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BFI - Dimitris Papajoanu

Dimitris_Papajoanu
Категорија
Музичко-сценски
Датум
15 март 2018 20:00
Простор
Velika dvorana
Телефон
220-6060
Cene ulaznica: 1700, 1900 i 2300 dinara

Dimitris Papajoanu
Atina, Grčka

Dimitris Papaioannou   
Athens, Greece  

VELIKI KROJAČ/THE GREAT TAMER

zamisao, vizuelizacija, režija/: Dimitris Papaioannou
sa/with: Pavlina Andriopoulou, Costas Chrysafidis, Ektor Liatsos, Ioannis Michos, Evangelia Randou, Kalliopi Simou, Drossos Skotis, Christos Strinopoulos, Yorgos Tsiantoulas, Alex Vangelis
dizajn scene, umetnička direkcija/sets design, art direction in collaboration with: Tina Tzoka
umetnički saradnik za kostime/artistic collaborator for costumes: Aggelos Mendis
dizajn svetla u saradnji sa/lighting design in collaboration with: Evina Vassilakopoulou
umetnički saradnik za zvuk/artistic collaborator for sound: Giorgos Poulios
dizajn zvuka, vođenje/sound design, operation: Kostas Michopoulos
muzika/music: Johann Strauss II, An der schönen blauen Donau, Op. 314
muzički aranžman/music adaptation: Stephanos Droussiotis
dizajn skulptura/sculpture design: Nectarios Dionysatos
oslikiavanje kostima, dekora/costume, props painting: Maria Ilia
kreativni, izvršni producent, asistent režije/creative, executive producer, assistant director: Tina Papanikolaou
asistent režije/assistant director: Stephanos Droussiotis
asistent režije, direktor proba/assistant director, rehearsal director: Pavlina Andriopoulou
tehnički direktor/technical director: Manolis Vitsaxakis
menadžer scene/stage manager: Dinos Nikolaou
asistent inženjera zvuka/assistant sound engineer: Nikos Kollias
asistent dizajnera scene, oslikavanje scenografije/assistant to the set designer, set painter: Mary Antοnopoulou
asistenti skulptora/assistant to the sculptor: Maria Papaioannou, Konstantinos Kotsis
asistenti produkcije/assistant to the producer: Tzela Christopoulou
menadžer turneja, međunarodna saradnja/tour manager, international relations: Julian Mommert
asistent izvršne produkcije/executive production assistant: Kali Kavvatha

trajanje/duration: 100’
premijera/premiere:Onassis Cultural Centre, Athens 2017

produkcija/produced by: Onassis Cultural Centre, Athens (Greece)
koprodukcija/co-produced by: CULTURESCAPES Greece 2017 (Switzerland), Dansens Hus Sweden, EdM Productions, Festival d'Avignon (France), Fondazione Campania dei Festival –Napoli Teatro Festival (Italy), Les Théâtres de la Ville de Luxembourg, National Performing Arts Center - National Theater & Concert Hall (Taiwan), Seoul Performing Arts Festival (Korea), Théâtre de la Ville – Paris / La Villette, Paris (France)
izvršna produkcija/executive production: 2WORKS

Uključujući 10 izvođača na sceni, ovaj komad se formira oko ideje po kojoj se ljudski život može posmatrati kao put otkrića, potraga za skrivenim blagom, unutrašnje arheološko traženje smisla. Tokom tridesetogodišnjeg rada, Papajoanu nastoji da stvori univerzum na sceni koji bi se mogao opisati kao apsurdni cirkus iz snova. Ljudska tela postaju bojišta, u interakciji sa sirovim materijalima, fuzijom hibrida, narastanjem optičkih iluzija. Njegova ukorenjenost u likovnim umetnostima daruje nastupima snažan vizuelni osećaj, dok se nadahnjuje i poigrava sa  referencama iz istorije umetnosti, raznim praksama izražavanja i izvođenja, ali i idejama o našem poreklu. Dimitris Papajoanu ima za cilj potpunu jednostavnost prikazivanja, kakvu je najteže postići. Njegova namera je da usmeri svetlost ka svemu svetom u ovozemaljskom.

Involving 10 performers on stage, the work takes shape around the notion that human life can be seen as a journey of discovery, an exploration for hidden treasure, an inner archaeological excavation for meaning. In his thirty years of work Papaioannou has striven to create a universe on stage that could be described as a dreamlike absurd circus. Human bodies become battlegrounds, interacting with raw materials, fusing into hybrids, giving rise to optical illusions. His rootedness in the fine arts gives his performances a strong visual feel, as he juggles teasingly with art historical references, various practices of expression and performing, and ideas about our origins. Dimitris Papaioannou aims at an utter simplicity of appearance that is far from simple to achieve. His intention is to shed light on the sacred in the mundane.

Spektakularna živa slika Dimitrisa Papajoanua je izvrsna hrana za čula. "Veliki krotitelj" je izuzetno prijatno iskustvo. Zavisnost za oko.

The spectacular tableau vivant of Dimitris Papaiaonnou is exquisite food for the senses. “The Great Tamer” is a very rewarding intake. Addictive to the eye.
© El Pais

"Veliki krotitelj" je bio kao jedan-i-po-sat lančane reakcije komičnih, lepih, senzualnih, erotičnih i magičnih slika koje ne prestaju da osvajaju... Savršen odgovor iz zemlje koja je nosila tovar reputacije da je jednom izmislila naše političke vrednosti i naše pozorište.

“The Great Tamer” was a one-and-a-half-hour chain reaction of comic, beautiful, sensual erotic and magical images that continue to captivate… The perfect answer from the country that has been saddled with the reputation that it once invented our political values and our theater.
© cultureelpersbureau.nl

Zadiranje u rečno blato i na tamnu stranu Meseca kako bi se pronašle primarne slike, tragovi pamćenja koji nas uznemiravaju.

Digging into the river mud and in the dark side of the moon to find the primary images, the mnemonic traces that infest us.
© teatro.it

Bizarni prikazi, hibridna stvorenja, očigledne disharmonije ponavljanja vremena, a iznova u predstavi deluju kao paradoksalno suprotstavljeni izrazi koje često nalazimo u poeziji. Naravno, poezija je ovde u potpunosti telesna. Uz pomoć tela, umetnik nas vodi do duboko ličnog, ali i holističkog na neki način, obzirom na postojanje čovečanstva, od rođenja do smrti i (verovatno) još dalje.

Bizarre images, hybrid creatures, apparent disharmonies recurring time and again in the performance seem like the paradoxically juxtaposed expressions we often find in poetry. Of course, the poetry here is purely corporeal. By means of bodies the artist leads us to a profoundly personal, yet holistic in its way, account of humanity’s existence, from birth to death and (possibly) even beyond.
© Kathimerini