HI-RES
9,10/10/2004, The Old Power Station
HI-RES is a love song. It’s a performance about a relationship – one’s relationship to oneself and to the other, about one’s expectations and faulting hopes, about insistence that can’t let go. It traces micro-movements of a constant change and alignment of a relationship between the two while focusing to capture its slight alterations and shifts from togetherness to solitude, from distance to touch, from dominion to subordination, from selfishness to compassion as multiple simultaneous expressions of a Love Song.
Concept and performance: Maja Delak, Mala Kline
Video: Mauricio Ferlin
Light and set design: Jaka Šimenc
Sound composition and piano: Hanna Preuss
Costume design: Davorka Požgan
Technical organization: Miha Zupan
Sound assistant: Peter Žerovnik
Sound engineer: Damjan Delak
Executive producer: Marija Skodlar
Production support: Jana Wilcoxen, Jelka Pekolj
PR: Karla Železnik
Production: EN-KNAP
Postproduction and touring: EMANAT
Co-production: Festival City of Women, Zavod Bunker/The Old Power Station
Sponsor: Elektro Ljubljana
Support: Ministry of Culture RS and the Municipality of Ljubljana – Department for Culture
Awards
Best performance in the year 2004 – Trion award, Slovenia
Award for light design and and scenography 2004 (Jaka Šimenc) – Trion award, Slovenia
Special award for visual achievement on PUF Festival 2005 in Pula, Croatia
Space happened to the Slovene contemporary dance, and not a moment too soon. This is a performance of two dancers who are without a doubt the best the country has to offer… Love probably could neither be danced nor described better. (A.Golob, ‘Dej s’m! To je moje!’, Vecer, A.Golob, ‘Dej S’m! To je moje!’, Vecer_engl)
‘HI-RES’ is actually pure love or a ‘Love Song’. (B.C.Juraga, Cista estetika ljubavi, Glas Istre)
HI-RES by Maja Delak and Mala Kline is an exceptionally challenging dance performance that poses questions and gives some unexpected answers to what is to be done in contemporary dance today, what are the limits of representation, as a frame/work that affects and infects contemporary dance, and what is the capacity of the dancing body in generating meaning for itself and the others. (M.Grzininc, HI-RES state of exception within contemporary dance, Maska)
Maja Delak and Mala Kline achieve precision in the structuring of the idea as well as in its performance itself. Their movement is synchronized; it moves from gentleness to force, from feminine to masculine, from human to animal. In meaningful scenes, where the slightest gesture plays its part, bits of humor can be found, as in one, where unusually shriveled Mala turns her gaze at the audience with a naive animal like expression on her face. The performance probably reaches its high point in the end, when the previously slower tempo gradually rises, and in speed, pointing to the technological acceleration the modern society has succumbed to, and in a concentrated form once again unfolds the already seen scenes, which then develop into new directions and close in a frozen image of a drowning woman’s face… HI-RES, highlighted in white, is not brightly optimistic, but a deep creation, which draws the spectator in its mystical dome and transfers the energy of the atmosphere onto himself. (A.Perne, Lahko bi bila ljubezen, Polet magazine)
The relationship between the two dancers… almost imperceptibly turns, changes and shifts all through to the end. Their relationship is not driven by a particular motive rather it is a constant tender attraction that manifests itself in different ways… one can sense the questions about relating, domination, selfishness, understanding, compassion and, ultimately, love. (T.Langus, Nezaznavnost Visoke Resolucije_RS)
Dance performance HI-RES brings, as all previous, independent projects of both authors, a peculiar, internalized sensitivity, more a hint than a definition, more an atmosphere than an answer, which addresses the spectator to feel first and than understand. (T.L.Pucko, Vprasanja ljubezni, Dnevnik)