GENESIS

INFO CREDITS VIDEO REVIEWS

‘It is in this work’s “nature” to disintegrate established identity within a pool of principles, and do so quickly. This seems to be what is allowing the work to behave, or live if you will, as a body/organism would in “real life”… At the end of its time, the work resonates in the memory of its witnesses as something that is a result of performer’s will, skill and vision, as much as it is something almost simply, but magnificently: a product of circumstance. I use the word principle because I recognise that what is stable in the moved environment is not, in fact, a visual cue – such would be movement vocabulary, for example. It is rather a recognisable stability in the performer’s ways of moving about – that is their decision making materialised – in which their thinking is reflected. It is the continual referral to the driving principles that are thought – that enables them (the performers, who are also and only people) to not get lost in the continual becoming of the unstable and visually contingent environment their movement is establishing in communication with the spectator. … I joyfully restrain myself from lablling the work as choreography, or: at all. What is clear to me, and what excites me is that the work is obviously made by someone who knows of choreography, refers to choreography for readability (communication purposes) – but is definitely, primarily and courageously thinking from and with the experience of a dancer.’
(Genesis by Mala Kline | pavleheidler)

‘The performance is not about the actors producing specific meaning or content, narrative resulting in social critique or deconstruction of dance itself (which since a decade obsesses the dance world). Genesis is semantically empty yet full of intentionality and potentiality. … It seems the dancers are, to put it metaphorically, cut off from their heads, from their cerebral planning and decision-making, intentionality, which can become visible and know below the rumbling of the moving bodies, is perfectly embodied. Of course the show is planned, and yet all rational in it somehow submerges. We track the fluctuation of beginning and ending. The way in which the actors come together is not relational; even though their bodies are imposed one on the top of the other, they are not in relationships as individuals with specific content, rather they are an organism that works because it has to work, determined by ‘another’ irrational logic. Viewers can watch, but can also meditate with Genesis.’ (Shnabl A._Geneza_ Kdor sanja, nič ne misli _ Dnevnik)

‘Genesis begins with each dancer performing his or her dance separately from the others, and thus we understand that it is about the different energies and rhythms, and different dreams that make up the piece. Genesis is creation of the world, and the world is the actual performance that arises from sleep and movement of dancers, from those basic currents of energy. This dynamic power becomes meaningful as a dream through the interrelations between the dancers, and spectators, and when this energy is converted into a movement in space and time – a world is created. Genesis is constant and fluid, it occurs within every movement of the dancer.’ (M.Vrancic_GNF bilten_Creation Through Dreaming)

‘The dream becomes a moment that lasts forever, an indelible image that haunts us and watches us from the interior of being.’ (LucijaK_Ganz novi festival – mjesto za igru i sanjanje – Transmeet.Tv)

‘Every spectator complements the dream with his or her own associations, and it seems that the author does not expect that the audience receives a uniform message, but meets with the particular impression of individual moments and scenes of the performance.’ (J.Čižmek Tarbuk_ Partikularne impresije_On GENESIS_Plesna scena)

Works

GENESIS