{"id":2975,"date":"2007-09-27T17:10:00","date_gmt":"2007-09-27T15:10:00","guid":{"rendered":"https:\/\/blog.uclm.es\/archivoartea\/?p=2975"},"modified":"2025-10-09T20:55:30","modified_gmt":"2025-10-09T18:55:30","slug":"gravidation","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/archivoartea\/2007\/09\/27\/gravidation\/","title":{"rendered":"Gravidation"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><a href=\"https:\/\/blog.uclm.es\/archivoartea\/2000\/09\/27\/badco\/\" data-type=\"post\" data-id=\"2913\">BADco<\/a>. 2007<\/h4>\n\n\n\n<p>Coreograf\u00eda: Pravdan Devlahovi\u0107<br>Int\u00e9rpretes: Pravdan Devlahovi\u0107, Zrinka U\u017ebinec<br>Core\u00f3grafa asistente: Nikolina Prista\u0161<br>Dramaturgia: Goran Sergej Prista\u0161, Ivana Ivkovi\u0107<br>Colaboradores: Vi\u0161eslav Labo\u0161 (sound), Miljenko Bengez (light)<br>Proyecto apoyado por la Consejer\u00eda de Cultura de Zagreb, Ministerio de Cultura de Croatia.<\/p>\n\n\n\n<p>La alusi\u00f3n al ser gr\u00e1vido que aparece en el t\u00edtulo de este trabajo se relaciona con el inter\u00e9s en el poder de transformaci\u00f3n durante el proceso de embarazo que, tanto literal como metaf\u00f3ricamente, supone para el cuerpo de la mujer; un inter\u00e9s por la coreograf\u00eda que, en un nivel abstracto, trata de las restricciones que expulsa el cuerpo de un bailar\u00edn-int\u00e9rprete masculino en un \u201cestado cargado\u201d, momentos en los que el cuerpo se hace pesado de por s\u00ed.&nbsp;<em>Gravidation<\/em>&nbsp;es el resultado de una praxis coreogr\u00e1fica de variabilidad e incertidumbre de la imagen del cuerpo en transformaci\u00f3n, su paso directo mediante un espectro espec\u00edficamente centrado en la expresi\u00f3n, en el pensamiento (propio) del cuerpo en la danza a trav\u00e9s de la noci\u00f3n de indeterminaci\u00f3n; es decir, su constante sinceridad hacia el otro y diferente de lo que es en el momento. La carga resultante de indeterminaci\u00f3n es inseparable del cuerpo y coincide con \u00e9l en que el cuerpo est\u00e1 siempre en transici\u00f3n o en proceso (ser din\u00e1mico y vivo).<\/p>\n\n\n\n<p><strong>Rese\u00f1as<\/strong><\/p>\n\n\n\n<p>\u00ab[\u2026]&#8217;the other condition&#8217; of the dancer\u2019s body emerges through his subtle game with femininity, with the potential of being pregnant, the genesis, the body defined by its curves and possibility to expand\u2026 Pravdan Devlahovi\u0107 almost never reaches for general solipsistic means nor accepts to be defined by en vogue scene criteria [\u2026]\u00bb<br><em><strong>Nata\u0161a Govedi\u0107, Zarez&nbsp;<\/strong><\/em><\/p>\n\n\n\n<p>\u00ab[&#8230;] In Devlahovi\u0107&#8217;s recognizable choreographic authorship \u00bbGravidation\u00bb has opened a series of witty and clear associations to the body which is becoming impregnated with itself.\u00bb<br><em><strong>Vi\u0161nja Rogo\u0161i\u0107, Vjesnik&nbsp;<\/strong><\/em><\/p>\n\n\n\n<p>\u201c[\u2026] a performer who is reaching toward some other boundaries of his male physicality\u2026 offering the image of flexible, fluid body that is resisting its monolithic and static aspect. We can easily follow as the dancer\u2019s body takes on the most unusual shapes, loses usual contours and tries to find solutions for unpleasant dance situations on which he is insisting in order to respect his own rules of the game. Specificity of Pravdan\u2019s interaction with himself is in the openness towards self-irony and the fluidity of male identity. Fixed gender boundary thus becomes one of the preoccupations with which plays during the entire performance.\u201d<br><strong><em>Iva Nerina Sibila, Vijenac<\/em><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>BADco. 2007<\/p>\n","protected":false},"author":285,"featured_media":2976,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-2975","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-obra"],"_links":{"self":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/2975","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/users\/285"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/comments?post=2975"}],"version-history":[{"count":2,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/2975\/revisions"}],"predecessor-version":[{"id":3557,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/2975\/revisions\/3557"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media\/2976"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media?parent=2975"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/categories?post=2975"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/tags?post=2975"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}