin LiveriÊ              eastern wind), tramuntana (north     tion, but also because the first part of
               different contemporary theatre        number of performers: 6              wind) and jugo (south wind), be      the performance truly represents a
               expressions, particularly theatre     Time, space and body are the         recognized in the physical body      poetic theatre of witty and precise
               of movement, mime and physical        three points through which           and how does the bio-meteoro-        dance premonitions or aerial lan-
               theatre. The work of TRAFIK is        TRAFIK questions the phenome-        logical forecast influence our       guages...
               based on a team collaboration of      non of tourist consumerism.          heads?                               Novi list
               artists from various fields: drama-   During summer vacation, the
               turgy, dance, mime, acting and        body of an individual, drowned in    Danceurope                           ...Sincere, highly professional, inves-
               music. Due to their crossover         the mass, easily loses its identi-   authors: Magdalena Lupi, Iva         tigative, with contemporary sensibility
               feature, TRAFIK produces per-         ty, which often results in the so-   Nerina Sibila, Æak Valenta           and unique aesthetics, TRAFIK
               formances that cannot be easily       called „holiday blues“ ∑ a depres-   number of performers: 3              stands out in the context of Croatian
               placed into a single artistic cate-   sion caused by unfulfilled expec-    The homeless playwright ÷dˆn         theatre...
               gory. However, working in various     tations.                             von Horv·th’s world is a starting-   Vijenac
               forms always results in unique                                             point for TRAFIK in developing its
               and original works of art, with       Beaufort Scale                       own imaginative space in
               profound themes and well-pre-         author: Magdalena Lupi               Danceurope. The performance
               sented material. The company          co-authors: Selma Banich, Mila       opens up issues about the indi-
               has toured in Croatia as well as      »uljak, Æak Valenta                  vidual and the multitude, differ-
               abroad (Czech Republic, Slovakia,     number of performers: 4              ence and uniformity, belonging to
Tranzicijsko-fikcijsko kazaliπte
Janka PoliÊa Kamova 20
51 000 Rijeka
mob: + 385 91 541 1357
tel: + 385 51 432 867

                                                                 Photo| Draæen ©okËeviÊ
                                   Greetings from the Adriatic

                                                                    Photo| Draæen ©okËeviÊ
                                               Beaufort Scale
                Zadar Dance Company
                         Artistic Director:
                         Sanja Petrovski

C                  TYPE OF WORK                        CURRENT PRODUCTIONS                    Potjeh                                Kenges
               contemporary dance, multimedia                                                 choreography: Sanja Petrovski         choreography: Sanja Petrovski

               projects, site-specific theatre     Solo                                       number of performers: 15              number of performers: 5
                                                   choreography: Sanja Petrovski,             Based on a fairytale by Ivana BrliÊ   The laws of life are unique,
                    ABOUT THE COMPANY              Petra HraπÊanec, Lada Petrovski            MaæuraniÊ, this is a story about      always new and always the
               Founded in 1991, the Zadar          and An ela Herenda                         searching for truth. The story        same and these differences or
               Dance Company is both a com-        number of performers: 4                    about three brothers and their life   oppositions are the basis for the
               pany and educational dance cen-     The project resulted from meet-            paths, where a sense of justice,      performance. It deals with the
               tre. They have collaborated with    ings in a one-year interval of the         truthfulness and faith are indis-     states of relaxation and contrac-
               many Croatian dance artists, both   four artists and their independent         putable virtues, is told through      tion, two closely related oppo-
               in an educational and artistic      work. The motif is the concept of          Slavic mythology, tradition and       sites which cause a specific state
               sense.                              trace, closely related to the indi-        folk customs.                         of mind. And the body... which is
               Because they exist in a small       vidual and the personality of each
               town on the coast, the company      performer. Everything that lives

                                                                                                                                                                         Photo| Konde
               is extremely present in the         leaves a trace... still, it is different
               town’s cultural life, with numer-   for each of us. Also, this trace
               ous smaller performances and        eventually depends on the influ-
               pieces for the town’s festivities   ence of the environment there-
               and other events.                   fore the performance is, to a cer-
               As a company, they produce con-     tain extent, a reflection of the
               temporary dance performances        current cultural events and devel-
               dealing with different themes       opment of culture in the town of
               and concepts.                       Zadar. This multimedia perform-
                                                   ance uses a structured improvisa-
                                                   tion technique.

Sanja Petrovski
tel: + 385 23 305 732
mob: + 385 98 89 34 53

 most visible in its very natural
state for all living beings ∑ preg-
nancy. The dynamism of changes
during pregnancy and their inten-
sity serve as the starting point
for creating the pulsating rhythm
of the performance.

...realistic elements related to very
concrete situations which happen
during the months of pregnancy ∑
breathing exercises, recommended
positions for relaxation, allowed calo-
ries, information on layettes, com-
mentaries by close ones ∑ are incorpo -
rated in a humorous and unpreten-
tious manner...

                                                   Photo| Sr an BabiÊ

                Zagreb Dance Company
                          Artistic Director:          cessful collaborations with well-      things as they really are and how       through a logical narrative thread
                          Snjeæana AbramoviÊ          known foreign choreographers           an individual perceives them. It is     with a specific story line. So it
                                                      (Bebeto Cidra, Alexey Taran and        a provocative research on con-          should be looked at as a puzzle
C                 TYPE OF WORK                        Emilio Gutierrez). The company         temporary media image of reality        that only makes sense in its total-
               contemporary dance                     has performed throughout Croatia       and the crucial question here is        ity.

                                                      as well as abroad (Germany,            whether the truth is restricted
                   ABOUT THE COMPANY                  Russia, Hungary, Italy, Portugal,      solely to the visions of individuals    Alike
               The Zagreb Dance Company has           Lithuania, Spain). In 1996, their      or could contact with the Other         choreographer: Ksenija Zec
               an enviable continuity of its work     performance Identifying Landscape      enable true communication.              number of performers: 4
               (founded in 1972) and has educa-       was awarded as the best produc-                                                This minimalist choreography
               ted a number of dancers and            tion by the European Council           Stories without threads, Poem           underpins the conceptual and
               dance experts working in Croatia       Commission at La Herencia de la        No 1                                    contextual divergences within two
               and abroad. The starting point in      Danza Festival at Valladolid, Spain.   choreographer: Alexis Eupierre          duets in which the performers
               the work of the company has                                                   number of performers: 5                 use their personal techniques,
               always been contemporary dance             CURRENT PRODUCTIONS                This performance is a metaphoric        styles and body qualities to explore
               as an artistic expression and an                                              journey through a 24-day-long           the potentials of alteration to a
               open space for research and a          Solitaire                              experience in which we explore          dance material. By stressing the
               new way of thinking about dance.       choreographer: Iztok KovaË             three main themes: everyday             similarities (in the first duet) and
               The company is equally concer-         number of performers: 8                communication dialogues, the            differences (in the second duet),
               ned with the process of work and       The key words in this perform-         flow and trace of energy paths          the performers evolve into explor-
               the education of dancers. Being a      ance are loneliness and percep-        involved in any given activity, and     ers of their own biographies.
               repertory company, in addition to      tion. The performance is inspired      in night dreams and daydreams.          The different styles in which the
               their always fresh collaborations      by the ancient Indian parable about    This piece is a physical poem           performers approach the dance
               with most respected Croatian cho-      blind wise men and elephant            constructed as a puzzle, out of the     matrix creates a tension between
               reographers of high artistic value,    (each of them is convinced that        fragmentation of multiple pieces        their awareness of similarities
               the Zagreb Dance Company has           they understand the true nature        that are linked together following      and a natural call for difference.
               systematically worked on the           of the elephant, but none is able      a totally idiosyncratic order, in the   Yet, following a pattern of mirror-
               internationalisation of dance art in   to perceive the entirety) and it       way dreams do, developing out           like movement, the dancers are
               Croatia in the past couple of sea-     questions the concept of truth as      of a totally subjective point of        strained to search for touching
               sons, which has resulted in suc-       an essential difference between        view, instead of being constructed      points in their respective dance
practices. Guest artist in the new    choreographic intuition in the             those who are not familiar with this
Zagreb Dance Company produc-          restructuring of her own little his-       kind of dance, could enjoy in the
tion is prominent ballet dancer       tories...                                  beauty of the movement and the
Almira OsmanoviÊ.                                                                ambience created by music and mas-
                                          REVIEW EXTRACTS                        terful illumination.
Something, Maybe Personal             ...Snjeæana AbramoviÊ talks about          Slobodna Dalmacija
choreographer: Snjeæana               her own life-path, remaining in the
AbramoviÊ                             sphere of the associative and making
number of performers: 6               it recognizable enough on a general
In the form of a dance production     human level, not only to the profes-
for six dancers, we ask the fol-      sionals or the people personally close
lowing questions: how can you         to the author... Zagreb Dance
retell something private, autobio-    Company has proved itself again as
graphical? What does it mean to       the production peak of the Croatian
analyze the events of your own        dance scene, with best dancers, and
experience through somebody           its artistic director has proved herself
else? How does one’s body             as an author...
remember its own autobiographi-       Radio 101
cal moments, and how does it

                                                                                                                         Photo| mare Milin
reproduce those of another? The cooperation with one of the most
doubt ∑ that the totality of one      acknowledged Spanish choreogra-
person’s emotions, memories           phers, Alexis Eupierre, they have cre-
and sensations can never be           ated a non-narrative story connected
available to somebody else,           with invisible threads... With the                                         Alike

because it is not available to        harmony of movement, mime and
him/herself ∑ is explored through     sound, the dancers have created a               CONTACT:
sharp sketches representing banal     visual and physical poem... Zagreb          Snjeæana AbramoviÊ
human relationships on the verge      Dance Company has managed to                Zagreb Dance Company
of the absurd, witty, surreal...      show the energy which exists in us.         Hebrangova 36
Still, the emphasis is on the dance   The choreography itself relies on the       10000 Zagreb

                                                                                                                                                     Photo| mare Milin
experience improvised from the        individual and the group of dancers,        Croatia
given human disharmonies...           on the creation of their mutual rela-       mob: + 385 91 25 27 455
Fragmentation and onyric icono-       tionships and on the consequences of
philia are the reflection of the      the contacts between them... Even 

     Photo| Matko Biljak

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