Bitef

uspešno gostovao na festivalima u Beču, Avinjonu, Stokholmu, Bonu. U inostranstvu je kao plesač učestvovao u predstavama amsterdamske trupe Testworks (1989), u Studiju za savremeni pies u Zagrebu radio je koreografiju predstave Stravinski i ja (1995), a u Diversions Dance Company u Kardifu, u Velsu, predstavu From the Desert Through the Forest (1997). Kao koreograf radio je i na realizaciji operskih i pozorišnih predstava u Ljubljani, Ceiovcu, Zagrebu i Antverpenu. Za svoja dostignuba je primio deset domabih i stranih nagrada; medu najznačajnijim su: Ziatna ptica, Župančićeva nagrada, nagrada Prešemovog fonda (za koreografije Trilogja, poslednji čin i Klon), zatim prestižno priznanje koreografa - pobednika Prix d'auteur 1998. za skraćenu verziju Klona - RAM, na medunarodnom bienalnom koreografskom takmičenju Rencontres choreographiques Internationales de Seine-Saint-Denis. Sablazan u Šentflorijanskoj dollni jedno je od temeljnih dela slovenabke dramatike. Zato predstavlja poseban izazov za koreografsku postavku koja se koristi neposrednim jezikom pokreta u a akciji i reakciji. Likovi u tarsi su jasno oblikovani i čine bvrsto uporište pri oblikovanju fizibkih likova i njihovih međusobnih odnosa pri uobličavanju kroz pokret. U Cankarevo delo na velikoj pozomici Cankarevog doma nije izuzetan H događaj samo zato što je ustanova H nazvana po autoru Sablazni u H Šentfiorijanskoj dolini već, pre svega, zbog sličnih reakcija na autorovo delo danas i u vreme njegovog nastanka 1907. Cankareva dela su danas isto toliko provokativna kao i kad su nastala, ona nas pogađaju jer su delovi našeg društva istovetni sa onima iz Cankarevog vremena. Naš novouspostavljeni sistem, sa svojim elitama i vrednostima, reflektuje se u Sablazni. Upravo zato to delo zaslužuje da bude postavljeno na tako značajnom mestu kakvo je Gallusova dvorana. Demistifikacija Cankareve Sablazni je znabajno ishodište za ideju plesne Sablazni, jer su mnoge postavke njegovih dela nehotice otudile Cankara od publike. Cankar je postao jedan od spomenika slovenabke kulture o kome imamo stereotipnu predstavu i zato nismo u stanju da prepoznamo univerzalnost njegovog dela. Često ga doživljavamo pogrešno, samo kao ikonu slovenačke kulture, a mlade generacije čak kao nešto dosadno. Plesno izvodenje Sablazni moglo bi da pomeri tačku posmatranja. Mesto događanja je tipibno srednjoevropsko, Nije samo slovenačko, kako se često pogrešno zaključuje, Cankar je, možda, zaista imao na umu dogadanja kod nas, no doiinu i Šentflorijance je mogubno_pronabi i prepoznati i u Austriji, Švajcarskoj, u Bavarskoj, Češkoj, odnosno svuda gde su društvo i viast funkcionisali na isti način kao u Austrougarskoj monarhiji. TELESNA STRAŽA DOLINE ŠENTFLORIJANSKE lako je Cankareva drama Sablazan u Šentflorijanskoj dolini nastala veb godine 1907, te be uskoro proslaviti svoj stoti

accomplished (primarily its abridged version for Intercult, project Euralien - Stockholm, the cultural capital of Europe in 99), which was proclaimed the play of the year in the weekly “Mladina.” In Cankar’s home, he also accomplished the choreography for 10 s Below Zero, which was (in its abridged form) shown within the international theater project Hotel Europe, and with which he successfully toured at festivals in Vienna, Avinon, Stockholm, and Bonn from May until September of 2000. The three-year collaboration with Cankar’s home will conclude with the grand play Temptation in Gailusov’s auditorium. Abroad, he has, as a dancer, taken part in plays of the Amsterdam troupe Testworks (1989), has choreographed Stravinsky and I (1995) in the Contemporary Dance Studio in Zagreb, and has done From the Desert Through the Forest (1997) with the Diversions Dance Company in Cardiff, Whales, As a choreographer, he has worked on realization of opera and theatre pieces in Ljubljana, Celovc, Zagreb and Antverpenn. For his accomplishments, he | has received ten domestic and foreign awards; among which the most significant are: Golden Bird, Zupanciceva Award, Award of the Presernovo I Fond (for the choreographing of Trilogy, the Final Act and Clone), and the prestigious recognition of the chore-ographer - winner k of the Prix d’auteur in 1998 for the k abridged version of Clone - RAM, at the ■ international biannual choreographer ■ competition Rencontres choreogra■ phiques Internationales de Seine-SaintI Denis. W Temptation in the Sentflohan Valley is ' one of the core works of Slovenian drama. Consequently, the play presents a special challenge for the choreograph lining that r utilizes the direct language of movement in action and reaction. Characters in a farce are clearly depicted and comprise a solid strongpoint for shaping the physical characters and their mutual relationships for shaping through movement, Cankar’s piece on the grand stage of Cankar’s home is not a unique event solely because the institution is named after the author of Scandals in the Sentflohan Valley, but rather because of the similar reactions to the author’s piece today and at the time of its appearance in 1907. Cankar’s works are just as provocative today as they were when they were created. They strike us because they are parts of our society similar to those of Cankar's time. Our newly established system, with its elitism and values, is reflected in Temptation. This is precisely why this piece deserves to be set at such a significant place as Gailusov’s auditorium. Demystification of Cankar’s Temptation is an important point of departure of ideas for a dancing Temptation, because many suppositions of his works accidentally estranged Cankar from the public. Cankar became a monument of Slovenian culture, of whom we have a stereotypical image and are therefore unable to recognize the universality of his work. We often see him incorrectly, only as an icon of Slovenian culture, and younger generations even see him as something boring. A dancing performance of Temptation might be able to shift this perspective. The setting is typical mid-European. It is not only Slovenian, as is