---

WHEN: 18. 04. / 35 min / ŠB
A performer who seeks to step outside of her body and confront the image of herself. In clinical fashion, she maps out her physical and psychological behaviours, by documenting her qualities, moods, gestures, habits, training forms and daily movement patterns.
She could then experience herself as “data”, as information that can be manipulated and re-organised in order to take on new meanings. How does a performer understand her sense of self as she becomes more conscious of it?

---

WHEN: 18. 04. / 60 min / ŠB
Geumhyung Jeong tells us of the pursuit of the subject of her desire in the form of an extremely unique lecture that becomes a metaperformance of her existing work. While explaining her affair with an excavator, she talks about her past, and things become ambiguous whether the artist is introducing her piece or if we are hearing the confessions of the character inside the story.
A fuzzy, puzzling and interesting performance unfolds on stage.

---

WHEN: 18. - 19. 04. / 50 min / ŠB
Death of the Pole Dancer interrogates the way we look at what we think we look at. The audience is brought to reflect on what they witness: a woman during the act of pole dancing. The performance renegotiates notions such as voyeurism and restrain, vulnerability and violence, sexuality and power.

Macho dancing is performed by young men in night clubs for male as well as female clients. Macho Dancing with its specific movement vocabulary and physicality seems to be a Philippine phenomenon. It is an economically motivated language of seduction, using notions of masculinity as body capital.
Macho Dancer is a solo piece of a woman performing a macho dance. Her becoming a macho dancer challenges our perception of sexuality and questions gender as a tool for social mobility.

---

WHEN: 19. 04. / 50 min / ŠB
“One day as I stood alone in the rehearsal space, I noticed that my body was breathing, repeatedly inhaling and exhaling. Being in the throes of creating a theatrical version of dance at the time, it occurred to me that I could write a dialogue between Mr. Inhale and Mr. Exhale, and that it could be a play about the human body.”
Instruction for breaths and words from Hosai Ozaki’s free-verse haiku fill a screen while being simultaneously physically expressed by Zan.
Poignant with moments of humour, the piece expresses the sense of solitude characteristic of the lives of modern city dwellers.

---

WHEN: 19. 04. / 20 min / ŠB
The video Heands emphasizes the almost autonomous character of the ingrained movements it follows. The hands are shown as if independent of their owner’s mind and rather integral to the activity they are pursuing.
A performance piece F `n` F explores the potential for expression and ambiguity in his self-made hand gestures, and eight of his favorite hand gestures are also provided. He peers silently out and uses body language to explain what it`s like being unable to express yourself freely.

---

WHEN: 19. - 20. 04. / 60 min / CD-DDP
“What if when I say I am working on my relationship with the audience I meant it literally? What if when I look back at the audience from the stage, I can look at each of you in the eye and recognise you? What if we have already had an intimate relationship by the time
you come into the theatre to watch me?
Through the online portal, gayromeo.com, I went on 50 dates in 75 days in Berlin, Tokyo and Ljubljana. During the encounters, I ask each one for a gift in response to our relationship. In exchange, I invite my gayromeos back to the performance where I return my gift in the form of a dance.”

---

WHEN: 20. 04. / 50 min / CD-KD
The performance digitizes the movements of icons of the dance world, like Pina Bausch and Tatsumi Hijikata, and re-creates the dance movement on stage. It is a collaboration between innovative technology and the physical language of dance, both in co-existence and opposition, moving towards a new creative expression.
The video and forms appearing on the monitor digitally stimulate the physical dancer on stage, and unfold into something thrilling.

---

WHEN: 22. 04. / 60 min / KŠ
Integrating two solos (Eko Supriyanto and Melanie Lane) the performance investigates the induction of otherness into Javanese culture, their mutual impact and eventual interlacing.
Otherness here refers to any influence from outside traditional Javanese culture. A particular focus is given to the influences of global pop culture, strategies of entertainment and pleasure as well as the space-time concepts that they impose.
The performance translates these influences into and abstract dramaturgy, based on the essential parameters of dance: time, space and physical energy.

---

WHEN: 22. 04. / MUSM-P
A performance work that comprises of creating a gigantic object and carrying it into a designated space. The object is designed and built in prior to the performance, and it must be the most dramatic shape for the specific “venue = site.”
The core of the project is to carry in this structure as a team. The participants will make full use of their intelligence and stamina, as well as appreciating the joy of the collaborative effort.
“I could say, what designates the way people move on stage usually is the words - either of the
director or the script. But I believe words are not the only thing that determines people’s movement. For instance, what if you have to emplace an extremely huge and complex-shaped object into a space? In that case, couldn’t we call the weight and the shape of the object ‘the script’ for the performance?”

---