Too Much of Me is Hidden in the World, To Much of the World is Hidden in Me It is a contemporary dance performance in which dance, sound, and voice meet at different levels. Anamaria Bagarić (choreography and dance) in collaboration with Ida Hiršenfelder, Gašper Selko and Pavla Zabret.
22 September 2024, Zorica, Ljubljana, 20.00 | Premiere in collaboration with Ida Hiršenfelder (beepblip) – music composition
25 September 2024, KČ Barutana, Kamnik, 20.00 | in collaboration with Ida Hiršenfelder (beepblip) – music composition & Pavla Zabret – poetry and spoken word
29 September 2024, Zorica, Ljubljana, 20.00 | in collaboration with Gašper Selko (X.U.L) – music composition
The performances are intimate and intended for a limited number of spectators. You may secure your place for any performance by booking tickets at drustvo.oksimoron@gmail.com. Tickets are free. Voluntary donations are recommended.
ABOUT THE PERFORMANCE
The theme and movement of the performance result from a variety of techniques embodied in dance, expression, and somatic practices, with the philosophy of butoh as the main guiding principle. The movement draws from butoh philosophy, while the thematic point of departure is the poetry and graffiti of the poet and director Eva Kokalj: ‘Too much of me is hidden in the world; too much of the world is hidden in me.’ Since the world moves at a pace that humans cannot keep up with, a counter-pole is needed where the surroundings can exist (at least momentarily) at their own pace while simultaneously coexisting in the world.
The show explores and situates the individual through deduction, removing external sensory and social stimuli to focus on kinetic ones. It places the body at the intersection of external and internal entropies—as a measure of chaos, it quantifies entropy. In doing so, the performance poses the question: where in the body does the formless mass of information it receives accumulate, and how can it coexist with the parallel truths that this mass constitutes but which have no influence?
The present needs time to settle into the body, to accept and know it; however, in this process, it cannot eliminate the tensions arising from collisions with the external world. The performance does not aim to analyze specific situations through the lens of beauty ideals, social norms, or utility, which define and characterize the body from the outside. Instead, it seeks authenticity and a primordiality within the body that cannot be attained through thought. It attempts to move beyond signifiers that simultaneously tell an irrefutable story about time—time that is trapped within the physicality of the dancer (Bagarić), the words of Kokalj, Rebrača, and Zabret, and the music of Hiršenfelder and Selko.
Anamaria Bagarić je plesalka in koreorafinja, ki je svet plesne umetnosti spoznala s kolektivom Kjara’s Dance Project, kjer je sodelovala kot mlada plesalka. V Egiptu se je predstavila s prvim avtorskim solom 𝘋𝘢𝘳𝘬 𝘔𝘢𝘵𝘵𝘦𝘳(𝘴) ter sodelovala s Kairsko operno hišo in Cairo Contemporary Dance Centrom. Leta 2019 je dokončala Akademijo za ples – smer sodobni ples, s predstavo 𝘗𝘙𝘐𝘡𝘔𝘈. Redno sodeluje s kolektivom fizičnega gledališča Fourklor in projektno s priznanimi slovenskimi koreografinjami in režiserji. V sklopu magistrskega študija na AGRFT, pod mentorstvom Tanje Zgonc, je ustvarila avtorsko predstavo 𝘒𝘢𝘷𝘢, č𝘳𝘯𝘢 (2022), ki deloma služi kot ustvarjalno izhodišče predstavi 𝘗𝘳𝘦𝘷𝘦č 𝘮𝘦𝘯𝘦…
Koreografija, ples: Anamaria Bagarić
Avtorska glasba, izvedba: Ida Hiršenfelder / Gašper Selko
Poezija, govorjena beseda: Pavla Zabret
Poezija: Eva Kokalj, Aljoša Rebrača, Pavla Zabret
Svetovanje za režijo: Peter Frankl
Kostum: Salvija
Naslov: Eva Kokalj
Fotografija: Blaž Plut
Koprodukcija: VITKAR, KUD Oksimoron
Partnerji: Nataraja studio, KD Priden možic, Harlekin
Zahvale: Urška Centa (NEST), Borut Bučinel, Andreja Kopač, Tina Habun
Predstava je nastala s finančno podporo Mestne občine Ljubljana in Občine Kamnik.