Kretanja ČASOPIS ZA PLESNU UMJETNOST Kretanja 13/14 _ 1 from Croatian stages: 09 Iva nerina Sibila Which .... ? Jelena Mihelčić Humman Error ... contents editorial: dance/ 04 art: Katja Šimunić ??? ? Maja Marjančić Anka krizmanić .... ? Maja Đurinović The Exhibition... theory: ? Katja Šimunić Three... 2 _ Kretanja 13/14 MilkoSparemblek Intro- duction ?? Maja Đurinović ?? ?? ?? Vjeran Zuppa Svjetlana Hribar Ludio doctus 2+2: Pokret je zbir svega što jesmo ?? Andreja Jeličić 77 Plesno kazalište Milka Bosiljka Perić Kempf Šparembleka u svjetlu teorije Plesati možete na glazbu, umjetnosti kao ekspresije ali i na šum, ritam, tišinu... ?? Darko Gašparović O dramaturgiji Milka Šparembleka ?? Tuga Tarle Oda ljubavi pod čizmom ideologije Kretanja 13/14 _ 3 editorial: n anticipation of the establishment of dance education at the university le- vel in Croatia, which will, according to the founders’ announcements, bring Itogether practical (i. e. classical and contemporary dance techniques) and theoretical dance studies in one institution, Kretanja (Movements), as the only Croatian journal exclusively dedicated to dance art, has from its very fi rst issue (in 2002) published a corpus of texts that can be used as a kind of basis or in- troduction into dance theory, and which should have an important place in the envisaged institution and serve as a platform for institutional and non-instituti- onal researchers of dance. Throughout issues dealing with special themes whe- re dance is positioned in relation to literature, photography, dramaturgy, fi lm or visual arts, along with translations of essays of the most important international dance theoreticians, we have introduced texts that present different examples of knowledge about dance on the path to the much needed dynamically organised dance studies, and we have also presented outstanding creations from the Croa- tian dance scene and promoted domestic authors. Kretanja / Croatian Dance Magazine is published twice a year by the Croatian Centre of the International Theatre Institute. After the fi rst fi ve issues we decided to publish an English edition of Kretanja 06 (2006), with a selection of represen- tative texts by Croatian critics and theoreticians that were previously published in the Croatian issues. We continue this practice in the English edition of Kretanja 13/14 with a selection of texts published in the period from 2006 to 2010. 4 _ Kretanja 13/14 editorial: In the fi rst part of the journal, in the section From Croatian Stages we pre- sent a text by Iva Nerina Sibila entitled Which Body, Which Gesture? in which the author confronts two different choreographic writings: one by Edward Clug, an international choreographer who staged the production of Reasons 4 with the ballet of the national theatre from Zagreb and the other by Sonja Pregrad, a young dancer and choreographer and member of the independent Croatian dan- ce scene, represented with the performance SOLO., to question the type of cor- porality and gestures generated by these two different dance concepts. The text by Jelena Mihelčić in the same section reviews the performance Human Error, by Croatian choreographer of the younger generation, Marija Šćekić, which tackles the questions of the dualism of body and mind, assuming Antonio Damasio’s attitude of Descartes’ error of their fundamental separation. The Dance/Visual Arts section is represented by two texts dealing with the ways in which Croatian visual artists represent dance art in their works. Maja Marjančić writes about the painting opus of Croatian woman painter Anka Kriz- manić (1896-1987), who was inspired by performances by, for instance: Ana Pavlova, Gertrud Leistikow, Grete Wiesenthal, Ana Roje and Oskar Harmoš. Maja Đurinović focuses in great part on the visitors and media that reported about one surprising aspect of the exhibition Avant-Garde Tendencies in Croa- tian Art (Klovićevi dvori Gallery, Zagreb, 2007) dedicated to Croatian dance art. The section Theory concludes the fi rst part of the journal and presents Ka- tja Šimunić’s text Three Gestures in Which a Hand Touches the Forehead, whi- ch on the example of Roxane’s text-induced gesture in Rostand’s drama Cyrano de Bergerac, through the gesture of touching the forehead in Martha Graham’s choreography Letter to the World, to the interpretation of the same gesture in the choreography Trio A by Yvonne Rainer challenges the question of the relati- onship gesture – movement. The second part of the journal consists of a selection of texts from the sym- posium dedicated to internationally known Croatian choreographer Milko Špa- remblek held in 2008, with the intention of giving an insight into the exceptio- nally rich work of this artist to foreign critics, theoreticians and researchers. The English edition Kretanja 13/14 is published with the aim of intensifying the dialogue between dance practice and dance theory in order to intertwine heterogeneous dance works and challenging dance discourses. Would you like to dance/write with us? Katja Šimunić Kretanja 13/14 _ 5 from Croatian stages: from Croatian stages: < Sonja Pregrad: SOLO. FOTO: Nives Sertić. > 6 _ Kretanja 13/14 from Croatian stages: IVA NERINA SIBILA WHICH BODY, WHICH GESTURE? n this essay, I will review two performances which be- for his work in the fi eld of culture, the Prešeren Foundation long to the 2008/2009 season. Reasons 4 by choreo- Award in 2005 and the Glazer Credential in 2008. Igrapher Edward Clug, produced and performed by the Reasons 4 is a performance with a mystical atmosphe- Croatian National Theatre Ballet in Zagreb and SOLO. by re in which, out of nowhere and seemingly without reason, independent author and performer Sonja Pregrad. The qu- ten dancers emerge from the semi-darkness through a spa- estion which I would like to pose with this essay is which ce dis-framed with black movable partitions, they dance body is represented in these performances and why exactly and suddenly disappear. such a body. In developing this question, I would like to examine the relation between the Croatian institutional and Music non-institutional dance scene. I would also like to try to di- The starting point of the performance is music by Slo- sturb, at least in a theoretical, Utopian, and idealist way, vene pianist and composer Milko Lazar. His “Four Sonatas some of these relations for which I claim dogmatically de- for Piano and Violin” performed live (by the composer and termine which body belongs to which theatre and produc- Jelena Ždrale) create an acoustic environment. Rhythmically tion frame. tense, fl ickering and sophisticated music creates an atmosp- here fi lled with powerful dynamic oscillations and the furi- I. REASONS 4 ous tempo that persecutes the dancers alternates with airy, Edward Clug is a Slovene dancer and choreographer of slow parts in which tones remain suspended in space, and Romanian extraction. He became a soloist of the Maribor the dancers move around or between them. Ballet in 1991 and danced a classical and contemporary The structure of the performance follows the move- ballet repertoire. He began to choreograph in 1996 in the ments of the sonatas so that the music also creates the ba- performances by Tomaž Pandur and in 2003 he became sic dramaturgy of the performance. The performance starts head of the Maribor Ballet. The performance Reasons 4 is with a male dancer coming out running, almost hitting into an extended version of a short work set for the Portugu- a dance position and fast choreography. The introduction ese Ballet. He also choreographed for the Dutch company of other dancers and their penetration into space is accom- “Station Zuid” and for the Stuttgart Ballet in 2009. He has panied by the development of the score, from a solo, or won a number of international awards for dance and cho- unisonance, into a group, or “multisonance.” Respecting reography, including the most important Slovenian awards the abstract, and not narrative, form of the choreograp- Kretanja 13/14 _ 7 from Croatian stages: < Edward Clug: Razloga 4/ Reasons 4. FOTO: Saša Novković i Ines Novković. > < FOTO: ??? > 8 _ Kretanja 13/14 from Croatian stages: hy, the choreographer alternates duets and group scenes, The choreographic lexis which Clug uses is based on and combines them with the sudden exiting and entering of the tradition of classical ballet, signifi cantly expanded by dancers, sometimes letting the music fi nish and leaving the contemporary improvisational methods (analogy in lite- dancers in silence. rature, “free stream of consciousness”). Thus, movement The only stage elements are black movable partitions streams out of the body like a fl ood with its own logic, which change the space like a fi lm frame from time to time moving within the kinetic sphere of the Western academic as well as the musicians who are situated in the upper left dance canon. part of the stage. Simple black costumes, trousers and na- A specifi c feature of Clug’s “bodywriting” is also speed ked torsos for men and trousers and corsets for women, which, like the edge of a knife, cuts space. Furthermore, the make the appearance of this performance somewhat like a dance performance reveals the somewhat decadent pleasu- “work-in-progress”. With this, the author directs the gaze re in this speed, in the power of perfect bodies to compe- to what is most important to him, to the choreography. te with the demands of the choreographic instinct and to The choreography, in other words, the very fabric of the keep the purity of form and dynamics within the dense and performance, embodies and interprets music: dance mostly hyperactive fl ow of movement. follows the rhythm, accentuation and atmosphere, and the Insistence on the open position of the legs is also evi- authorial originality and skill are obvious in the multi-laye- dent, bringing the social and aesthetic implications of the red penetration into music and in the plurality of metaphors classical ballet tradition into the choreography (in contrast from which the scenes resulted and which they transfer.