22 – 24 / 07 / 2021, Sanvicenti

I want to explore short stories of people in my local community and my student base, specifically through writing on topics that are global, universal, family, personal, private and focused into vignettes that are healing driven – thus not performance driven but performative, private and personally driven as public healings. Each image/dance acts as a willingness to be a surrogate for the collective. Lightning and thunder are simultaneous it seems, yet the gap occurs with light traveling faster and heating the air. This is cause and effect – that which comes around goes around – cliché yes – but here we are at death’s door due to greed and sleepiness while as always, the poor suffer, and the natural elements of the earth are squandered for a moment of a gold toilet.

My performance work has now become the same thread in that what I teach, I perform, and my students work with me to create the work. I work through writing, technical improvisation and choreographic puzzles and healing modalities to create a full platform of possibilities.

We will make offering of these short stories through writing and performing:

1. Teaching how to write from interim space as a shamanic portal
2. The exploration of turning them into spoken word, images, small theater pieces – states and sound work as performance, dance as performance
3. Cultural pictures and warps of where we live and who we are, and do we remember our essence and what is the job now?
4. The collective holds the key so as individuals share truth and stay present and, in the body, the collective moves together – say we have forever so all time is now

Specific skills taught that may and can be directed toward and organized around goals of social and political and human interactive exchange:

1. A study of being grounded deeply in the body as a soloist and then as a follower and then as neutral. A study in choice and a study in patterns – what movitates one to move? Nervous system ready – fight or flight, the send wave which is a stroke in space, and end point or a period?

Space and geometry – organizing movement and space as a series of intersecting lines from tiny to touching the ends of the universe. Space moving through the body and moving the body thus the body becomes transparent – and much less heavy.

Writing for scenario – using the imagination muscles to create – movement, images, songs, stories, thought forms and all manner of trauma drama quick fleeting and dissolving.

Healing as an act of intelligence and surrender. Holding sacred space and working with form so that the content of movement acts as a surrogate of healing for the collective.

Sara Shelton Mann has been a choreographer, performer, and teacher since 1967.  She was a protégé of Alwin Nikolais and Murray Louis in New York City before moving to Canada where she met Andrew Harwood and fell in love with Contact Improvisation.
In 1979 she moved to San Francisco to work with Mangrove, now Mixed Bag Productions, for which she serves as artistic director. One of its early manifestations was the company Contraband, launched as a performance group and research ground combining the principles of contact, systems of the body and spiritual practice into a unified system of research.
Among her awards are 7 Isadora Duncan Awards, including a special achievement award for “erasing time: celebrating 30 years a radical dance legend” (Sara Shelton Mann with David Szlasa and Norman Rutherford), Lifetime Achievement Bay Guardian Award, 10 Women Who Made a Difference, Bay Guardian “Goldie” Award.
Her Movement Alchemy training is an ongoing teaching project and is influenced by certifications and studies in the metaphysical and healing traditions. Sara’s performance work is a platform for collaboration and research in consciousness.

 https://www.sarasheltonmann.org

15. 22 – 25 / 07 / 2021
    25 – 28 / 09 / 2021
    26 – 28 / 11 / 2021

A few seconds of a phone call informing us about the disease being closer; movement of the ground under our feet which suddenly removes the feeling of stability in everyday life, and as a consequence leaves the dysfunction of our living and/or working space, which lasts longer than we could have expected; news about even more extreme disasters in other parts of the world, which cease activities and lives, and point to the threat of a total ecosystem failure…  

Why and how we create here and now?

As in every year until now, the program design was guided by rethinking the actual needs and the state of the art scene, as well as the society. Lately, we have all been experiencing the impossibility of planning, demands for multiple adjustments with regard to new safety measures, new spaces, new circumstances… Openness towards the moment, mutual listening, collaboration and being with what is, represent the basic knowledge acquired through improvisation and the foundation of our resilience and creativity. Through Improspekcije we are interested in affirming improvisation as an approach, a way of thinking, creating and continuous confronting the ever-changing ‘now’. In the time we live, improvisation gets a new meaning and the experience and skills acquired through long-lasting practice of improvisation give us support and knowledge of how to survive in the performance, as well as outside of it.

Through performances, discursive and experimental formats, the program of the Improspekcije festival explores various corporeal, social and political aspects of improvisation in its broadest sense, it presents the work of internationally renowned improvisation artists, Sara Shelton Mann / Abby Crain (Moving Alchemy Workshop and the performance The Other Side) and Kirstie Simson (workshop ‘Improvisation as a Life Practice’ and performance ‘AIRE, solo for our mothers’), continues old collaborations and opens space for new ones, both locally and with international partners, and support the work of local artists with special focus on the influence of the pandemic on the artistic work and production. The following works will be presented: ‘Invisible Dance’ by Irma Omerzo, ‘The World of Kisses, not Stones’ by Antonija Dorbić, Lana Šprajcer, Marta Krešić and Danijela Vukadinović, ‘In Free Translation’ by ‘Magija’ dance company and Sanja Josipović, as well as works by young artists who have just completed their dance studies at the Academy of Dramatic Art in Zagreb.

In collaboration with the Academy of Dramatic Art of the University of Zagreb, through the project ‘Curating in context’, the program presents a two-part experiential lecture by Varinia Canto Vila ‘Should/Could/Can: Movement within the relation of law and life’. In collaboration with Movement Research from New York, through the Global Practice Sharing program we continue the OPEN Exchange, an interdisciplinary and intercultural dialogue between artists from the U.S., Iran and Croatia.

Program:
I part

22 – 24 / 07 / 2021, Svetvinčenat
Sara Shelton Mann / Abby Crain: Alkemija pokreta
workshop

25 / 07 / 2021,  Svetvinčenat
Sara Shelton Mann / Abby Crain: Druga strana: Noć sanjarenja
performance

There is a party outside and fireworks inside, the kind that keep you awake for centuries or busy for lifetimes. Light that candle and dance.

The Other side is a work (partly structured, partly improvised) by Sara Shelton Mann, for the soloist and her long time collaborator (since 1996), phenomenal performer Abby Crain. Sara makes her works in tight collaboration with her dancers, weaving in high level of dance technique with risk and surprise of improvisation, fuelled by energetic work and healing knowledge.

With Abby’s gifts being sourcing a character in an improvised performance, combining great physicality and flowing language, Sara will shape the solo around Abby telling us a story, involving the audience. A long poem written in the style of calligraphy of the body from times spent pondering the nature of life during the  ancient period or a future space:

‘We are entering the yellow zone, drought in the west, tornadoes riding in flooded boats down the southern streets, debris falling from the clouds like snowflakes,  the impact like hailstones on the border, the sound of a gun and the smell of death at your door. May I touch your breath/kiss your bones? There is a party outside and fireworks inside, the kind that keeps you awake for centuries or busy for lifetimes. Light a candle and let’s dance/ p.s. will you buy me a house in nirvana, take away all our suffering, love me forever and ever.’

Mann’s art is of a piece with her healing work and political engagement: it is meant to reveal and transmit the story of our collective humanity.
It is a puzzle without a beginning or end. Framed, condensed and constructed through the consciousness of performer and witness, the work functions as both façade and transparency, to look through and listen into. We imagine what they will do next, and what they are thinking.

In explaining her process for making of solos with and for her performers, Mann wrote: “I open the ground and track it as a guide and follow the progress of the terrain chosen by the individual. Some chose the difficult path, some chose the surreal dream of extinction, some the practice of perfection…I have chosen, and I do not choose. People find me. I have become a hermit in a cage and those who find me have to find the key to the door.” In her making, she extends this dynamic, almost mystical relationship with her dancers and the forces they together channel into exquisite form.

duration: 30 minutes
performer: Abby Crain
choreographer: Sara Shelton Mann
Performance will exclusively be made for the Svetvincenat dance festival.

***

II part

25- 26 / 09 / 2021, ADU Zagreb i Ljetna pozornica Tuškanac
Kirstie Simson: Improvisation as a life practice 
workshop

27 / 09 / 2021, 7 pm , Museum of Contemporary Art Zagreb
Kirstie Simson: AIRE, solo for our mothers
performance

This solo was originally created to honor my mother who passed away eight years ago.
I imagined her spirit released to fly freely with the red kites, magnificent birds that are native in her country of Wales.
My mother inspired me to seek freedom in my life.
This solo is my way of expressing gratitude to all the women who have fought hard for women’s rights and is an expression of my desire for all women to be free.
I subsequently discovered I have inherited a genetic condition from my mother that has been passed down through the generations. In the solo I ponder how we can honor the lineages that have created us by how we live our lives, in gratitude for opportunities we have that past generations were denied.
With freedom comes responsibility.

28 / 09 / 2021, 5 pm, Krešimirov trg, kvart Medveščak
Irma Omerzo: Invisible(dance)
site specific performance

project author and choreographer: Irma Omerzo
performers and movement authors: Viktoria Bubalo, Anđela Bugarija, Ema Crnić, Lara Frgačić, Una Furač Štalcar and Ariana Prpić
composer and musical accompaniment: Stanko Kovačić
dramaturgy: Jasna Jasna Žmak
costume designer: Zdravka Ivandija Kirigin
ballet associate: Andreja Jeličić
photography and video recording: Jasenko Rasol
production: MARMOT
The performance has been financially supported by the Ministry of Culture and Media, and the Department of Culture, Education and Sports of the City of Zagreb.

The new project by Irma Omerzo derives from the specific circumstances of the artistic production in the time of the global pandemic, which have drastically reduced various opportunities for togetherness. Displacing the performance into the public space of the Zagreb neighbourhoods, in this new project Omerzo asks a somewhat utopian question of how little, or how much is needed to make contemporary dance visible in the public space, for a performance to happen from an everyday situation, for someone who is not a part of a usual dance audience to suddenly become one.

At the same time, this project is a continuance of the author’s rethinking of the working conditions on a dance stage in the domestic context and outside the pandemic time, considering the fact that the question of invisibility and the lack of working space are constants which invariably follow the cultural activities in the domestic independent scene. In that sense, “moving out to the street” in this project involves double motivation. The choreographic material is thus detached from everyday movement and draws on various kinds of coded bodily practices, exploring communication capacities of our bodies in the public space. The performers thus build a joint network in which various modes of corporeal signalization and communication are exchanged, occasionally playing with ballet vocabulary, as the most codified part of dance register. On the other hand, modes of urban invisibility are choreographically investigated through the derivation of movements from various (semi)illegal practices. The combination of these diverse kinds of materials creates a choreography which initiates a dialogue with various urban topoi temporarily transforming the street space into performance space, creating ways in which dance exists, but in which it can also be accidentally discovered by spectators. Invisible (dance) thus invites its audience to follow it and discover it, moving synchronously with the pulsation of the neighbourhood.

***

III part

26 / 11 / 2021, 7 pm, Museum of Contemporary Art Zagreb

Evening of student works:

Anika Cetina, Ela Đimoti, Jeanne Lakits, Dora Pocedić: JADE

The body allows itself to be seen, by choreographing the body’s relation to the camera. The choreography is a result of an intimate interaction of the performers with the camera tool. Performers work with their personal/public/virtual space to escape its normatives and to stress their vulnerability.

We search to destabilize the spectators’ comfort that comes from enjoying and indulging in the performance from afar. So we indulge in the choreography afar from the spectator. Authors and performers: Anika Cetina, Ela Đimoti, Jeanne Lakits, Dora Pocedić.

This work was made in the academic year of 2019/2020, in the production of Academy of Dramatic Art of University of Zagreb, during the study program of Contemporary Dance, Performance division, in the course of Choreography 4, under the mentorship of doc.art. Nikolina Pristaš.

Valentina Miloš: l (s)
Ela Đimoti: nice things inside
Anika Cetina: Anna, balla

27 / 11 / 2021, 7 pm, Museum of Contemporary Art Zagreb

Antonia Dorbić, Marta Krešić, Danijela Renić i Lana Šprajcer: World Of Kisses Not Stones

performance

We are the products of a long selection process of chemical, biological, and cultural structures that at different levels have interacted for a long time in order to shape the funny process that we are. About which we understand very little, by reflecting on ourselves, by looking at ourselves in the mirror.

The Order of Time, Carlo Rovelli (2019)

Choreography unfolds on the cloud underneath the soil and speculates about time that does not pass, but is omnipresent, contained in the world of things. The world on the cloud underneath the soil is always in a gentle, restrained, continuous motion. Time is without the unity and/or direction; affirms the multiplicity and diversity of temporalities – of stones, humans, worms and microbes – which, by repeating, renewing, rebuilding on the network in continuous motion, create temporary images and events –

on the cloud underneath the soil, things are rounder and softer,

Differences in the surfaces of

things are blurry, always continuing and permeating gaze

multiplicity of perspectives does not diminish the distance but only distributes it

extending continuing imagining

a constant and mutual establishment and annulment of the world through encounters.

By each pairing with the choreography, dancers are renewing and expanding their knowledge and understanding of potential events and situations on the cloud underneath the soil.

The difference between things and events is that things persist in time; events have a limited duration. A stone is a prototypical ‘thing’: we can ask ourselves where it will be tomorrow. Conversely, a kiss is an ‘event’, It makes no sense to ask where the kiss will be tomorrow. The world is made of kisses, not of stones. On closer inspection, in fact, event the things that are most ‘thing-like’ are nothing more than long events.

The Order of Time, Carlo Rovelli (2019)

28 / 11 / 2021, 8 pm, Museum of Contemporary Art Zagreb

Nikolina Komljenović i DISKOlektiv : Most

exchange performance

Artistic directors: Sonja Pregrad and Zrinka Šimičić
Production: Multimedijalna koliba
Partners: Academy of Dramatic Art Zagreb, August Cesarec Centre for Culture and Cinema, Dance and Non-Verbal Theatre Festival San Vincenti, Movement Research GPS, Museum of Contemporary Art Zagreb
Supported by: City of Zagreb, Ministry of Culture of Republic of Croatia, GPS/Global Practice Sharing program of Movement Research with funding from the Trust for Mutual Understanding
Improspekcije2021 festival is part of Antisezona project.

24-28 November 2020
online + live
Museum of Contemporaray Art Zagreb
South bank of Sava river
Open Air Theatre Kamenjak

With this year’s Improspekcije festival, fourteenth time in row, we would like to give space to the somatic, improvisational approaches to work, to open our perception and, by that, support us in the moment and the intensity in which we live at the moment; to point our attention to what does it mean to be (physically) present in here and now, rather than in an attempt of keeping what is coming in control (and in the affect of incapability of doing so).

Program:

24-28/11
online
Force of Nature (UK/US 75 minutes/2011)
Documentary / performance
Camera: Katrina McPherson
Editor: Simon Fildes
Music: Stephen Heather
Additional Camera and sound: Rosalind Masson, Rob Page, Vidal Bini, Fred Parsons
Produced by Goat
Funded by Goat, Creative Scotland, University of Dundee, University of Illinois. Produced by Goat Media in association with University of Illinois Champaign Urbana.
A documentary featuring the renowned improvising dance artist Kirstie Simson. Over five years, Scottish director Katrina McPherson filmed Kirstie Simson performing and teaching across Europe, culminating in a one-off performance with Michael Schumacher, Kenzo Kusuda and Dai Jian at the Universal Hall in July 2010. Force of Nature combines specially filmed performance, documentary footage and in-depth interviews with Kirstie, in which she talks about her life-long practice, and her passionate belief in the power of dance to bring people together and transform lives. Produced by Goat Media. Kirstie Simson has been a continuous explosion in the contemporary dance scene, bringing audiences into contact with the vitality of pure creation in moment after moment of virtuoso improvisation. She is an award-winning dancer and teacher who has “immeasurably enriched and expanded the boundaries of New Dance”. according to Time Out Magazine, London

24/11, 20 h
Gorgona, MSU + https://www.twitch.tv/antisezona
GPS Chats – Close Encounters of a Dance Kind: OPEN Exchange Residency (US/Iran/Hr)
GPS Chats: Close Encounters of a Dance Kind is a form of collaboration between Movement Research from NY, US and Improspekcije Festival from Zagreb, Croatia, enabled through the Global Practice Sharing program. It is an online and live meeting format that combines the artist talk format of GPS Chats and an improvised-interview-performance format Close Encounters of aDance Kind, developed by the Antisezona team. It is also the first meeting of 7 artists and cultural producers involved in the OPEN Exchange Residency (Croatia/Iran/US), which tries to establish communication, exchange and artistic and cultural dialogue among these three locations and contexts.The OPEN Exchange Residency has been being organized for 2020 in Zagreb, Croatia, but, over the course of this year’s events, it will take online shape this year and will extend into 2021. We are happy to join some of the artists we have been working with already together with some new ones, and hear their voices, questions and proposals for movement.
Participating artists: mayfield brooks, Marielys Burgos Meléndez, Saghar Hosseinpur, Silvia Marchig, Sonja Pregrad, Kayvon Pourazar, Zrinka Šimičić Mihanović, Marýa Wethers
Realized in partnership with Movement Research, supported by Trust for Mutual Understanding.

25/11, 19.30 h
online/zoom – apply to: improspekcije@gmail.com
Sessions of Touch
Zdruhestrany/O.s. mimOos
Participatory experiential session
Sessions of Touch is a specific 1 : 1 format for an encounter between one dancer and one spectator. This format is based on creation principles of a performance entitled Diaries of Touch choreographed by Sonja Pregrad. It serves for exchange of one’s own physical experience. It is a hand offered to share the unique stories of our bodies, and it deals with touch as the basic way in which we directly relate to the world and our immediate surroundings.
Sessions of touch will be led by creators and dancers of the performance: Lukáš Bobalik, Viktor Černický, Barbora Janáková, Tomáš Janypka, Jazmína Piktorová, Eva Priečková, Sonja Pregrad, Silvia Sviteková, Andrej Štepita, Dana Tomečková, and invited guest Zdenka Sviteková who will enrich the topic with her many years of research based on her interest in touch.

26/11, 19 h
Gorgona, MSU
LSLSLS, Matej Kejžar
Performance
Performed by: Lana Hosni
The LSLSLS is a solo Dance project within Language Sausage Artistic Experiments, that the Slovenian born and Brussels based maker Matej Kejžar has set to investigate into convoluted and multifaceted nature of the ‘digital’.
What exactly is LSLSLS?
LSLSLS is an artistic investigation set under the assumptions that digitalisation is abstract and difficult to grasp. The degree of digitalisation and its consequences are challenging to understand because most of us lack first-hand experience of what digitalisation actually feels like.
LSLSLS is a punk, shaman, weird, ritualistic, crazy, sexual, abstract cycle of over and over translated words of twisted poetry of delight, the monstrous Dance (at this instance Dance with the big capital D stands for the way of being in our world) where no-matter-what is already something.
LSLSLS is set as an experience of the relation between a voice and a dance. Physical presence of both, a voice and a dance, is challenging the existing narratives: their relation is moving from conceptual future to exploring novelties.
LSLSLS considers the physicality of the humans by addressing directly the amalgam of the physical and digital.
As the groove, LSLSLS sets the relation between the voice and the dance as the challenge on the dynamic territory of the dance floor, the challenge being the dynamics between the intellectual knowing – choreography, and embodied experience – dance.
LSLSLS is an artistic experiment with the movement of the relationality as the condition, which as such, is allowing for invention, examination and practice of different forms of inhabiting space.
Although LSLSLS is a solo Dance, in turn, it stands for sharing and producing alternative forms of communities.
Consisted from living and non-living organisms, the name LSLSLS stands for the Dance Hood as an alternative community that undermines or replaces established forms of power, hierarchy, or patriarchy in that respect.

20.30 h
Conversation about the LS (Language Sausage) practice

27/11, 19 h
Gorgona, MSU
HOOL
Dance film
Mérida Yucatán México
Dancers: Kirstie Simson i Martin Piliponsky
Photography: Mario Morales Rubí i Isaac Zambra
Music: Jorge Zambra
Production: Karla Solis
Direction and edition: Isaac Zambra
The inspiration for this film was a long-abandoned hacienda, Hool, in Merida, Mexico – its striking architectural features, the haunting atmosphere of weathered chambers, its slow return to nature’s domain, the impression of time suspended.
In the span of a single day, from sunrise to sunset, Mexican architect-filmmaker Isaac Zambra and cameraman Mario Morales Rubí followed dancers Kirstie Simson (UK) and Martin Piliponsky (Argentina) as they moved through different spaces in the hacienda compound. The imprint of the histories contained within its walls shaped the dancers’ improvisations. Ghosts of past, present, and future are listened to—and live again—through the dancers’ embodied expression, honoring the mysteries of life.

19.30 h
Every now is time, space – INSCULP
Dance video work
Concept and artistic direction: Snježana Premuš
Performers: Dragana Alfirević, Anja Bornšek, Alenka Herman, Ana Jelušić, Ivana Kalc, Mia Kevo, Zvonimir Kvesić, Anja Mejač, Ivan Mijačević, Bojana Mišić, Snježana Premuš, Ariana Prpić, Urša Rupnik, Dejan Srhoj, Mia Stark, Sara Škrobe, Josipa Štulić, Irma Unušić, Liza Šimenc, Zrinka Šimičić Mihanović, Tina Valentan
Video editing: Maša Nonković
Soundtrack: Boštjan Perovšek
Recording – technical assistance: Matic Šubelj
Production: Zavod Federacija in co – production with Nomad Dance Academy Slovenija and Improspekcije2020 festival
Supported by: Ministrsty of Culture of Republic Slovenije, City of Ljubljana,  Creative Crossroads 2019/20 – Long life burning (Creative Europe)
THE NOTION OF TIME, SPACE, BODY SCULPTED WITHIN AN EVER CHANGING GESTURE.
The space sculpted in time.
The body is space.
The gesture firmly rooted in the continuation of the movement.
Technology supports a creative moment.
RESISTING THE FRAGMENTATION OF THE PRESENT.
20 performers dispersed in space and time between Maribor, Ljubljana, Zagreb, Zadar, Bjelovar, Rijeka, …meet online on 22nd of November 2020 to share a proposed gesture within a score originally made for the performance setting Every now is time, space (premiered in Ljubljana on 30th of September 2019). The original performance score is adapted for the life streaming event and choreographed and edited into video dance art. The work Every now is time, space has been the result of a creative collaboration between a choreographer and five performing artists working substantially with a lighting designer and a sound artist in the framework of a newly configured collaboration to mix performing arts, visual arts and sound arts using not only the latest digital sound technologies (HyperSound) but also by confronting and challenging relevant questions about the how we perceive the body (both as self and as other) in today’s time, about perception in our hyper-speed world and about open principles of collaboration that even extend into the role and position of the audience as active co-creators of a (holistic) artistic experience, not merely passive observers or overstimulated tuned out bodies. The two main methods that were implemented into the process and the outcome was the notion of editing (real-time editing) and the notion of simultaneous spaces.

20 h
Ekstenzija, MSU
Such a Cute Crash, Zrinka Užbinec
A conversation next to the installation
I was looking at the postcard from a window for six months. I didn’t want to dance for the camera so I was making storyboards for future stage-ings – small scale theatres and scary doll houses.
Such a Cute crash: Failed Stagings of Cuteness and Violence is an ongoing choreographic research. This research has yielded many materials, notes and drawings by now – no movements at all. I sat confused, walked the forest, read a bunch of books. One thing was certain: there was no way I could stage this conjunction – so – the performance is not there – yet exploded storyboards for the uncanny performance to come. Perhaps. What to do with a body then?

28/11, 14 h
South bank of Sava river (next to Bundek lake)
Improspekcije invite:  Theatre in the open – Kamenjak on Sava bank
Improvised performance
Participating: Dragana Alfirević, Anika Cetina, DISCOllective,  Lana Hosni, Ana Jelušić, Silvia Marchig,  Sonja Pregrad, Margareta Sinković, Dejan Srhoj, Zrinka Šimičić Mihanović, Mia Zalukar
Realized in partnership with Open air theatre Kamenjak.

***

Artistic directors: Sonja Pregrad i Zrinka Šimičić Mihanović
Graphic design: Dora Đurkesac
Technical director: Branko Puceković
Technical support for online events: Marko Gutić Mižimakov
Production: Multimedijalna koliba u suradnji s Antisezonom i Muzejem suvremene umjetnosti u Zagrebu
Partners: Movement Research GPS, Muzej suvremene umjetnosti Zagreb, Kazalište na otvorenom Kamenjak
Supported by:  City of Zagreb, Ministry of Culture of Republic of Croatia, Movement Research GPS supported by Trust for Mutual Understanding (USA).
Improspekcije2020 festival is part of Antiseozna 20.

04.-07. studenog 2019., Plesni centar TALA, Odranska 1

Radionica istražuje sjecište između praksi dviju umjetnica: Improvising While Black  i FAILURE Lab. Riječ je o dvije suvremene plesne, improvizacijske i izvedbene prakse koje raskidaju s normalnim.
Improvising While Black mayfield brooks radi s dahom, govornim iskazom (utterance), drhtanjem tijela, glosolalijom; istražuje mjesto između govora i ne-govora, plesa i ne-plesa. Kako pristupiti neizrecivom u plesu? Intervencijama u očekivano, IWB istražuje procjepe unutar plesova, pjesama ili priča, kao i improvizirani ples kojeg pokreće dah te jezik kojeg pokreće govor.
FAILURE Lab Mary Pearson razotkriva naše fizičke navike i misli koje smo upili iz popularne kulture. Stvarajući apsurdne slike pomoću tijela, predmeta i različitih materijala, on propituje mizoginiju, konzumerizam i eksces.  Možemo li remetiti ustaljene načine gledanja na sebe i tijelo kao na proizvode koji se prodaju? Kako sebe možemo u potpunosti uvesti u ovdje i sada, ne isključujući svoje složene identitete i neugodne prošlosti?
Mayfield i Mary u ovoj radionici istraživati će načine izokretanja dinamika moći kroz pokret i transformiranja tjelesne napetosti naslijeđene iz trauma povijesti. Postavljat će pitanja poput: Tko ima pravo ne uspjeti, a tko ne? Kome je dozvoljen smijeh ili slobodan govor? Koliko prostora tvoje tijelo smije zauzeti?
Propitivati ćemo vlastitu prošlost, priče i očekivanja, stvarajući improvizirani ples i izvedbu.
Gostovanje i radionica mayfield brooks podržani su od: GPS / Global Practice Sharing of Movement Research programa koji financira Trust for Mutual Understanding

20. 20. i 21. listopada 2018., ADU, Frankopanska 22

Što radimo u trenutku kada shvatimo da nije stvar u ideji? Kako možemo kultivirati usmjerenost naše pažnje na različite želje, impulse, sjećanja i senzacije? Koja praksa pomaže izoštriti tu pažnju i koji je okvir podržava? Kako naša pitanja i sumnje postaju predložak za činjenje? Kako misao i osjećaj dobivaju oblik i radnju? Gdje se naša iskonska potreba za komunikacijom odmiče od stvaranja smisla? Kako možemo prihvatiti ne-znanje i ne-još kao generativna stanja bivanja / činjenja? Kako se možemo otvoriti prema polju htijenja i empatije? Kako naša tijela mogu postati radikalna i esencijalna sila za izražavanje potencijala, neizrecivog? Kako se možemo usredotočiti na bivanje /činjenje, prije nego stvaranje/proizvodnju? Polazeći prvenstveno od prakse koju nazivam nonstopping (nezaustavljanje), upogonit ćemo ova i druga pitanja kroz i tijekom kretanja, pričanja, pisanja i svjedočenja.

Jeanine Durning je umjetnica iz New Yorka koja radi s plesom i izvedbom. The New Yorker njen je rad opisao kao istovremeni ‘potencijal za filozofsko otkrivenje i kazališnu katastrofu’. U svom istraživanju kontinuirano se bavi praksom koju naziva ‘nonstopping’. Iz nje je proizašao niz radova, koji uključuje njen solo ‘inging’ (temelji se na neprestanom govoru) i grupni rad ‘To Being’ (temelji se na neprestanom pokretu). ‘Inging’ je izveden preko 40 puta u SAD-u, Europi i Kanadi. J. Durning, između ostalih rezidencije pri Seulskom plesnom centru, te Rauschenberg Foundation Residency, gdje razvija svoj novi solo projekt ‘tamna tvar’. Kao izvođačica, imala je privilegiju Od 2010. do 2013. bila je uključena u rad Debore Hay s Motion Bank (projekt sa Forsythe Company). Posvećena je pedagoškoj praksi, te gostuje kao predavačica na SNDO/Amsterdam, HZT/Berlin, Movement Research, New School/Lang koledžu i WAC/UCLA, među ostalima. U planu su joj narudžba koreografije za Toronto Dance Theatre (2019.) i Candoco/London (2020.) te kreacija grupnog rada s Deborom Hay.

In the 13^th edition of Improspections we deepen the exploration of the corporeal and we test improvisation as a strategy of social action.

Program:

10^th October 2019, 7 pm, Dramatic Art Academy, Leks – D1, Frankopanska 22
Malcolm Manning: Extended Mind Practices – Towards Radical Calmness
lecture
In this lecture/demonstration, Malcolm Manning employs movement experiments, words and gentle humour to recount how somatics emerged from the countercultural human potential movement of 1960s/1970s; how its radical potential was diffused by neoliberalism; and how the field of consciousness studies might offer some keys towards reinventing itself as a force for political good in the 21^st century.

26^th October 2019, 7 pm, Museum of Contemporary Art, Gorgona Hall
Improspections invite to Close Encounters
Close Encounters of the Dance Kind is a form that balances between interview, performance, dialogue on the methodology of work and private conversation. Conversation about their artistic practices, motivations, experiences, performances, choreography, inspirations, role models … is transformed into improvisation situations by artists in front of the audience.
With: Viktoria Bubalo, Matija Ferlin, Sonja Pregrad, Mia Zalukar, Silvia Marchig, Josip Maršić, Zoran Medved

27^th October 2019, 7 pm, Museum of Contemporary Art, foyer
Žak Valenta: Situation in the Body, No More Body
performer, person in the situation: Žak Valenta

8 pm, Museum of Contemporary Art, Gorgona
Rosalind Crisp and ekscena: In the meantime
choreographic assignments given by: Rosalind Crisp
choreographic assignments enacted by: Adriana Josipović and Nikolina Komljenović
production: ekscena
supported by: Ministry of Culture of Republic of Croatia, City of Zagreb

7^th November 2019, 7 pm, Museum of Contemporary Art, Ekstenzija
Nikolina Komljenović, Božidar Šumi, Bruno Pocheron: Soun Ing
concept: Nikolina Komljenović
performance: Nikolina Komljenović, Božidar Šumi
production: ekscena and Wiesen 55e.V.

8 pm, Museum of Contemporary Art, Gorgona Hall
Maja Delak: Just for Today
exploration and concept: Maja Delak
collaborators and performers: Anja Bornšek, Maja Delak, Snježana Premuš, Kristýna Šajtošová, Urška Vohar
sound and music design: Luka Prinčič
space and costume design: Ajda Tomazin
dramaturgy: Maja Šorli
light design: Janko Oven
production: Emanat

8^th November 2019, 8 p.m., Museum of Contemporary Art, Gorgona
mayfield brooks / Mary Pearson: How to be afraid?

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artistic directors: Sonja Pregrad and Zrinka Šimičić Mihanović
graphic design: Dora Đurkesac, Nikola Križanac

production: Multimedia Hut

partners: Museum of Contemporary Art Zagreb, Academy of Dramatic Art Zagreb, Amanat, TALA Dance Centre, ekscena

supported by: City of Zagreb, Ministry of Culture of the Republic of Croatia, GPS/Global Practice Sharing program of Movement Research with funding from the Trust for Mutual Understanding

The work of Multimedia Hut is supported by Kultura nova Foundation.

Antisezona19 is part of Performance Situation Room/ NDA Life Long Burning EU project.

9^th – 13^th July 2018
15^th – 22^nd October 2018
23^rd– 28^th November 2018

Kamenjak Open-air Theatre
University of Zagreb Student Centre
Academy of Dramatic Art in Zagreb

For the 12th year in a row, the International Improvisation Festival – Improspections answers the question, “What is the present-day place of improvisation in performance?” This year, through experiences of artists – pioneers of the form with several decades of practising improvisation behind them. The topic we open is duration in improvisation, both within the performance and through maintaining practices that become works of life.

The guests of this year’s festival are: in the summertime part of the programme, Kirstie Simson and Martin Piliponsky; in the autumn part of the programme, Jeanine Durning, Eva Karczag, Chris Crickmay, Sylvia Hallett and, through the programme Improspections in the Region, the young Slovene author Kaja Lorenci with associates. Kirstie Simson, Jeanine Durning and Eva Karczag are among the most influential artists of the improvisation dance scene today, who in their work further the heritage of the great names of contemporary dance, such as Steve Paxton, Trisha Brown and Deborah Hay.

Summer festival program: 

13^th July
9.00 p.m., Kamenjak Open-Air Theatre, Kamenjak Significant Landscape, Premantura, Istria

Kirstie Simson (UK) and Martin Piliponsky (ARG): Sutil / Exhalacion / Aire, solos & duets
performance
Kirstie Simson (UK) and Martin Piliponsky (Argentina) are sharing their passion for the exploration of freedom through solos and duets they present in this evening of dance improvisations.
Through the use of humor, eye contact, dialogue and proximity, the performers invite the audience to join them on a journey as they negotiate their way through present moment decision-making that is inherent in improvised performances.
With light-hearted spontaneity these master performers affirm the fundamental positivity of life as they dance their way through the hour-long work, celebrating the depth of human connection and potentiality.
Realized in collaboration with Liberdance – Kamenjak Open-Air Theatre

Autumn festival program:

15^th October
8.00 p.m., Teatar &TD, Semicircular Hall

Improspections in the Region
Kaja Lorenci (SLO): Just in Appearance Sometimes as Everyone Else
performance / artist talk
In her performance Just in Appearance Sometimes as Everyone Else, Kaja Lorenci multiplies the form of the duet with different dance tasks and configurations, delimiting it by two choreographic contrasts: the solo as the dancer’s monologue, which is a kind of a precondition for establishing communication with the other, and the group choreographic configuration, in which the duets enter their indistinguishable multiplicity. The duets can be read along the lines of the dynamic of individual self-awareness, as a site of encounter, trust, insecurity, as well as (self)loss or burden.
created by: Kaja Lorenci; co-created and performed by: Žigan Krajnčan, Kaja Lorenci, Ivan Mijačević, Dejan Srhoj, Nataša Živković; music: sz3 (Ivan Mijačević, Aleš Zorec), dramaturgy: Rok Vevar; light design: Urška Vohar; photo: Nada Žgank; translations: Katja Kosi; production: Emanat; executive producer: Sabina Potočki; co-production: Bunker/ SMEEL, partner: Association City of Women / City of Women Festival 2016

Kritički parkour
artist talk moderated by Iva Nerina Sibila

22^nd October

8.00 p.m., Teatar &TD, Semicircular Hall
Jeanine Durning (SAD): No Time to Fly
practice of the adaptation of Deborah Hay’s solo performance No Time to Fly
What I mean by my choreography includes the transmission from me to the dancer, of the same set of questions I ask myself when I am performing a particular movement sequence that ministers shape to a dance. I will not talk about my movement choices here, except to say that as an aspect of my choreography they fall almost exclusively into three categories: 1) impossible to realize, 2) embarrassing to “do”, or, idiotic to contemplate, 3) maddeningly simple. These movement directions are not unlike my questions that are 1) unanswerable, 2) impossible to truly comprehend, and, at the same time, 3) poignantly immediate.
How do I recognize my choreography?
Deborah Hay, 2007
This project is realized in collaboration with Station/Service for Contemporary Dance and Nomad Dance Academy Slovenia and supported by the GPS/Global Practice Sharing program of Movement Research with funding from the Trust for Mutual Understanding.

Kritički parkour
artist talk moderated by Iva Nerina Sibila

25^th November

3.00 – 10.00 p.m., SC Gallery
Eva Karczag (NL), Chris Crickmay (UK), Sylvia Hallett (UK): Promenade 7: Theatre of Memory
durational performance / installation
This new work, specially created for Zagreb, brings together practitioners working in visual art (Chris Crickmay), sound (Sylvia Hallett) and dance/movement (Eva Karczag). The programme, comprising seven hours of presentations in the Gallerija SC, is part of an ongoing series devised by the same group of artists, which we have collectively called ‘Promenade’. This programme also incorporates documentation of previous works in the series. All our Promenade pieces are place-specific works, improvised throughout. They include interaction with objects and images, improvised soundscapes and an audience that comes and goes at will.  In creating these works, we aim for a certain feeling of ‘spaciousness’ – it’s a matter of leaving plenty of room for things to develop as and when they will, and especially room for the audience to drift and dream, as we think the word ‘promenade’ suggests – a relaxed and leisurely stroll. (The ideas behind individual previous works shown on video are included in detailed notes on display in the Gallery).
Visitors are welcome to come and go at any time between 2.00 and 9.00 p.m.
One-hour live performance/installation will alternate with a video installation showing documentation of previous Promenade works (nos. 1-6).
Live performance/installation
2.00 – 3.00 p.m. | 4.00 – 5.00 p.m. | 6.00 – 7.00 p.m. | 8.00 – 9.00 p.m.
Video installation
3.00 – 4.00 p.m. | 5.00 – 6.00 p.m. | 7.00 – 8.00 p.m.

Workshops:

7^th-13^th July
Moving Bodies | Empty Spaces
workshop with Kirstie Simson and Martin Piliponsky

20^th-21^st October
What we do when we do the thing we do before we know what we are doing: Approaches to Practice and Performance
workshop with Jeanine Durning

26^th-28^th November
Movement and Inter-arts Collaboration
a short series of evening workshops with Chris Crickmay (visual art), Sylvia Hallett (sound) and Eva Karczag (movement)

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artistic directors: Sonja Pregrad and Zrinka Šimičić Mihanović

graphic design: Dora Đurkesac

technical support: Tomislav Maglečić

production: Multimedijalna koliba, 2018

partners: Liberdance – Open-air theater Kamenjak, University of Zagreb Student Centre, Academy of Dramatic Art in Zagreb, Station/Service for Contemporary Dance and Nomad Dance Academy Slovenia

Supported by: City of Zagreb, Ministry of Culture of the Republic of Croatia, GPS/Global Practice Sharing program of Movement Research with funding from the Trust for Mutual Understanding

The work of Multimedia Hut is supported by Kultura nova Foundation.

Solo improvisation with the body and voice 26th and 27th of November, 2016 from 11 am to 5 pm Academy of Dramatic Arts, Zagreb, Frankopanska 22. Improspekcije2016  

Andrew uses a skills approach to improvisation. You will develop your skills of generation and shaping content whilst working between vocal and physical modes. His work is further fueled by the spirit of communication and shared pleasure. Participants will be encouraged to become their own editor in performance, by developing skills of shifting their point of attention, developing texture and maintaining clarity. It is suitable for people interested in deepening their understanding of themselves as a performer at any level, and finding resources that will enrich their improvisational performing. Participants should come expecting to enjoy themselves.

Andrew Morrish has over 30 years of experience working as a freelance performer, teacher and researcher into improvisation. He has worked internationally in theatre, dance and opera. He was an original member of Al Wunder’s “Theatre of the Ordinary” in Melbourne and his own improvisation practice was fostered by 8 years in Theatre of the Ordinary and 12 years working in close collaboration with Peter Trotman. He has developed his personal approach to teaching improvisation in the last 17 years and teaches extensively in Europe and Australia. In 2016 he will teach and perform in Zagreb, (Croatia), Berlin, Stuttgart, Munich (Germany), Vienna,(Austria), Paris, Bouxwiller, (France), Goteborg,(Sweden), Melbourne, Sydney, Orbost, Adelaide, Canberra (Australia), London, Bristol, Huddersfield, Falmouth(U.K.), and Poznan, (Poland). In 2016 he was granted a 2 year Dance Fellowship from the Australia Council for the Arts.

http://www.andrewmorrish.com/