Bitef

Kraljevskom konzervatorijumu u Hagu u Holandiji od 1991. do 1992. Potom-od 1992. do 1994. prati nastavu Radionice Rudra Morisa Bežara (Béjart) u Lozani. U Bežarovoj baletskoj trupi igra glavne i solistiche uloge, posebno u Seroovom (Chéreau) Miami, Misi za sadašnjicu i Parohijska kuća nista nije izgubila od svoje cari... (Freddy Mercury). Igra Simbyosis (1997) sa La Fura dels Baus. Za Orgathron I i П pravi video rad s Mo Dinerom (Diener). Godine 1998. osniva umetnički trio Mecger/Cimerman/de Pero. MARTIN CIMERMAN (ZIMMERMANN) Roden je u Vinterturu (Svajcarska) 1970. Od 1998. do 1992, ua dekoraterski zanat. Godine 1992. boravi u Pragu kod Ktibora Turba. Od 1992. do 1996. prati nastavu Nacionalnog centra cirkuskih umetnosti u Francuskoj, potom siedi boravak u Skoli cirkusa u Montrealu (Kanada). Godine 1994. jedan je od osnivača trupe „Anomalija“ u predstavi Krik kameleona. Godina 1997/1998. učestvuje u kolektivnom ostvarenju 33 obrta piste, cirkuskom koncertu „Anomalije“. U 1998. jedan je od osnivača umetničkog trija Mecger/Cimerman/de Pero. Godine 2001. igra u filmovanoj predstavi Filozofi Jozefa Nađa. DIMITRI DE PERO (DE PERROT) Roden je u Nojšatelu (Švajcarska) 1976. Od 1992. do 1997. pohađa umetničku italo-švajcarsku gimnaziju u Cirihu. Između 1994. i 1997. je DJ Sendaka u Cinhu. Objavljeni su Maxi Sendak albumi Conversation i Move on (s-TRA records, Švajcarska) Od 1996. do 2000. daje koncerte i bavi se muzičkom saradnjom, posebno sa Die Regierung (Svajcarska) Steamboat Switzerland (Svajcarska), Hugo Race (Australia) i učestvuje na ploči Freie Sicht aufs Mittelmeer (Kunsthaus Zürich). Jedan je od osnivača 1998. umetničkog trija Mecger/Cimerman/de Pero. Snima 1999 - 2000. albume Angstgot i The Stools go Africa u saradnji sa Die Geholten Stühle, potom singl sure-unsure, u saradnji s Martinom Cimermanom. Pise originalnu muziku za film Do it Marsela Cvinglija i Sabine Giziger, i za film Gamble, Gods and LSD Petera Mettlera. Godine 2000. saraduje sa gitaristom Hugom Raceom. Zajednički snimaju ploču Transfargo. JANEI Is the world tumbling over its own edge? As we grow older all of our futures eventually evaporate, while the amount of memories available for insight grows proportional!y- The actors, statesman in their own right, since every man tries to some extent to also represent other people in order not to be alone: the actors thus attain the edge of the world where the inten-

sity of one’s own existence is the highest but where, at the same time, this existence is most threatened The void at the edge of the world extends our longing into infinity, therefore, in our imagination, the void turns into a land of milk and honey, a projection cabin of yearning. The moment arrives when the representatives no longer wish to confront their cruel exhibition but rather chose to retreat into a closed system of sequences and movements, into defined relationships. However, these relationships need to be negotiated. The negotiations are tough, absurd, dubious. There’s always a fictive audience. Everywhere garbage is collecting: objectified feelings, congealed fallen limbs. Until everything is flooded away by a tidal wave. ]anei plays with mad associations, hints and resentments in a world where power games and uncertain identities are the rule. It is not a story in the usual sense but more like a shared destiny, something pushed and blown together, full of turns and confusions. A difficult politic, the height of perplexity, a dictatorial carrousel, a lethargic circus of self dissolution. METZGER/ZIMMERMANN/DE PERROT Metzger/Zimmermann/de Perrot have been stalking the edge between dance, music, performance, circus and architecture since 1998. The search for new work methods has become a part of their work method. After their two pieces GOPF (1999) and HOI (2001), they have further developed their bizarre universe made up of delusions, tricks, suggestive music and obsessive characters. In 2003, in Zurich, JANEI, the third piece, was conceived.