THERE. NEARBY...

There. Nearby … is something I cannot describe … how to define what is really going on, if it is always about the interpretation of what is heard and perceived; about the simultaneous production of sense and meaning in a unit of time? When a movement of the body in space indicates a deviation, a break in the perspective through the subtle manipulation of the preceding act, spoken word, or indicated motion, any meaning that emerges in retrospective is usually interposed and distorted; either narrativized or abstracted.
There. Nearby … is trying to create a space, which is momentarily separated from external factors, dictating the rhythm and content in which a movement of the dancer is heard and in which a viewer can see (himself). Just like human experience rapidly loses its stimulus in the history of its own interpretation, we ascribe meaning to sound frequencies and motion structures are ascribed meaning depending on our own past experience. If we succeed in separating the stimulus from the experience and perceiving it directly, viewing can become perception, journey and challenge at the same time.
There. Nearby … wants to come closer to the carnality of things where the meaning is being shown through the dichotomous key of viewing. This raises the question of what is hers and what is his opposite, and what they represent to each other in a vertical space in which boundaries are defined by threads.
There … is an experience, an empathy, a kinetic experience, a community experience … of all of us.
Nearby … is a diagram of the situation; a painter stands in front of a canvas, and the canvas is empty, yet still filled with clichés.
There … is to destroy the clichés which are already there.
Nearby … is the plan to do this.
There … is open for changes and events needed to realize the plan.
Nearby … is a mode of operation; it occurs as a cooperation among arms, eyes, and planning.
There … is inevitable; an empty space always has the potential to become a cliché by itself.
Nearby … and only when a dancer enters this space, the cliché begins to work, so it is necessary to deal with it all the time.
There … even though every interpretation of the stage experience is still nothing more than a cliché.
Nearby … is thus a constant departure from meanings in search of something authentic; instead of revenge of the intellect, it seeks to find the ways of touch, since nobody needs to know anything about this dance.





CREDITS:
Choreography: Matevž Dobaj and Neus Barcons Roca
Dramaturgy: Andreja Kopač
Set and costume design: Ajda Tomazin
Light desing and technical solutions: Janko Oven
Music and sound design: Mario Marolt
Creative Producer: Katja Somrak
Produced by: Plesni Teater Ljubljana
The programme of Plesni Teater Ljubljana is subsidized by the Ministry of Culture RS and Municipality of Ljubljana Department for Culture
www.ptl.si