{"id":3017,"date":"2002-09-27T19:59:00","date_gmt":"2002-09-27T17:59:00","guid":{"rendered":"https:\/\/blog.uclm.es\/archivoartea\/?p=3017"},"modified":"2025-09-27T20:04:40","modified_gmt":"2025-09-27T18:04:40","slug":"solo-me","status":"publish","type":"post","link":"https:\/\/blog.uclm.es\/archivoartea\/2002\/09\/27\/solo-me\/","title":{"rendered":"Solo Me"},"content":{"rendered":"\n

BADco. 2002<\/p>\n\n\n\n

Solo in A Major, Op.69
Coreograf\u00eda e interpretaci\u00f3n: Pravdan Devlahovi\u0107
Dramaturgia: Ivana Sajko y Goran Sergej Prista\u0161
M\u00fasica: Ludwig van Beethoven: Sinfon\u00eda n\u00ba 7, Op. 92, segundo movimiento, Zagreb Philharmonic Orchestra, director: Lovro Mata\u010di\u0107
Iluminaci\u00f3n: Miljenko Bengez<\/p>\n\n\n\n

And this is no longer a beginning
Coreograf\u00eda e interpretaci\u00f3n: Nikolina Prista\u0161
Dramaturgia: Ivana Sajko y Goran Sergej Prista\u0161
Colaboradores: Ivan Maru\u0161i\u0107 \u2013 Klif (m\u00fasica), Silvio Vuji\u010di\u0107 (vestuario), Miljenko Bengez (luces)
El proyecto ha sido apoyado por Concejal\u00eda de Cultura del Ayto de Zagreb, Ministerio de Cultura de Croacia.<\/p>\n\n\n\n

Solo Me<\/em> es una performance basada en dos solos desarrollados por separado, realizados simult\u00e1neamente o como una unidad compuesta. En su Solo in A Major, op. 69<\/em>, Pravdan Devlahovi\u0107 intenta redefinir el espacio en torno a su cuerpo en relaci\u00f3n a la mirada infecta de los espectadores que circundan el espacio de la performance. Pravdan pasea constantemente por el material coreogr\u00e1fico situado en distintos puntos del espacio y as\u00ed, en el momento en que lo encuentra decide dejarlo para encontrar otro nuevo. Y esto ya no es un comienzo de Nikolina Prista\u0161 creado a partir de la intenci\u00f3n de discutir sobre un proceso de auto-inicio. Sus ideas sobre el inicio repetido al definir el movimiento la han llevado a la idea de escribir una frase coreogr\u00e1fica en diferentes fuentes (coreogr\u00e1ficas). Las fuentes elegidas han encontrado su colgante corporal en el uso de diferentes perspectivas, estrategias y orientaciones formadas que redefinen diferencias en el resultado afectivo de la frase presentada en el inicio.<\/p>\n\n\n\n

Rese\u00f1as<\/strong><\/p>\n\n\n\n

\u00ab[…] and the dancers’ informal manner and skill made even complex steps look commonplace. Yet the dancers also commanded attention because they wandered with great concentration and appeared to be enjoying themselves, as if playing their own favorite games in a playground for adults.\u00bb
Jack Anderson, The New York Times<\/p>\n\n\n\n

\u00abSolo Me<\/em> follows a line of development begun with performances such as 2three4<\/em> or Man.Chair<\/em> but is, in my opinion, their most courageous attempt at merging dance reflection, its solid structuring and almost metronomic quantification with sensual experience of the dancing itself.\u00bb
Nata\u0161a Govedi\u0107, Novi List<\/p>\n\n\n\n

\u00abMovements expand in space, get re-arranged and explored through two different choreographies that eventually get intertwined in the attempt at finding a common denominator. With imposing ease both choreographies set a demand for the esthetics of movement which involves both modern and contemporary dance.
[…] it is absolutely worthwhile to see this performance which comes from a completely different corner of Europe and distinguishes itself from anything we can see at home.\u00bb
Silje Birgitte Folkedal, BA\/Norway<\/p>\n\n\n\n

\u201cThe most striking characteristic of \u201cSolo Me\u201d is both the dancers\u2019 energetic, expressive and very eclectical manner of moving. The dance vocabulary freely flows between movements reminiscent of modern-contemporary dance styles\/techniques and movements corporeally personalized to the highest degree. Both dancers\/choreographers successfully and at times ironically play with the items of known dance vocabularies but also with their own specific movements and quotations of each other which makes the interplay a very exciting journey to take.\u201d
Ivana \u0110er\u0111-\u0110un\u0111erovi\u0107, Glas Slavonije<\/p>\n\n\n\n

Duraci\u00f3n: <\/strong>50 min.<\/p>\n\n\n\n

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BADco. 2002<\/p>\n","protected":false},"author":285,"featured_media":3018,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[28],"tags":[],"class_list":["post-3017","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\/3017","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=3017"}],"version-history":[{"count":1,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/3017\/revisions"}],"predecessor-version":[{"id":3025,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/posts\/3017\/revisions\/3025"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media\/3018"}],"wp:attachment":[{"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/media?parent=3017"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/categories?post=3017"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uclm.es\/archivoartea\/wp-json\/wp\/v2\/tags?post=3017"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}