KULTURA / CULTURE
SHAUN PARKER
Shaun Parker & Company arrive in Serbia on 25 th and 26 th March, presenting a new collaboration between this award-winning Australian director and choreographer and the internationally acclaimed Bulgarian songwriter and vocalist Ivo Dimchev that throws masculinity under the spotlight. On a stage that is part cocktail lounge and part jungle, “King” exam- ines the notion of male power, control and group energy. Over the course of 70 minutes, the gestures and character traits of macho behaviour are interpreted musically, encouraged by the humour and tenderness of Dimchev’s songs. We are intro- duced to the extremes of what can be called a “man's world” and invited to consider its brutal consequences. How does the work “King” unite the atmosphere of a cocktail lounge and a jungle? - The name "King" intertwines two different yet interconnected worlds: the primeval, untamed jungle and the orderly, vibrant space of a cocktail lounge. Both are settings that reflect hier- archical dynamics and the struggle for power and dominance, which are key themes explored by the show. “King” also ad- dresses tenderness, sexuality and suppression. Murad Merzuki MOURAD MERZOUKI Čuveni Murad Merzuki stiže 15. marta, dajući oblike ono- me što po definiciji ne postoji, transformišući neopipljivo u konkretnu materiju kroz igru. „Zefir“ je jedno od najnovi- jih dela koreografa koji deluje na raskrsnici različitih discipli- na. Svom istraživanju hip-hopa on dodaje elemente cirku- sa, borilačkih veština, likovne umetnosti, video-radova, ali i živu muziku. Počeli ste s hip-hopom, a danas vešto koristite tradi- ciju i inovaciju u umetničkoj igri... – Hip-hop mi je doneo osećaj spontanosti i društvenog an- gažmana. Kroz ovu formu uspeo sam da razvijem svoj rad u okruženju koje često nije bilo lako i gde igra nije uvek bi- la prihvaćena. Bio je to izazov, ali danas sa velikim zadovolj- stvom posmatram kako hip-hop igra i dalje menja i oblikuje svet koreografije. Tokom godina sam naučio kako da balan- siram između ulične kulture i institucionalne estetike. Vaša trupa je tokom godina nastupila u preko 65 ze- malja. Kako različita publika reaguje na vaš umetnič- ki izraz? – Predstave koje kreiram namenjene su širokoj publici, bilo da su ljubitelji igre ili ne, jer posvećujem veliku pažnju vizu- elnim i emotivnim aspektima. Muzika koju koristim ima uni- verzalni karakter, što mojim predstavama daje bezgranič- nu privlačnost. One su dobro prihvaćene širom sveta zbog svoje spontanosti i poetičnosti. Naročito volim Beograd i sa velikom mu se radošću uvek vraćam, jer tu publika zaista razume i ceni igru.
What inspired your collaboration with Ivo Dimchev? - With his unique voice and through his performances, Dim- chev brings norms into question. Often ethereal and other- worldly, he introduces emotional depth and unpredictability to the show. His presence transforms the space of the per- formance into a sensual and surreal hybrid, reinforcing the exploration of identity and power dynamics. Ivo Dimchev is unique. There’s no one else like him, and if you had to find a successor to either Elvis Presley or Freddie Mercury, that would be Ivo!
The famous Mourad Merzouki arrives in Serbia on 15 th March and will give tangible form to something that doesn’t exist by definition, transforming the intangible in- to concrete matter through dance. Zéphyr is one of the latest works by this choreographer who operates at the crossroads of contrasting disciplines. He adds elements of circus, martial arts, fine arts and video works, but also live music, to his exploration of hip-hop. You started with hip-hop, while today you adeptly utilise tra- dition and innovation in artistic dance... - Hip-hop brought me a sense of spontaneity and social engagement. It was through this form that I managed to develop my work in an environ- ment that often wasn’t easy and didn’t always accept dance. It was a chal- lenge, but I’m today extremely satisfied to observe how hip-hop dance still continues to change and shape the world of choreography. I've learned how to balance street culture and institutional aesthetics over the years. Your dance company has performed in more than 65 countries over the years. How do different audiences respond to your artistic expression? - The shows I create are intended for a wide audience, whether they’re fans of dance or not, because I devote great attention to the visual and emo- tional aspects. The music I use has a universal character, which provides my shows with limitless appeal. They are well received worldwide thanks to their spontaneity and poetics. I love Belgrade in particular and am always over- joyed to return, because the audience there really understands and appre- ciates dance.
48 | Igra » Dance
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