RDEČI GOZD

SI

V sodelovanju z Urško Centa, Žiganom Krajnčanom, Gašperjem Kunškom, Kristýno Šajtošovo in Veroniko Valdés; Petro Veber in Eduardom Raonom

Ljudje posegamo v gozd, a je tudi moč gozda, da oblikuje ljudi, neizogibna, pravi Leja Jurišić o konceptualnih vzgibih, ki so botrovali nastanku predstave Rdeči gozd. V gozd si gremo celit rane, v gozdu rane nastanejo, tišina gozda ni nenasilna, glasnost sveta prav tako ne. Gozd je mističen, fantastičen, nevaren, divji, močan, povzdignjen, osamljen, idiličen … je rastlinsko in živalsko kraljestvo, prostor za odmik ali hrepenenje, a tudi prostor izkoriščanja in uničenja. Gozd je kraj samote, prepletenosti, zdravljenja, regresije, vzvišenosti, spontane rasti in propadanja.

Poskus izstopa iz vsakdanjih realnosti kapitalizma in njegovih ideoloških ter materialnih katastrof, ki bi mu sledil počitek v gozdu, se izkaže za iluzijo: “Vsak lik, ki je poslan v gozd, ga ima za pomembno oviro. Kljub temu, da gozd ni nikoli premagan, mora lik še vedno potovati skozenj. Med porazom in uspehom je vedno gozd. Pravzaprav je šele gozd tisti, ki omogoča uspeh lika.” povzema Jurišić Erico Spelman.

Z Rdečim gozdom se sooča pet plesalk in plesalcev, koreografinj in koreografov: Urška Centa, Žigan Krajnčan, Gašper Kunšek, Kristýna Šajtošova in Veronika Valdés. Nastal je omnibus soočanj z gozdom, individualnih vstopanj vanj, ki s seboj nosijo duh bodočih kostruktivnih kolektivnih akcij. Te zahtevajo močne in občutljive posameznike, kajti gozd je kompleksen, ves obup in gnus pa je treba dvigniti k soncu, treba ju je potencirati in obsijati, da bi se naslajanje nad katastrofo končno prekinilo. Človeški gozd je polje praznih, potrošniško naravnanih signalov, puhlih političnih pamfletov in obljub. To je tudi polje sprejemanja le-teh, sodelovanje v koreografiji lastnega uničenja. A ne nenadnega, kajti človeški gozd deluje kontinuirano, po principu nepresahljivega kapljanja in požiranja. Sprejemljivost groze se tam napaja iz lastnega užitka v grozi, vse to zato, da bi se utišalo občutljivost, dojemljivost in ranljivost ter povzdignilo lažno vzdržljivost. Rdeči gozd pa jih ne utiša, ampak izreče dobrodošlico njihovemu sijaju in konstruktivni potencialnosti, kjer snujemo, kako vzdržati intenzivnost sveta. Rdeči gozd skuša vzpostaviti razmere, kjer konvencionalni družbeni dogovori, ki so najpogosteje tudi družbeni dogovori destrukcije, izgubijo čar naslade, hipnega užitka in nezadostnosti, ki mu sledi. Zato iz človeškega v Rdeči gozd.

EN

RED FOREST

In collaboration with Urška Centa, Žigan Krajnčan, Gašper Kunšek, Kristýna Šajtošová, and Veronika Valdés as well as Petra Veber and Eduardo Raon

We, humans, encroach on the forest, but the power of the forest to shape people is also inevitable, says Leja Jurišić about the conceptual impulses that drove the creation of the Red Forest. In the forest we heal our wounds, in the forest wounds are created, the silence of the forest is not non-violent, and neither is the loudness of the world. A forest is mystical, fantastic, dangerous, wild, powerful, elevated, lonely, idyllic, natural, an animal kingdom, a place of retreat or longing, and also a place of exploitation and destruction. A forest is a place of solitude, entanglement, healing, regression, exaltation, spontaneous growth, and decay. So what is then the Red Forest?

There is no escaping the red. It is present everywhere, it is interesting and popular. It appears in different contexts but always stands out. “For an alchemist, rubedo – or redness – was the last stage of a long process of obtaining gold or, psychologically, a process of integrating the personality. It meant nothing less than bringing spiritual knowledge into full-blooded reality, fully experienced in everyday life.”

The attempt to stand out from the everyday realities of capitalism, its ideological and material catastrophes, and the desire to rest in the forest turns out to be an illusion: “Each subject who is sent to the forest considers it an important obstacle. Even though the forest is never conquered, the subject still has to travel through it. There is always a forest between defeat and success. In fact, it is the forest that makes the subject’s success possible. Subjects enter the forest with little or no knowledge, and come out with acute self-awareness,” says Jurišić, loosely quoting Erica Spelman. Five dancers and choreographers are faced with the Red Forest: Urška Centa, Žigan Krajnčan, Gašper Kunšek, Kristýna Šajtošová, and Veronika Valdés. What is coming to life is an omnibus of confrontations with the forest and the red, a series of individual entries that are infused with collective actions but require strong and sensitive individuals, the forest is complex, and all despair and disgust must be raised to the sun, they must be potentiated and irradiated so that the human gloating over the disaster would finally end. The human forest is a field of empty, consumer-oriented signals, empty political pamphlets, and likewise empty promises. It is also a field of perception of these signals, pamphlets, and promises; participation in the choreography of one's own destruction. But not that of instant annihilation, because the human forest works continuously, according to the principle of inexhaustible dripping and devouring. Acceptance of horror is there fueled by one's own pleasure in horror, all in order to silence sensitivity, receptivity, and vulnerability, and to glorify a false sense of endurance. The Red Forest, on the other hand, does not silence sensibility but instead welcomes its glow and constructive potential in which we devise how to withstand the intensity of the world. The Red Forest tries to establish a situation where conventional social arrangements, which are most often also social arrangements of destruction, lose the charm of instant pleasure and the sense of insufficiency that follows it. Our direction is thus not turned towards the human forest but to the Red Forest.

CREDITS

EN

Idea and choreography: Leja Jurišić; co-authorship and performance: Urška Centa, Žigan Krajnčan, Gašper Kunšek, Kristýna  Šajtošova, Veronika Valdés; scenography, lighting, costumes, dramaturgy, photography: Petra Veber; music: Eduardo Raon; technical director: Igor Remeta; producer: Žiga Predan; production: Pekinpah

SHOWS

LJUBLJANA (Stara mestna elektrarna - Elektro Ljubljana), 14. december 2022
LJUBLJANA (Stara mestna elektrarna - Elektro Ljubljana), 15. december 2022

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