Bitef

RITAM BEZNAOA Koreografkinja Dalija Acin postavila je na sceni Beogradskog dramskog pozorista svoj novi plesni komad Handle With Great Care, do sada verovatno njen najzreliji i po mnogo сети vrlo osoben pozorisni rad. Glavna odlika ove predstave je veoma spori tempo, pokreti izvedeni и konstantnom slow motionu, usporeni ritam и koji publika mora da utone i sasvim mu se preposti ukoliko zeli da razume i oseti namere izvodaca. Na sceni je samo jedan veliki madrac (krevet, postolje, bojno p01je...), na kojem su dve figure и ernom, kojima do pred sami kraj predstave ne vidimo Пса sto zbog velikih ijubicastih perika, sto zbog nacina na koji se krecu po madracu. Iznad kreveta nalazi sejednostavan luster cije se svetlo sporadieno pojacava ili smanjuje, ali i kada je najjace, ono oslikava samo polumracne obrise scene. To predstavi daje jedan izuzetno zanimljiv i upecatljiv vizuelni ñivo, a tematski nas uvodi и prostor mraka, praznine, pustosi... Autorka kaze da se и ovom komadu bavila secanjima ili nacinom na koji se ona transformisu posle odredenih vremenskih distanci, a ako je tako, onda je ovde ree o muenim i teskim secanjima. Jer, atmosfera ukazuje na tezinu sadasnjosti ili tezinu kojom se proslost obrusava na sadasnjost, i drzi aktere, ali i publiku, и konstantnom osecanju beznada. Hrabro istrajavanje autorke na sporom ritmu do samog kraja predstave mozda je nekim gledaocima delovalo kao manjakdinamienosti i akeije, ali to je upravo najveci kvalitet ovog rada, jer и tom meduprostoru izmedu proslosti i sadasnjosti nista se ne desava, i nista se i nece dogoditi. Posle niza kretnji po madracu, dve ¡gradee se и zacudnim pozama na kolenima, odvlace и coskove, и potpuni mrak, ostavljajuci blago osvetljeni deo scene prazan, zastrasujuce pust. Onda se ponovo vracaju, sporojedva primetno i nastavljaju niz pokreta i kretnji koje ne vode nikuda, vec potcrtavaju taj usporeni, kruzni tok. Delovi predstave и vizuelnom smislu i и svojoj atmosferi nadilaze namere autora da se bavi secanjima, uvode nas и blago apokaliptieno osecanje, ili stanje kao nakon Potopa, gde neidentifikovane figure puze poluzive po obroncima sveta. Osecanje samoce, otudenosti i neke gotovo ontoloske pustosi savrseno je upotpunila muzika Rastka Lazica - monotoni, ravni tonovi, samo na trenutke obogaceni operskom muzikom koja se cuje iz daljine. Na samom kraju, Dalija Acin se pojavljuje na sceni bez perike, na visokim stiklama I posmatra prostor oko sebe. Dramaturg na ovoj predstavi bio je Sasa Bozic, a, osim autorke, na sceni je ¡gradea Ana Ignjatovic koja je, kao i и nekoliko prethodnih ostvarenja Dalije Acin, posveceno i osecajno predstavila ove koreografske zamisli. Handle With Great Care je originalno, zanimljivo delo, ponajvise zbog svoje vizuelne Komponente ali i zbog retkog pozorisnog transiera и kojem mogu da se osete i prenesu neke intimne misli i jedno autentieno, sumorno osecanje sveta.

Jelena Kajgo

THE RHYTHM OF HOPELESSNESS The choreographer Dalija Acin staged in the Beigrade Drama Theatre her new dance piece Handle With Great Care, probably her most mature and in many respects a very particular work. The chief characteristic of this production is a very slow pace, movements performed in Constant slow motion, thè leisurely rhythm in which thè audience must immerse itself and surrender to it fully if it wishes to understand and feel the performers' Intention. There is only a big mattress (bed, pedestal, battlefield.. .)on thè stage and on ittwo characters in black whose faces we cannotsee until thè very end of thè production either because of big violet wigs or because of the way in which they move on the mattress, Above the bed is a simple ceiling lamp whose light sporadically goes stronger or weaker but even at its strongest it lights only thè semi-dark contours of thè stage, it accords to thè production a very interesting and impressive visual effect, and thematically ittakes us intothe space of darkness, void, desolation... The author says that in thè piece she addressed memories or the way in which they are transformed after a period of time but if that is so, then here we see painful and troublesome memories. For,theatmosphere indícales thè hard present or the welght with which the past crushes down on the present and keeps the protagonists - and the spectators - in everlasting hopelessness. The author's courageous insistence on the slow rhythm right up to thè end might have looked to some as the lack of dynamics and action but this is precisely the most important quality of thè piece because in the space between the past and the present nothing happens and nothing will happen. After a series of movements on the mattress, the two dancers, on their knees in stränge positions, drag themselves to corners, to complete darkness, leaving the sparsely lit part of the stage empty and terrifyingly desolate.Then they come back again, slowly, barely perceptibly, and continue a series of movements and motions which lead nowhere, simply underlining that slow, circular flow. Visually and atmosphere-wise, some Segments of thè production override the Intention of the author to address memories and take us rather into a mildly apocalyptic feeling or a state as if after the Deluge, where unidentified figures crawl semi-alive along thè slopes of thè world. The feeling of loneliness, alienation and some, one might say, aimost ontologica! emptiness was perfectly complemented by Rastko Lazic's music - monotonous, flat tones, at times only enriched by operatic music coming from afar. At thè very end, Dalija Acin appears on thè stage without her wig, on high heels and observes the world around her. The production's dramaturgist was Sasa Bozic and thè other performer, apart from the authoress, was dancer Ana Ignjatovic who, as in earlier Dalija Acin' s productions, interpreted her Choreographie ideas with dedication and feeling. Handle With Great Care is an original and interesting piece, especially because of its visual element but also because of thè rare theatrical transfer enabling one to feel and convey some intimate thoughts and an authentic, gloomy perception of the world. Jelena Kajgo.