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OD TUKAJ NEDAJ BOG KEJ SPREMINJAT 🙂

Contact

VIA NEGATIVA

Contemporary performing arts association
info@vntheatre.com

artistic director
Bojan Jablanovec
bojan@vntheatre.com
phone: +386 41 389 284

managing director
Špela Trošt
spela@vntheatre.com
phone: +386 51 360 735

Address
Via Negativa
Na Peči 12
1000 Ljubljana
Slovenia


Registration number: 1677314
VAT / TAX number: SI71858253
Bank: Abanka Vipa d.d. Ljubljana
IBAN: SI 56 051008010573865
SWIFT: ABANSI2X

 

The Brake

ROK KRAVANJA
Solo performance

 

 

info

press


“WHY DO I ALWAYS HAVE ONE FOOT ON THE BRAKE. THAT’S HOW I WAS RAISED. BORN FROM PUSSY, RAISED TO BE A PUSSY.”


A story about rollerblading, which opens up an insight into the identity as a trap in which freedom is becoming an increasingly unattainable illusion. “If I am what I think I am – being free – why am I still here where I am? Why do I not pack up and go? Why do I always find a reason not to do something? Why do I always have one foot on the brake? I don’t know. That’s how I was raised. Educated. Socialized. Equipped to be socially useful. Although I’m fed up with everything, I’m still here. I still cruise from one institution to another and persuade them that my brake works perfectly, that I am ready to be a socially useful pussy – even if I’m doing something so utterly useless as a performance. Get it? Born from a pussy, raised to be a pussy.”

CREDITS

Concieved, written and performed: Rok Kravanja
Concept and direction: Bojan Jablanovec
Light design: Igor Remeta
Producer: Špela Trošt

Production: Via Negativa with the support of Ministry of Culture of Republic of Slovenia and the City of Ljubljana
Premiere: 16 October 2013, Puppet Theatre Ljubljana
Duration: 50 min


With a »brake« in Life, Perhaps, But Not on the Stage
MMC, rtvslo.si, Ljubljana 1. May, 2014, Nika Arhar

“Rok Kravanja’s first solo performance, “The Brake”, is one of the few performance events in Slovenia that would operate with the real at a physical level and actually transpose the spectator into the time and place of a joint performance – reality.”


Concentric circles of freedom
Radio Student, Ljubljana, 23. April 2014, Nenad Jelesijević

“The performer’s accentuated physicality enacts the tremendous tension and the impossibility of the situation, yet at the same time giving hope in the possibility of leaping across the prescribed borders. Anyone – an anxious activist, impoverished student, a dancer of contemporary dance, an erased person from Slovenia, anybody who is queer or a fired industrial worker — can see themselves in his semi-nudity. The repetitious circling can also be understood as a state of castration of most players in the field of contemporary art, those who cannot surpass the anti-political confines, as well as being trapped in the nexus of high productivity at the expense of critical research, and last but not least as an image of subservience, an outcome of existential insecurity.”


Brakes, no brakes. Via Negativa on Desiré Festival
revizoronline.com, 4 December 2013

(…) The brake was the one-person show of Rok Kravanja. It was a kind of a poetic performance – using roller-skating as a metaphor. The story is immensely simple: a young boy is being teased by his friends, because he has brakes on his skates, and it is well-known that only girls have brakes. Therefore the boy runs away: first to the girls, then – after breaking down his brake – back to the boys, fed up with the forced compliance in the end, so he simply goes out into the world. The story of self-discovery and acceptance, vanquishing the difficulties, and personal freedom can be seen in three steps: with brakes, without them and then in real freedom.

The subjectivity of Kravanja, his zest, physical performance and the self-ironic smile garrishing on his face was enchanting. It’s a touching moment when he dances ballet to Céline Dion’s I’m your lady. The audience is sitting in a circle and Kravanja, looking deeply into their eyes, runs rounds in front of them. The level of danger is raising with the speed: performer and spectator are concentrating together to avoid the tumble. Though it’s a real possibility. After the boy makes peace with himself he has only one wish left: to find a partner. He kicks off the rollerblades and dresses into a huge rucksack to have himself taken on the back and carried out by a man, who he had picked in advance from the audience (…)

https://vimeo.com/90243781