Premiered on May 29, 2018, CHOREOGRAPHIC FANTASY No. 3 is the third 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 an 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 five dancers: Filipa Bavčević, Marin Lemić, Silvia Marchig, Sara Piljek, Nastasja Štefanić, and created under the working title Open Processes, this piece considers dance performance in a wider artistic perspective. It subscribes itself to dance as a process, re-establishing the tenets of the historic modernism. CHOREOGRAPHIC FANTASY No. 3 thinks about dance in its depths, its inner understandings and inner layers, as the research of the choreographic phenomenon continues.

Performed in a dance studio set-up, choreography meets Sonatas and Interludes for Prepared Piano by John Cage, as it confronts diverse elements of movement’s inner and outer architecture. Cage started working on the cycle in February 1946. The idea of a collection of short pieces was apparently prompted by the poet Edwin Denby, who had remarked that short pieces “can have in them just as much as long pieces can”. The choice of materials and the technique of piano preparation in Sonatas and Interludes was largely dependent on improvisation: Cage later wrote that the cycle was composed “by playing the piano, listening to differences [and] making a choice”. On several accounts he offered a poetic metaphor for this process, comparing it with collecting shells while walking along a beach.

Choreography works with the composition as a whole, converting several sonatas to meta-silence, while retaining the original duration. In that sense, silent pieces are hearable as introverted, opening a possibility for those ones that will then come next in full sound. Along the main idea of the work as a process, music joins choreography as an autonomous parameter, on the same level as the architecture of the space and the architecture of the movement. Choreography therefore, meets Sonatas and interludes in the third space, as structural sentience, or a walk on the edge.


“CHOREOGRAPHIC FANTASY No. 3 recently presented at the Zagreb Dance Center is the third answer by choreographer Marjana Krajač to the large questions that she is concerned with: what is choreography? Who is the choreography intended for? Where is a dance inside the choreography? Is there a dance without a fantasy? What is a nature of constellations of dancers within an abstract matter that contemporary dance always is? … Five excellent dance artists; Filipa Bavčević, Marin Lemić, Silvia Marchig, Sara Piljek and Nastasja Štefanić are superbly carrying an author’s idea. A synergy of diverse experiences, of emotional and physical postures are constituting this work as a small meditative pearl that invites us to concentration, discipline of the eye, of the mind and the body, celebrating an avant-garde phantasmagoria.”

Srđan Sandić, Globus

“Choreographic material that is reduced to several fundamental elements is being varied, dissolved and reconfigured while dancers are establishing relationships with each other and with space. Elements such as the classical fifth position, outstretched hands with open palms, strong battements and jumps, all demanding elements of the dance technique, are captured by the extraordinary sensitivity with which dancers are projecting them in to space and time. … CHOREOGRAPHIC FANTASY No. 3 is a powerful viewing experience that takes place in a working dance space as an extremely strong visual and kinetic transmission.”

Iva Nerina Sibila,

Author, choreography, concept: Marjana Krajač / Danced by: Filipa Bavčević, Marin Lemić, Silvia Marchig, Sara Piljek, Nastasja Štefanić / Music: John Cage, “Sonatas and Interludes for Prepared Piano” / Documentation: Tjaša Kalkan / Design of graphic materials: Valentina Toth / Sound design: Višeslav Laboš / Collaboration on the project: Nemanja Čađo, Kristina Legin / Light design: Marino Frankola / Technical assistance: Leonardo Krakić / Technical director: Duško Richtermoc / Communication: Anita Klapan / Production and realization: Sodaberg koreografski laboratorij

Realized with the support of Ministry of Culture of Republic Croatia and City Office for Culture Zagreb. Created in collaboration with the research of the Norwegian Theatre Academy of Østfold University in Fredrikstad, Norway. Curated and programmed by Zagreb Dance Center. Program Notes PDF