Prijava na novice

E-novice pošiljamo vsak mesec. Če želiš prejemati obvestila o tem, kje in kdaj nastopamo in kaj pripravljamo, nam pošlji svoj e-poštni naslov.

OD TUKAJ NEDAJ BOG KEJ SPREMINJAT 🙂

Kontakt

 

VIA NEGATIVA

Društvo za sodobne scenske umetnosti
info@vntheatre.com

umetniški vodja
Bojan Jablanovec
bojan@vntheatre.com
telefon: +386 41 389 284

producentka
Špela Trošt
spela@vntheatre.com
telefon: +386 51 360 735

Naslov
Via Negativa
Na Peči 12
1000 Ljubljana
Slovenija


Matična številka: 1677314
Davčna številka: SI71858253
TRR: 05100-8010573865
Banka: Abanka d.d., Ljubljana

 

Manipulacije

 

 

info

press


VSI KUPČUJEMO Z ZAUPANJEM, VSI BARANTAMO ZA ZAUPANJE, VSI MANIPULIRAMO Z ZAUPANJEM. V TEJ IGRI NI NEDOLŽNIH ŽRTEV.


Zahtevati od očeta, da ubije lastnega sina, je grozljiva igra preizkusa zaupanja. Abraham je bil pripravljen plačati ceno – in bil je bogato nagrajen. Danes žrtvujemo celotne nacionalne ekonomije, ki za zaupanje finančnih trgov plačujejo absurdno visoke cene. Enaka igra. Kapitalizem je religija, vrednost kapitala se meri s stopnjo poslušnosti in zaupanja. Potem, ko je nekdanji madžarski predsednik vlade priznal: “We fucked it up, not a little but a lot.” – so ga Madžari znova izvolili na čelo vlade. Zaupanje je preračunljivo iracionalno. Zaupanje je cena za upanje.

Manipulacije se začnejo s preprostim vprašanjem: Zakaj? Zakaj se gremo to predstavo? Zakaj tako in ne drugače? Zakaj pa ne? Predstava začne nizati situacije neke potencialne predstave, v katerih odpira vprašanje zaupanja med predstavo in njenimi gledalci. Je to predstava, ki ji gledalec lahko zaupa? Je umetnik na odru veden zaupanja? To je situacija neprestanega pogajanja.

Vsi kupčujemo z zaupanjem, vsi barantamo za zaupanje, vsi manipuliramo z zaupanjem. V tej igri ni nedolžnih žrtev. Zaupanje je orožje za spopad s strahom in negotovostjo. Zaupanje je pogonsko gorivo moči. In tu se pričnejo manipulacije. Zaupanje ni vprašanje izbire, kajti brez zaupanja ni mogoče izbrati ničesar – niti boga, niti kapitala, niti človeka.

Zaupanje je zid vprašanj, ki ga ni mogoče preplezati z racionalnimi odgovori. Zaupanje je nož med dvema plesalcema. Zaupanje je občutljiva roža, ki je nihče ne zna zalivati. Zaupanje je žvečilni gumi – ko izgubi okus, ga izpljuneš in vzameš svežega. Zaupanje ima smisel samo, če je nenehno na preizkušnji. Tako gre ta igra. Zelo stara igra.

Predstava je v angleščini.
Dolžina: 75 minut

PRODUKCIJA
Via Negativa / Csiky Gergely State Hungarian Theatre – TESZT Festival (Timisoara, Romania) / MASZK Association – THEALTER Festival (Szeged, Madžarska) / Kosztolányi Dezső Theatre – DESIRÉ Festival (Subotica, Srbija) / INFANT Festival (Novi Sad, Srbija)

USTVARJALCI
Predstava je avtorsko delo skupine.
Performerji: Borisz Kucsov / Csaba Formanek / Esztella Levko / Etelka Magyari / Kriszta Szorcsik / Zsolt Imre Mátyás / Gábor Mészáros
Koncept, režija, scena: Bojan Jablanovec
Tehnični vodja: András Molnos

PREDSTAVE
23 MAJ 2015, TESZT Festival Timisoara / premiera
30 JUNIJ 2015, INFANT Festival Novi Sad
17 JULIJ 2015, THEALTER Festival Szeged
22 – 23 SEPT 2015, EX-PONTO Festival Ljubljana
24 SEPT 2015, EUROKAZ – EURIJALA Zagreb
5 DEC 2015, DESIRE Festival Subotica
7 MAR 2016, Stara mestna elektrarna Ljubljana
9 – 10 MAR 2016, Spazio Teatro NO’HMA Milano
6 APR 2016, Kosztolanyi Dezso Theatre Subotica
7 APR 2016, Hungarian Theatre Timisoara
12 APR 2016, Festival of professional theatres Vojvodina

https://vimeo.com/156597911

Zaupaj mi, to je …
Radio Študent, Ljubljana, 29. september 2015, Robert Bobnič

“Enostavno dobro je videti predstavo, ki v času, ko se je tudi znotraj gledališča moderno in za vsako ceno izrekati se o rešitvah, ob tem tvoriti spektakle, reprezentirati generacije in kar je še popularnih sklicevanj na resda zajebani duh časa, enostavno in tiho spodkopava tisto, na čemer vseskozi sedimo, bodisi ko gledamo predstavo bodisi ko pišemo bodisi ko … ”


“The audience assists to the nude displaying of the human vulnerability. Assists with cruelty to a couple’s violent battle for a common chewing gum. From the meeting point of the masochism of the performer and the sadism of the audience, occurred such a tension that after a while one of the spectators got up and left shouting to the performers to stop it already. But the rest of us stood still with the unnamed desire to see what’s coming next. (…) Jablanovec’s theatre is not conceptional. If anything, it is totally anti-conceptional. We don’t get answers at the end, it doesn’t solve the problems and issues related to trust. It’s a theatre of searching and questioning and not a theatre of answers and repetition.”

Simona Donici
http://www.tion.ro/teszt-ul-increderii-festivalul-teatrului-maghiar-a-inceput-cu-un-spectacol-ca-un-cutit-intre-doi-dansatori/1537521
2015 – 24 – May


“At this moment we are already somewhere between God and nothing, humans extracting root from themselves. Being fucked up is a human prime-situation, past and before the biblical morality border-line. There are a lot of lines in the performance, drawn with chalk on the floor or the walls of the theatre: they form letters. Meanwhile communication transforms into movement and gazes. Between them and us. And we join in the game, breaking the rules from the first second of the performance, because it seems that without this act of rule-breaking, there is no game at all.”

Hodászi Ádám
http://7ora7.hu/hirek/elkurtuk
2015 – 25 – May


“We started this one week long theatre program with a performance so non-conventional that it was not only talking about today’s society but also questioning and examining the issues of trust between people at the same time. The well known everyday manipulations and the seemingly random words said on the stage, the question marks and the presented real life situations have showed us how hard it actually can be to break down the walls of trust. So hard that we as the audience are unnoticeable starting to take part in the performance accepting without any kind of shame the uncovered, naturalistic, vulgar honesty of the creators.”

Graur János
http://hetiujszo.ro/teszt-manipulaciok/
2015 – 26 – May


“Manipulations is a non-classical theatre show, which with its open, interactive, free dramaturgy reminds us of the uniqueness of performances. The creators are preoccupied with the questions of trust, which they examine through theatrical forms. What kind of trust must be born between director and actors, performers and audience, in order to feel the bid of the production, for it to become not just believable but authentic, so that we – the audience don’t feel betrayed?”

Kovács Bea
http://www.jatekter.ro/?p=12894
2015 – 26 – May


“The performance is like – as Upor László said during the discussion- watching something through the naivety of a child. (…) And yes, through that childish naivety is quite exciting watching a half naked actress covered with flower petals and forced to drink more than three liters of water which, as we all know, is very bad for our health. But nobody says a word, nobody really does anything. Someone in the audience leaves the room, and we are just sitting numbly, expecting her to pass out or for the show to end. This performance was full of big meanings, messages, indoctrination, wanted to be new, provocative, philosophical. It split the public, this one is for sure.”

Győrfi Kata
http://www.prae.hu/index.php?route=article%2Farticle&aid=8366
2015 -29 – May


“The greatest success of the ‘Manipulations’ is the fact that as an international project it does not thematise a phobia, ‘-ism’, ecological or economic problem. It thematises us as people, civilisation, it thematises the theatre and establishes a dialogue between those who practice it and those who come to see it.”

Igor Burić, Dnevnik Novi Sad, 201525 – May
http://www.dnevnik.rs/kultura/ples-sa-nozem-na-srcu