Битеф

X REČ SELEKTORA

Rosie trijumfalnih nastupa u Londonu, Parizu, Berlinu i mnogim drugim svetskim metropolama, najveća senzacija savremene kineske plesne scene, Plesno pozorište Tao, nastupa i na otvaranju 50. Bitefa. Suprotno očekivanju da će se na Bitefu, kada je o azijskom pozorištu reč, prikazati neke od tradicionalnih izvođačkih formi s ovog kontinenta, predstava 6 & 7 je izrazito savremeni, visoko konceptualni, potpuno apstraktni, ritmičko-repetitivni i, paradoksalno, minimalistički i vizueino omamljujud scenski spektakl. Ipak, nije potrebno mnogo napora da se iza ovog vrlo apstraktnog i asketskog scenskog izraza prepoznaju i osete univerzalni, takode asketski duhovni principi taoističke kulture, kao što je, recimo, princip jina i janga.

x O PREDSTAVI

U koreografiji osnivača i koreografa Plesnog pozorišta Tao iz 2014. godine, 6 i 7 dne prva dva dela trilogije Tao Jea, Prava llnlja. Oba dela, ponaosob, sastoje se iz nastupa šest, odnosno sedam plesača, odevenih u belo, odnosno crno, koji nastupaju u pravoj llniji, 6 se zasniva na pokušaju da se prikaže povratak osnovnom primalnom porivu „da se krećemo" kao ljudska bića. Linija prostora se postepeno raspliće u namernom uvijanju i savijanju. Telesni pokret poprima kompletan holistički smisao kroz igru plesača koji apsolutno svaki pokret - od kičme, preko udova pa sve do najsitnijeg mišića - sprovode u istom smeru: iznutra ka spolja. U ovom procesu, obični pokreti tela zgusnuti su u najosnovnije pokrete. Dizajn svetla, koji potpisuje poznata švedska vizuelna umetnica, putem osvetljenja koje teče i prepliće se, stvara zadivljujuće dinamičnu igru svetla I senki. 7 sadrži zvuke plesača koji pokušavaju da udahnu glas samom pokretu. „Oblikovanje glasa" koje prati ovu predstavu dočarava udisaj i izdisaj, unutrašnje I spoljašnje, iluziju I stvarnost. Ovo hrabro odustajanje od muzičke podloge koja prati igru plesača vuče korene iz Tao Jeove duge i posvećene meditacije na temu dualiteta i njegovih vežbi „obiika glasa".

x CURATORS’ WORD

After triumphant shows in London, Paris, Berlin and numerous other great cities worldwide, the biggest sensation of the contemporary Chinese dance scene, Tao Dance Theatre is performing at the opening of 50 th Bitef. Despite the expectations that Bitef would host some of the traditional performance forms from Asia, production 6 & 7 is a strikingly contemporary, highly conceptual, totally abstract, rhythmically repetitive, and, paradoxically, both minimalistic and visually overwhelming stage spectacle. And yet, one can rather effortlessly feel and recognize universal spiritual principles of the Taoist culture, such as yin and yang, behind this abstract and ascetic stage expression.

x ABOUT THE PRODUCTION

Choreographed by Tao Dance Theater’s founder and choreographer in 2014, 6 and 7form the first two parts of Tao Ye's Straight Line Trilogy. 6 and 7 each consists of six and seven dancers dressed in black and white respectively, performing in a straight line. 6 revolves around the spine to represent a return to the most primal active force “to move” as human beings. The manifold of space is slowly unwoven in the deliberate twisting and bending of the spine. A complete and holistic meaning is given to body movement as the dancers deliver each and every moving force from inside out - from the spine to the limbs and to the most minute muscles. In this process, ordinary movements of the body are condensed to the most essential motions. Designed by the famed Swedish visual artist, the streaming and interlacing lighting for 6 creates a fantastically dynamic play of light and shadow. 7 features live vocals from the dancers, seeking to give voice to motion itself. The "shape of voice” that complements this performance represents inspiration and expiration, inside and outside, illusory and real. This bold removal of accompanying soundtrack from dance comes as the result of Tao Ye’s long and self-absorbed meditation on duality and on his “shape of voice” exercises.