This contemporary ballet for four dancers was created in Berlin and Zagreb and was premiered on 25th of February 2010. Its choreographic fibre is structured upon the music of Rachmaninoff Preludes, Op. 23 & 32.
As the title suggests, the basic proposition was the work, which was organized around different, simple or complex, choreographical tasks. The input varied from suggestions for spatial explorations to some more cognitive questions, the most important one being: How is the body thinking? or: Is any thought possible as bodiless at all?
The accumulation of the results and effects of this process produced surpluses of fiction that created a specific landscape that was changing its characteristic depending on the interpretative angle from which the dance was being viewed. In that way, the images of the piece were not isolated and re-aesthetized through these mechanisms – but they remained in their radical clearness which took over as a manifesto characteristic of the piece. Each one of the proposed dances had its birthmarks, stretching also its potentially meaningful field to the work as such – to the work as phenomenon. With a certain seduction by the thesis that each work is in its metaphysical core physical, what was created here was the birth of a dance from the spirit of the work.
Treating the body as a reservoir of different movement ideologies, that the dance is able to connect or disconnect in relation to its own personal (which is also performative) history, this work was our own mutual Utopia Manifesto created in-and-between places we live, we came from and places at which we were desiring to be.
In its final instance, WORK EVERY DAY platforms a notion of the body as the last resistant surface, creating with its mere existence the last vigilant entity that can’t be so easily appropriated.
This work marked a very important shift for my choreographic journey, understanding and clearing the way for the very essence of the dance medium, that is, in its own extrication from the simplified performative, aiming towards something which is more dense, challenging and complex.
"As in her previous works, Marjana Krajač presents here a consistent, multi-layered and challenging concept, rounded production, and the authentic and sharpened choreographic shift."
“Dance as a unique human element, understandable on the abstract level to everyone.”
“Developing the possibilities of the related notions of work and productivity through performance, Work Every Day nevertheless insists on the contingency of their relatedness – throughout the performance, there is a continuous possibility of work without creating a product or a product that does not result from work. … The contingency of that relationship – between the work and the product of performance – is a procedure through which Work Every Day occupies the opposite pole from the theatre of assertion and explanation that what goes on in the society should be assertible in theatre. The theatre of assertion and explanation, especially in the form of propaganda theatre, supposes that it can positively present what the spectator knows and what the mass media perpetuate. However, the contingency of the material vehicles of theatrical action corrupts the certainties of knowledge that it enacts. The only certainty left is the certainty of uncertainty. Therefore, what we have here is the theatre of subtraction: what we have brought with us may not be so, and what we take home with us may not be so. It is a theatre that we leave deprived of what we have brought with us, a theatre that impoverishes us instead of striving to enrich us.” (full text: here)
WORK EVERY DAY is realized within the project EL 2010: TRANSFER / Project is funded by Ministry of Culture of Republic Croatia and City Office for Culture Zagreb / Hosted ans supported by Tanzfabrik Berlin, Croatian Institute for Movement and Dance and Zagreb Dance Centre.