CHOREOGRAPHIC FANTASY No. 2, premiered on September 18, 2015, is the second work in the award-winning series (Croatian Theatre Award for the outstanding choreographic achievement and Annual Award of the Croatian Dance Artists Association for the choreographic achievement of the year) that considers choreography as intuitive and structural practice. While the dance exposes its fragility and its core, a sense of fluid memory is being created, that understands the form as articulation of aesthetic ideas and their historic attainments, but also their transformations and recontextualizations.
Performed by six dancers; Filipa Bavčević, Lana Hosni, Irena Mikec, Sara Piljek, Katarina Rilović and Mia Zalukar, CHOREOGRAPHIC FANTASY No. 2 focuses on the form itself, the form as a vibrant place, where different levels of the form encounter a possibility of the form’s autonomy. Created in continuous perpetual layers, this piece subscribed to continuity as to its own most stabile place.
CHOREOGRAPHIC FANTASY No. 2 is first and foremost a contemplation about the end of time. Certain depth and tension of the performative event falls slowly and gradually into the abyss of the form and into the punctuation of time, where only mere breathing resists an annihilating compactness. Choreographic structure therefore continuously floats, allowing this performative landscape to recreate its response in each given moment. Specific formal language of the piece emerges and disappears, as the dance travels through the structural dynamic that is in each moment created anew. In some other instances, the work circulates around the idea of The Distinct; the distinct distinguishes itself: it sets itself apart and at a distance, it therefore marks this separation and thus causes it to be remarked — it becomes remarkable, noticeable and marked as such. It also, therefore, attracts attention: in its withdrawal and from out of this withdrawal, it is an attraction and a drawing toward itself (Nancy, 2005).
Sound is a hommage to the album Electronics by Reinhold Friedl (Zeitkratzer) & Carsten Nicolai. This avant-garde album, created as an idea of a pure drone event, grounded the vehicle of the proposed choreographic.
CHOREOGRAPHIC FANTASY No. 2 was hosted and programmed by the House of HDLU in Zagreb. Also known as Meštrović Pavilion, the venue is one of the most renowned places for contemporary arts in Zagreb, curated by the Croatian Association of Artists. Designed by sculptor and architect Ivan Meštrović and built in 1938, it has served several functions in its lifetime. It was subsequently transformed into the Museum of the Revolution in 1990, and was recently given back to the Croatian Association of Artists.
“CHOREOGRAPHIC FANTASY No. 2 focuses on a form, a shape, that is consciously or unconsciously anchored in the body, as a place where a dancing body is sourcing out of. The idea, it seems, is aiming to elaborate on the impossibility of a fixation of forms, certain volatility of form, an idea of a single point that is actually just a stain or a vibration. It is as if the dancers were traveling back to some forgotten or obsessive movement and were re-experiencing it again and again. In that landscape, we are recognizing a various streams from a classical ballet; arabesque, relevé, jeté, as well as many other forms of an unknown sources that are continuously appearing and disappearing. Dancers are highly connected with each other, in a mutual reflection, spatially thickening themselves, slowing themselves down, touching and forming, then again diverging and speeding up, scattering and dividing. While in Marjana Krajac’s previous works emphasis was organized around a different constitution of bodies, what is noticeable here are techniques that are inscribed in the bodies. Lana Hosni and Katarina Rilović attract with focus, precision and movement control. Irena Mikec and Mia Zalukar are more relaxed and playful. Excellent performance of all six as a collective is definitely carrying a performance as a whole. “
“Continuing the idea of an authenticity throughout a movement flow that is unburdened of an inscription surplus of various patterns, which was worked through in depth in her previous work CHOREOGRAPHIC FANTASY No. 1, in CHOREOGRAPHIC FANTASY No. 2 Marjana Krajač shifts toward a more formal shapes, both at the level of the movement and at the level of spatial formations of dancers (Lana Hosni, Irena Mikec, Katarina Rilović, Filipa Bavčević, Sara Piljek), allowing the pure form, a long ago learned and adopted movement, to float out and to embody itself in a new context, while the dancers are continuously reacting to the wast layers of an inner associations that are emerging during a performance.”