This work can be described as an expanded choreographic cinema. It is created in several layers, operating between a choreographic diary and a spatial performance. It engages different cinematic, choreographic and theatrical layers to create a landscape of a choreographic-cinematoesk. It was created in Berlin during 2011, with four dancers; Lysandre Coutu-Sauvé, Jacob Peter Kovner, Chloé Serres and Ana Rocha, and was premiered on 26th of January 2012 in Zagreb.
Every movement, every state of the human body is directly conditioned by the protocols which are activated by the space in which the body is present. Reversible, a kinesthetic tension of actual space allows the body its reference field. Never exhausted body-space drive, in its affirmational production of new options, tells us about the possibility of creating a wider perceptual field in which every abstraction is always already available. Body and space interchangeably affirm its factual presence and absence, and the layers of continuous renewal and reconstruction of what is physically present and what is going to be driven by a kinesthetic tension creates a territory of a performance.
Be it architectural space, imaginary space or imaginative space, a tools with which the empty space is filled with meaning are constituting a somewhat different choreographic thinking. We mutually asked ourselves: How is it possible to choreographically fill the space by the engagement with the real abstractions, ideological sediments and material infrastructures that constitute the empty place as such? Instead of approaching a choreographic creation in linear perspective, this performance drives all parts of the process simultaneously, forming a specific format between personal history, history of spatial systems and the excesses of fiction.
This work has two versions: Manual for Empty Spaces – A Catalogue of Options and Manual for Empty Spaces – Entering the Performance. They are differing in a structure and a set-up, highlighting a certain topic more in depth.
"The way in which the film establishes a relationship with a dancer on stage, just as it establishes the relationship with the audience, is a valuable testimony of mutual listening, watching, learning and spatial co-researching of an “unboardering” of all who are faced with this performance. "
"What is the result of such a process work is the concept of integration of a dance material, and a recorded material being danced through, pen that leaves a trail on the paper and a body that inscribes itself in to the space of a rehearsal studio, in to the projection, the body that touches the walls or floors. For the dancers of Marjana Krajač we can say that they dance at the same time thinking of what to note down, that, metaphorically, they dance with the pen in a hand. "
"And in the case of Susan Sontag as in the case Marjana Krajač, regardless of differences in the manuscripts and media, recording the creative process also shares with readers or viewers an author’s need for the kind of a discipline that is not reduced to the already learned rules, but the discipline that skips vain or fashionable, valid or generally accepted terminology, demanding a new kind of attention, and surely a new attempts of articulating their own parameters of contemporary dancing and writing."
Realized with the support of City Office for Culture Zagreb and the Ministry of Culture of Republic Croatia. Realized with the support of Zagreb Dance Centre, Croatian Institute for Movement and Dance and Uferstudios / Tanzfabrik Berlin and with project support of Choreoroam 2011 Project by CSC Bassano del Grappa / Opera Estate Festival, The Place London, Rotterdam Dansateliers, a-2/Certamen Choreography Paso de Madrid and Zagreb Dance Center.
Co-created for the symposium "Broken Performances: Time and (In)Completion" (organized by BADco, Maska, Walking Theory, Science Communications Research, Film-protufilm and Academy of Dramatic Art – University of Zagreb) in March 2013.