The Slovenia Times

(Dis)trained Bodies in Zero Gravity



four modern dancers: Branko Potocan, Jana Menger, Sebastjan Staric, and Natasa Jereb. The choreographer Branko Potocan and his dancers represent an important part of Slovene dance scene. Since 1994, when the group was formed, they have collaborated in various local and global projects, such as PTL Ljubljana and Ultima vez (Brussels). Their physical theatre is characterized by natural movements and defined by their unique choreography. Its moving vocabulary is filled with balancing and playing with body weight. The group members claim that they stick to the rule "less is more," and one credo of theirs is: they know what they don't want. The title of the performance is borrowed from Zoran Predin's song that tells a tragic story, which takes place in a circus. Like the song, FOURKLOR's performance also deals with circus. In Zarjavele trobente, FOURKLOR uses a blend of modern theatre, narrative techniques around an ordinary, "small" man, and the circus location to depict the colourfulness of life. The role of the body in a circus is compared to its role in everyday life. Circus artists train every day to reach perfection of their performance. Potocan turns this principle around. Instead of transforming a man to fit the circus, he transforms the circus to fit its men. The personality of individual artists thus becomes the main theme of the performance-the uniqueness of his performance and the difference between his and others. Visual and situational metaphors are used to depict simple events from everyday life spiced up with a juicy irony that stays true to Potocan's reputation. The bodies move across the border between metaphysics and narcissistic love. Only in between can they master of both-the body's power and its sensitivity. The zero gravity space created by FOURKLOR constantly hits the perspective of the spectator and brings topography to the stage. A stillness becomes animated into a vivid vertiginous expression when confronted with the bodies. FOURKLOR succeeds in developing a vital poetics consisting of simple things, which will enchant its spectators. It is by all standards a very playful and authorial performance-with a big heart toward little lives.


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