Premiered on 29th of May 2018, CHOREOGRAPHIC FANTASY No. 3 is the latest work in the series of the award-winning works (Croatian Theatre Award for the outstanding choreographic achievement and Annual Award of the Croatian Dance Artists Association as the best choreography of the year) that are considering the choreographic as an intuitive and a structural practice; evoking a trust in the very essence of the dance medium, exposing its fragility and enhancing its core. Dance as an affirmative production of memory is enabling understanding of the form as an articulation of aesthetic ideas and their attainments, their transformations and recontextualizations.
This new work performed by five dancers: Filipa Bavčević, Marin Lemić, Silvia Marchig, Sara Piljek, Nastasja Štefanić and created under the working title Open Processes, considers dance performance in a wider artistic perspective. It subscribes itself to dance as a process, re-establishing the tenets of historical modernism as the very aim of the dance work. By thorough research of individual layers of the emerging dance, CHOREOGRAPHIC FANTASY No. 3 thinks about the dance in its depths, offering new approaches to this continuous research of the choreographic phenomenon.
Performed in a dance studio set up, choreography is meeting Sonatas and Interludes for Prepared Piano by John Cage, confronting diverse elements of 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 were 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.
Choreographic grid operates with the whole cycle, converting several sonatas to the meta-silence and retaining its original duration. In that sense, silent pieces are hearable as introverted, leaving the possibility and opening the space for those ones who will then come next in full sound. Also processual along the main idea of the work, music joins choreography as an autonomous parameter, materializing its symptoms on the same level as the architecture of space and the architecture of movement. Meeting of choreography with Sonata and interludes could be understood then as a meeting in the third space, an event of an exchange, a structural sentience, 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.”
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. Choreographic book pdf