koreografska fantazija br. 3: open processes, premiered on September 18, 2015. It’s 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 a structural practice.

Performed in a dance studio, it explores dance as a process, re-thinking the tenets of historic modernism as a series of consequences that play out in questions of how art understands its materiality. Moreover, it is structured as a choreography that meets prepared piano, more precisely, John Cage’s Sonatas and Interludes for Prepared Piano, while confronting various elements of movement’s inner and outer architecture. Cage started working on the cycle in February 1946, and the idea of a collection of short piano pieces was apparently brought 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 and Cage later wrote that the cycle was composed “by playing the piano, listening to differences making a choice.” On several accounts, he compared it to collecting shells while walking on the beach.

Choreography works with the composition as a whole, converting several sonatas to silences while retaining the original duration. The silent pieces are, in a sense, introverted and are opening new possibilities for the sounded ones. Music joins choreography as an autonomous parameter and a process of architecture of both space and movement.