Bitef
Scrape se pojavio kao nasludvanje, kao osećaj - kožni, somatski. Postao je artikulacija stanja u kome su se mešala tela, plesna i ona druga. Trzaj, bol, trnjenje, koji postoje samo ako je tu neko drugi da ih oseti. Tela se pojavljuju i nestaju na rubnim zonama svetla. Privid kada se noću gleda kroz prozor automobila. U procesu nastanka predstave korišćeni su principi analize plesnog dela predloženi u istraživanju Marka Pejovića Četiri diskurzivne tačke plesne prakse. Koprodukcija: Staniča - Servis za savremeni ples kroz mrežu Departures and Arrivals (DNA) koja je kofinansirana od programa Kreativna Evropa Podrška: Ministarstvo kulture i informisanja Republike Srbije, Bitef teatar, Magacin i Dom kulture Študentski grad
Scrape has appeared as a premonition, a feeling - a carnal, somatic one. It has turned into the articulation of a state, which combined bodies, dancing bodies and the other ones. Shudder, pain, numbness, they all exist only if there is someone to feel them. Bodies appear and disappear at the borders of the lit-up area. A mirage that appears through car windows at night. The making of the performance was based on the principles of the analysis of dance act as suggested in the research Four Discursive Points of Dance Practice by Marko Pejović, Coproduction: Station - Service for Contemporary Dance via network Departures and Arrivals (DNA) co-financed by the programme Creative Europe. Supported by; Ministry of Culture and Information of the Republic of Serbia, Bitef Theatre, Magacin and Cultural Centre Študentski Grad.
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