Desiré Central Station 2009 - WEST International/regional Theatre Festival
Author: Victor Hugo
Directed by: András Jeles
www.desirefestival.eu
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photo: Zsolt Mészáros
Coreography: Pál Frenák
The new piece of Pál Frenák is part of an elemental process that links the works of the artist, and follows the creator's logic. After Instinct's anti-relationship Frenák's new piece shows us an insight view into the subtlety and complexity of human relationships.
There are five dancers on the stage. Sometimes they observe the others' fight from the outside and at a distance motionlessly, while in other situations they take part in the role of the complicated and subtle human relationships.
How can one person become reality to the other? Can the desire for each other stay unfulfilled forever? The reality and actuality of the bodies is an everlasting question. Is the other person truly real? Must we fall back from the relationships'...
Directed by: Bojan Jablanovec
OUT plays with the performer’s anticipations and the spectators’ expectations. Once they assume their place in the theatre, their roles are clearly divided: the performer is there to show something, the spectator to see something. The performer makes a claim on the spectator’s gaze (the stage), expecting attention and understanding; the spectator assumes the position of the one who needs to be seduced, expecting fascination. From the very start pride is inscribed into their relationship. It can be triggered by some lack, a void, an insecurity that opens up between them. OUT is a performance testing how the spectator and the performer will act out their roles in a situation in which it is no longer clear what they can expect from each other. Ten...
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Directed by: Béla Pintér
In Dievouchka we see staff officers, officers, privates and Jews on forced labour,mingling with each other. It is them, who move the story forward in the army barracks, the dancehall and out in the remote and vast Russian steppe. Its presentation is elevated and all-black-and-white, both in the broad and the strict sense. The time is World War II: however, the story-line, as opposed to giving an historic account, is merely an assumption of the epoch. We created Dievouchka's particular musical style by blending elements of Puccini's late romanticism with operetta and radio hits of the day, some of which are emblematic even today. Throughout the whole play we sing. What the audience sees, is no operatic work. It is pure theatre with actors, whose voices...
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Grega Zorc - Via Negativa: GOOD JOB
Boris Kadin & Kristian Al Droubi - Via Negativa: GAME WITH TOOTHPICKS
Uroš Kaurin - Via Negativa: TONIGHT I CELEBRATE
Created and performed by: Ivo Dimchev
Some Faves is a performance based on a bunch of subjects, objects or personalities I find myself related to. In this project I am less interested in physicality but more in the questions of content, aesthetics and musicality.
"If you want me to be your mother you have to go to theatre."
www.desirefestival.eu
www.ivodimchev.com
[email protected]
photo: Lackó Szögi
Directed by: Boris Bakal (Katarina Pejović and Stanko Juzbašić)
The urban theatre project Ex-position is based upon the essay Judgement Day by the Italian philosopher Giorgio Agambena, and is inspired by Kafka's parable Before the Law. There are numerous other references: Jeunet's film Amélie, Walles's film The Trial, Shakespeare's King Lear, the work of the German choreographer Felix Ruckert, the poetry of Danijel Dragojević, as well as the earlier Shadow Casters productions.
Author: Vasil Iljoski
Directed by: Dejan Projkovski
Has Runaway returned, with its whole irony to truly withdraw us from our¬selves and from our numberless confu¬sions or it has returned to leave us for good and eventually to escape in those voids, which we do not want to look at because the light hurts our eyes.
Does Runaway with its all irony and grotesque parody would like to present our own prisons, our powerlessness, our total closure in front of the fake golden calf, before it leaves us?
Runaway as a kind of Orpheus, is trying to find the hell through the dark and the last sound, not with its harmony.
Concept, Script and Directing: Boris Bakal, Katarina Pejović
It is questionable, though, if it could be called a performance after all: it contains neither a story nor any visible acting. It is all about letting the audience immerse themselves in a dreamlike state and the free imagination about "the intimate history which caresses us since the real one has driven us crazy", as the theatre critic Bojan Munjin has put it, with a conclusion that it is "so sincere, deep and remedial that it is worth more than a season’s repertoire".
www.desirefestival.eu
[email protected]
photo: S. Juzbašić
Concept, Script and Directing: Boris Bakal, Katarina Pejović
It is questionable, though, if it could be called a performance after all: it contains neither a story nor any visible acting. It is all about letting the audience immerse themselves in a dreamlike state and the free imagination about "the intimate history which caresses us since the real one has driven us crazy", as the theatre critic Bojan Munjin has put it, with a conclusion that it is "so sincere, deep and remedial that it is worth more than a season’s repertoire".
www.desirefestival.eu
[email protected]
photo: S. Juzbašić
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