https://lejajurisic.com Leja Jurišič Thu, 15 Jan 2026 10:54:50 +0000 https://lejajurisic.com en https://lejajurisic.com/about Tue, 03 Nov 2020 08:47:12 +0000 Leja Jurišič https://lejajurisic.com/about <img width="850" height="850" width_o="850" height_o="850" data-src="https://freight.cargo.site/t/original/i/b9298ed980f363e869eea60911d750cf5857957141835988b5b5b6989c2fd1e5/IMG_8388.JPG" data-mid="87482011" border="0" src="https://freight.cargo.site/w/850/i/b9298ed980f363e869eea60911d750cf5857957141835988b5b5b6989c2fd1e5/IMG_8388.JPG" /> ABOUT Leja Jurišić is a dancer and choreographer working in the field of performative and political art.She has performed her original pieces in various institutions across Europe, United States and Mexico. She won numerous awards, among others Borštnik Award and Ksenija Hribar Award together with Marko Mandić for their performance Together. The author, who does not shy away from the criticism of the social, economic and political distortions of freedom, perceives the human body as a powerful emancipatory tool in creating the experience of resistance. Her productions draw on her body, which the author understands as a political machine, while at the same time remaining committed both to exploring the personal and the intimate, as well as the (bio)political. Leja Jurišić, a top gymnast in her youth and later a graduate from the Faculty of Law in Ljubljana, began to actively engage in contemporary dance at the turn of the millennium, and created her first independent project in 2005. Her works have since been presented at various venues across Europe, USA and Mexico. As a dancer, she collaborated with choreographers and directors such as Tim Etchells/Forced Entertainment, Meg Stuart and Janez Janša. She has created numerous high‑profile dance or stage productions. Her latest notable project is the performance Together, co‑created with Marko Mandić in 2018, which received excellent critical reviews and has won numerous awards, such as Borštnik Jury Award (2018) and Ksenija Hribar Award (2019). The same project also won Jurišić and Mandić the Best Performance Award at Gibanica, Biennial of Slovenian Contemporary Dance Art in 2019, as well as the Award for Best Theatre Show of the 2017/2018 season, awarded by the Association of Slovenian Theatre Critics and Theatrologists (2018). Older awards won by Jurišić include the Ksenija Hribar Award for the promising choreographer (2013) and a special mention by the jury at the Gibanica Festival for the performance R'z'R(2005). In the past, Leja Jurišić also created a series of choreographies for theatre performances at the Prešeren Theatre Kranj, for the Slovene National Theatre Nova Gorica, the Slovene Permanent Theatre in Trieste, and the Slovene National Theatre Drama, Ljubljana. She has also acted and choreographed in the films by Jan Cvitkovič, Martin Turk and Tomaž Gorkić. She lives and works in Ljubljana. https://lejajurisic.com/projects Tue, 03 Nov 2020 13:41:16 +0000 Leja Jurišič https://lejajurisic.com/projects <img width="1100" height="1100" width_o="1100" height_o="1100" data-src="https://freight.cargo.site/t/original/i/9ffafe2a9675969869dbc7cfb752842fc175d874e2a52c203bca0e2c91105562/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec40-2.jpg" data-mid="243546041" border="0" alt="DANCE IN STONE" data-caption="DANCE IN STONE" src="https://freight.cargo.site/w/1000/i/9ffafe2a9675969869dbc7cfb752842fc175d874e2a52c203bca0e2c91105562/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec40-2.jpg" /> <img width="1326" height="1326" width_o="1326" height_o="1326" data-src="https://freight.cargo.site/t/original/i/aaae154a10d6aea121074d2c7a7883d2a232f549ecff4fe48d914feafc742acd/Antiphon_sq.jpg" data-mid="207334932" border="0" alt="NOTES TO ANTIPHON" data-caption="NOTES TO ANTIPHON" src="https://freight.cargo.site/w/1000/i/aaae154a10d6aea121074d2c7a7883d2a232f549ecff4fe48d914feafc742acd/Antiphon_sq.jpg" /> <img width="1169" height="1169" width_o="1169" height_o="1169" data-src="https://freight.cargo.site/t/original/i/f3e88077a234efc362ded3d8b1e12b7b5d0fbd08a79e5fa0889daf84d4ba8950/L.Jurisic_RdeciGozd_MatijaLukic_1a_sq_150c.jpg" data-mid="207334970" border="0" alt="RED FOREST" data-caption="RED FOREST" src="https://freight.cargo.site/w/1000/i/f3e88077a234efc362ded3d8b1e12b7b5d0fbd08a79e5fa0889daf84d4ba8950/L.Jurisic_RdeciGozd_MatijaLukic_1a_sq_150c.jpg" /> <img width="800" height="800" width_o="800" height_o="800" data-src="https://freight.cargo.site/t/original/i/e08a28f139b6deffcf2e2d8a8794b775c14c30c690f4406c33c5f07e0e200742/Koncert_premiera_3_square.jpg" data-mid="160808761" border="0" alt="CONCERT" data-caption="CONCERT" src="https://freight.cargo.site/w/800/i/e08a28f139b6deffcf2e2d8a8794b775c14c30c690f4406c33c5f07e0e200742/Koncert_premiera_3_square.jpg" /> <img width="800" height="800" width_o="800" height_o="800" data-src="https://freight.cargo.site/t/original/i/57b5b6ea49fbfa8002bdd12bcf2f6bb2e1eb6d26907a6d84220e9ba586b1c26b/L.Jurisic_NiMogoceCakatiZaman_MatijaLukic_sq2.jpg" data-mid="125916455" border="0" alt="IT IS IMPOSSIBLE TO WAIT IN VAIN" data-caption="IT IS IMPOSSIBLE TO WAIT IN VAIN" src="https://freight.cargo.site/w/800/i/57b5b6ea49fbfa8002bdd12bcf2f6bb2e1eb6d26907a6d84220e9ba586b1c26b/L.Jurisic_NiMogoceCakatiZaman_MatijaLukic_sq2.jpg" /> <img width="500" height="500" width_o="500" height_o="500" data-src="https://freight.cargo.site/t/original/i/ef9d33b9245be0d5812c0b9d0ff6cde74c80c51ad029a8a6a4994f401b79084d/Jurisic_Lazar_de_facto_MatijaLukic_a_sq.jpg" data-mid="87514697" border="0" alt="DE FACTO - GO WITH YOURSELF" data-caption="DE FACTO - GO WITH YOURSELF" src="https://freight.cargo.site/w/500/i/ef9d33b9245be0d5812c0b9d0ff6cde74c80c51ad029a8a6a4994f401b79084d/Jurisic_Lazar_de_facto_MatijaLukic_a_sq.jpg" /> <img width="3131" height="3131" width_o="3131" height_o="3131" data-src="https://freight.cargo.site/t/original/i/2ea6296a5d3b938796b828659753ed054ca91a753bc348b8c0fd97f6ac224675/BRINA_HIGH-RES_2_David-Visnjic_square.jpg" data-mid="154173796" border="0" alt="BRINA - A KINAESTHETIC MONUMENT" data-caption="BRINA - A KINAESTHETIC MONUMENT" src="https://freight.cargo.site/w/1000/i/2ea6296a5d3b938796b828659753ed054ca91a753bc348b8c0fd97f6ac224675/BRINA_HIGH-RES_2_David-Visnjic_square.jpg" /> <img width="3534" height="3534" width_o="3534" height_o="3534" data-src="https://freight.cargo.site/t/original/i/2f13c5e17168d16680728f04964ed39dba52ba11bdbf87c30b05cbc65e820d44/Skupaj_068_MatijaLukic.jpg" data-mid="87680645" border="0" alt="TOGETHER" data-caption="TOGETHER" src="https://freight.cargo.site/w/1000/i/2f13c5e17168d16680728f04964ed39dba52ba11bdbf87c30b05cbc65e820d44/Skupaj_068_MatijaLukic.jpg" /> <img width="500" height="500" width_o="500" height_o="500" data-src="https://freight.cargo.site/t/original/i/9b26c3be14cd1cf0b68a149893323d76dc0292e14bfd6e4891e9794893d167ee/5ra0042_sq.jpg" data-mid="87514693" border="0" alt="THE MOST BEAUTIFUL MOMENTS ARE THE SHORTEST" data-caption="THE MOST BEAUTIFUL MOMENTS ARE THE SHORTEST" src="https://freight.cargo.site/w/500/i/9b26c3be14cd1cf0b68a149893323d76dc0292e14bfd6e4891e9794893d167ee/5ra0042_sq.jpg" /> <img width="534" height="534" width_o="534" height_o="534" data-src="https://freight.cargo.site/t/original/i/077690d645c74290c5360d787059fa819755dd42608af06d319330b14205a528/IDEAL-Leja_Jurisic-Teja_Reba-cMatija_Lukic-01-SQ.jpg" data-mid="87994985" border="0" alt="IDEAL" data-caption="IDEAL" src="https://freight.cargo.site/w/534/i/077690d645c74290c5360d787059fa819755dd42608af06d319330b14205a528/IDEAL-Leja_Jurisic-Teja_Reba-cMatija_Lukic-01-SQ.jpg" /> <img width="500" height="500" width_o="500" height_o="500" data-src="https://freight.cargo.site/t/original/i/6d8ca1b33ef46a7ca0f6b3cce465305fc579be7de7a88bbb20565e7594670cce/I_FEAR_SLOVENIA-Leja_Jurisic-cMatija-Lukic-02_sq.jpg" data-mid="87514688" border="0" alt="I FEAR SLOVENIA" data-caption="I FEAR SLOVENIA" src="https://freight.cargo.site/w/500/i/6d8ca1b33ef46a7ca0f6b3cce465305fc579be7de7a88bbb20565e7594670cce/I_FEAR_SLOVENIA-Leja_Jurisic-cMatija-Lukic-02_sq.jpg" /> <img width="500" height="500" width_o="500" height_o="500" data-src="https://freight.cargo.site/t/original/i/3dc6c6841cb92c137e2dad431176566d1faa983ce3e7e1c0857dacaebd730e5f/KING_LEAR-Leja_Jurisic---Jelena_Rusjan-cMatijaLukic-02_sq.jpg" data-mid="87514686" border="0" alt="KING LEAR: A DECLARATION OF SINCERE LOVE" data-caption="KING LEAR: A DECLARATION OF SINCERE LOVE" src="https://freight.cargo.site/w/500/i/3dc6c6841cb92c137e2dad431176566d1faa983ce3e7e1c0857dacaebd730e5f/KING_LEAR-Leja_Jurisic---Jelena_Rusjan-cMatijaLukic-02_sq.jpg" /> <img width="500" height="500" width_o="500" height_o="500" data-src="https://freight.cargo.site/t/original/i/6e4260552bbc7c957e994328819c415912d9f841f1c36d05dbf72ce89cd17509/The_Second_Freedom-Leja_Jurisic---Teja_Reba-cNada_Zgank-01_1_1.jpg" data-mid="87514684" border="0" alt="THE SECOND FREEDOM" data-caption="THE SECOND FREEDOM" src="https://freight.cargo.site/w/500/i/6e4260552bbc7c957e994328819c415912d9f841f1c36d05dbf72ce89cd17509/The_Second_Freedom-Leja_Jurisic---Teja_Reba-cNada_Zgank-01_1_1.jpg" /> <img width="500" height="500" width_o="500" height_o="500" data-src="https://freight.cargo.site/t/original/i/d57129dc032c232a439cd7db074c90c2194e6f8e8856ea7f379b9618afba8345/BALLET_OF_REVOLT-Leja_Jurisic-cDavid_Lotric-01_1_1.jpg" data-mid="87514682" border="0" alt="BALLET OF REVOLT" data-caption="BALLET OF REVOLT" src="https://freight.cargo.site/w/500/i/d57129dc032c232a439cd7db074c90c2194e6f8e8856ea7f379b9618afba8345/BALLET_OF_REVOLT-Leja_Jurisic-cDavid_Lotric-01_1_1.jpg" /> <img width="500" height="500" width_o="500" height_o="500" data-src="https://freight.cargo.site/t/original/i/2aed862eec9e5f8434171d1da6752659baace0199e9c1c6245764c6113c02ef3/Sofa-Leja_Jurisic---Teja_Reba-cNejc_Saje-01_1_1.jpg" data-mid="87514680" border="0" alt="SOFA" data-caption="SOFA" src="https://freight.cargo.site/w/500/i/2aed862eec9e5f8434171d1da6752659baace0199e9c1c6245764c6113c02ef3/Sofa-Leja_Jurisic---Teja_Reba-cNejc_Saje-01_1_1.jpg" /> <img width="2333" height="2333" width_o="2333" height_o="2333" data-src="https://freight.cargo.site/t/original/i/41860acb63a2a88ec4837df594542ddcd666fff2eb5618396f97ac478db41165/BETWEEN_US-LejaJurisic---TejaReba-cNada_Zgank-01_sq.jpg" data-mid="87994694" border="0" alt="BETWEEN US" data-caption="BETWEEN US" src="https://freight.cargo.site/w/1000/i/41860acb63a2a88ec4837df594542ddcd666fff2eb5618396f97ac478db41165/BETWEEN_US-LejaJurisic---TejaReba-cNada_Zgank-01_sq.jpg" /> <img width="3987" height="3987" width_o="3987" height_o="3987" data-src="https://freight.cargo.site/t/original/i/ea41ce20ebadedd66f1877afb246b2dcb2c60c69d46b4a5e91fe2233a50cd12a/LejaJurisicRzR_sq.jpg" data-mid="87994702" border="0" alt="R'z'R" data-caption="R'z'R" src="https://freight.cargo.site/w/1000/i/ea41ce20ebadedd66f1877afb246b2dcb2c60c69d46b4a5e91fe2233a50cd12a/LejaJurisicRzR_sq.jpg" /> https://lejajurisic.com/press Wed, 04 Nov 2020 16:58:51 +0000 Leja Jurišič https://lejajurisic.com/press AWARDS AWARD FOR BEST PERFORMANCE … it was risky, it was funny, it was violent, it was excessive, it was human, it was touching, it was pop, it was intelligent, it was political, it was daring, it was a challenge. Slovenian Dance Biennale Gibanica 2019 (Together) PDF EN SPECIAL PRIZE BY THE AWARD COMMITTEE ... [Jurišić] has developed in the course of her creative career physical presences with which she is persistently revealing physical images that permeate the local archive repertoire.&nbsp; Ksenija Hribar Award 2019 (for performance Together and participation in various projects in the last two years) PDF SI &nbsp; PDF EN AWARD AT THE DISCRETION OF THE JURY FOR UNIQUE PERFORMATIVE GESTURE A powerful experience that cuts deep into one’s mind.&nbsp;Maribor National Theatre Festival 2018 (Together) PDF SI &nbsp; PDF EN AWARD FOR BEST PERFORMANCE OF SEASON 2017/18 ... an electrifying, unpredictable dialogue that comes across as intimate, while inspiring the audience to reflect on the social implications of “being together”.Association of Theatre Critics and Researchers of Slovenia (Together) AWARD FOR PROMISING CHOREOGRAPHER Ksenija Hribar Award 2013 (Between us, Sofa) SPECIAL MENTION BY THE AWARD COMMITTEE The jury would also like to specially mention one young author who has shown innovation and originality in her first work, perhaps an upcoming star of future Gibanica festival.Slovenian Dance Biennale Gibanica 2007 (R’z’R) ARTICLES DURATION IN THE ARTS Summary If we want to talk about duration, we must talk about time. If we want to talk about performing arts, we must talk about time. But when we say time, we usually think of time that moves in a linear direction: the past, the present, the future. Duration proposes a different understanding of time. It is about a quality rather than quantity, content as opposed to a progression of points along a line. It was this attitude towards time in theatre that broke with the traditional dramatic structure of continuing advancement of time. Peformance art, happenings, and live art in the 1960s and 1970s, for instance, stressed the possibility of manipulating time as an alternative to capitalist time, and later on peformance art with a long duration directly attacked the “acceleration” of culture. If in post-dramatic theatre the time that actors and audience spend together became one of its key lasting and persistent elements, then contemporary dance, on the other hand, attacked time by changing the understanding of the body: dance no longer “glued” structures to the body but rather began to draw on content from the laws of the body itself. Thus the understanding of dance as an ephermal medium in the last twenty year has changed into reflection on a medium for which duration is of essence. Wild west, Leja Jurišić, Dialogi 9 2015 (p. 72-84), Založba Aristej, September 2015 PDF SI PRESS 2025… the acoustics of narratives of cosmogonic thunder, conflicts, and dynamics; the formation and dissolution of consonances and shared sensibilities within the hierarchically presupposed relationships between stone, human, and the macrocosm. Magda Tušar on A Dance In Stone, Radio Slovenija, Svet Kulture, &nbsp;27. 10. 2025.&nbsp;PDF SI &nbsp; PDF EN &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; What do we truly know in life? Not even our own childrenLeja Jurišić is active as a dancer and choreographer, but she is also a law graduate and a former Yugoslav national champion in artistic gymnastics Patricija Maličev, Delo, 18 October 2025&nbsp; PDF SI The performance Dance in Stone, or how to develop a non-dominant relationship with stoneA premiere by author, director, and choreographer Leja Jurišić P.G., MMC RTV SLO, 23 October 2025 2022Honesty, Audacity, and Pushing Boundaries The Red Forest by the choreographer Leja Jurišić, RTV SLO, Culture, December 14, 2022 The performance persists in its endeavor to rouse the viewer from the stupor of all constructed social debris, leading them toward a state of sensitivity and vulnerability—which can be described as one of the fundamental truths of our existence… The journey, framed as an initiation, takes root within the spectator as a lasting experience and a holistic artistic event. Petra Tanko, RTV SLO, 15 December 2022 When Marko or Leja look at us and smile, the world stands still. They are living beings responding to what is happening here and now. For six hours, we were a community; we were a family... I could tell you so much more about everything we experienced, but there is no need. Neither this review nor a recording of the broadcast will ever truly convey what that group of people experienced on Sunday afternoon. And all of this without a table, a computer, or a screen for projecting videos. Live art is exactly that. Alive. Oriol Puig Taulé,&nbsp;Noval.com, 2 February 2022 2021Leja questions places or roles of (over)power with relationships with stones, even making connection to the traditional gender division, when she brings an ironing board to the stone and lets him know that it would be nice if he used it. At certain point, she intentionally eliminates a few pieces, and consequently her co-players, from the chessboard, so that they stagnate. We could relate this to co-determination about the presence of coexisting beings in our lives in general, about the place of relationships, abandonment or termination of relationships – anything really. We could also say that the elimination of stones is a consequence of their response - that is, the lack of the latter. Or that they simply weren’t breathed life into. Živa Kadunc, Koridor-kur.si, 25 September 2021PDF EN The stone is definitely better than the camera. It doesn’t connect, it doesn’t interfere, it just exists. If I come to the theater for some miracle, I didn’t wait in vain. Because waiting alone is that fulfillment. It doesn’t happen at the end but in a continuous recurrence. Živa Ana Lorger, Neodvisni.art, Practical Mistery of Duration, 25 May 2021PDF EN 2019De Facto (Go with Yourself) by Leja Jurišić and Milko Lazar is excellent. Rok Vevar, Independent dance critic, 13 May 2019 (De Facto - Go With Yourself) Contemporary dance may have travelled a long way, having escaped its dependency on music and becoming autonomous, but in the case of the Lazar–Jurišić duo, it seems to enter back into relationship with music completely independently...These days, all that is needed to achieve the most powerful and most real effect, is – de facto – a reduction. Pia Brezavšček, Dnevnik, 23 May 2019 (De Facto - Go With Yourself) PDF&nbsp;&nbsp; DOC EN &nbsp; DOC SI Jurišić and Lazar boldly and intensely embody the transitions between modes of expression, roles and their own creative identities, approaches and procedures, and thus, awkwardly put, create a kind of deconstruction of the factual on a personal and broader level. Luka T. Zagoričnik, Neodvisni, 12 June 2019 (De Facto - Go With Yourself) PDF EN It seemed as if bodily intelligence was an animal trying to sniff andexplore this building of ballet it’s being kept in.Samo Oleami, Trust me, I am critic, January 2019 (Angel) PDF EN 2018 INTERVIEW Leja Jurišić &amp; Marko Mandić Vsak zase in vseeno skupaj, Lejla Švabič, RTV, 25 January 2018 PDF SI&nbsp; &nbsp;DOC EN INTERVIEW Leja Jurišić Ni prostora za sprenevedanje, Andrej Jaklič, Lublanske novice, 25 January 2018 PDF SI&nbsp; &nbsp;DOC EN INTERVIEW Leja Jurišić &amp; Marko Mandić Skupno preseganje okvirov, Gregor Butala, Dnevnik, 27 January 2018&nbsp; PDF SI An uncompromising comment on the pace of modern life, the pace dismantling not only “free” times, but also the foundations of their respective communities.Zala Dobovšek, Dnevnik Newspaper, 1 February 2018 (Together) PDF SI &nbsp; DOC ENTogether can be recognised - without a shadow of doubt - as one of the most important performing arts events staged in Slovenia in the last decade.Nika Arhar, RTV MMC, 8 February 2018 (Together) PDF SI&nbsp; &nbsp;DOC EN 2017 The dramatic moment when Leja Jurišić kicked away the chair, leaving herself, angelic-like, taped to the wall. With this work she accomplished an appropriation-transgression of Maurizio Cattelan’s “A Perfect Day” (1999) piece by performing it as an anti-masochistic escape act; arduously working her way free of the self-imposed tape trap.Joseph Nechvatal, Hyperallergic, 30 August 2017 (The Most Beautiful Moments Are The Shortest) 2015 INTERVIEW Leja Jurišić Kar vem jaz, ve tudi moje telo, Ana Schnabl,&nbsp;Dnevnik Daily,&nbsp;28 April 2015 PDF SI From Laibach’s famous interview on state TV in 80s Yugoslavia, when they refused to say it was all a joke, onwards, it seems Slovenia is the home of the discomforting satire that refuses to say “We’re only joking”. Maybe not even “we’re also joking”. And I think it’s that uncanny gap that makes the stuff said work that bit harder. The not knowing exactly where you stand that makes you interrogate your own ethical responses, instead of allowing yourself to be fed comfortable piss-taking. Andrew Haydon, Postcards from the gods, 22 March 2015 (Sofa) The performers investigate, through a bed, the paternalistic relationships that have been bred at room temperature and carefully tended for and out of which we have not yet been able to get, even though we constantly talk about it and strive for more. Reba and Jurišić show that an occassion when someone or something takes us for granted as available subjects is in fact the rule, rather than a coincidence, it is the soundtrack of lives we live. Despite the magnitude of the issue the performative solutions are witty and relaxed – laughter was often heard in the audience – while through repetition and escalation the issue is nevertheless kept huge, unpleasant and sharp.Ana Schnabl, Dnevnik Daily, 15 June 2015 (Ideal)Ideal assaults the patriarchal logic of constructing a woman as a male ideal. … The peformers are re-playing a stereotypical representation of a woman and her work while at the same time subverting it, overthrowing it through a perfect absurdity of the situation. … While they start the performance with Biblical quotes on love of God and love of thy brother, they end it with a complete deconstruction of speech and enunciation. Alja Lobnik &amp; Robert Bobnič, Radio Študent, Slovenia, 17 June 2015&nbsp;(Ideal)A terrific Slovenian piece ... a frenetic dance coupled with a critical discourse on the very idea of a single Europe.Rodolfo Obregón, Teatromexicano.com.mx, Mexico 2015 (Ballet Of Revolt) PDF ESP 2014ARTICLE Leja Jurišić V levitacijski časovni zanki, kjer se stvari na odru ne dogajajo, ampak zgodijo, Andreja Kopač, Metodologije beleženja, 16 December 2014 PDF SI INTERVIEW Leja Jurišić &amp; Teja Reba Lulika je prav zvita zver, Tanja Lesničar - Pučko, Dnevnik, 4 April 2014&nbsp; PDF SI This piece is a telling reminder of the potentiality of options facing every artistic practice of any epoch – and not only this, but also when the lightness of the subject choice gets denied by its very transience and romantically impregnated “inefficiency”. The performance excelled in its conceptual setup irreducible to interaction of so-called pure dance with itself or other artistic practices. Igor Ružić, MASKA, no. 164-164, Summer 2014 (Ballet of Revolt) PDF EN &nbsp; PDF SI&nbsp; Fears and depression are not the only starters of our existence here and now; there is also the ability to play in the midst of widespread repression and the countering of it by "positive schizophrenia" as philosopher Jacques Rancière would say.Nenad Jelesijević, MMC RTV Slovenia, 9 December 2014 (I Fear Slovenia)Leja Jurišić is both a comment and a position embodied in one person. Her latest work, I Fear Slovenia, in co-authorship with Petra Veber, talks about her relationship to her own country, about manifest or covert messages regarding us, Slovenians, (not) being good enough, capable enough, successful enough.Jedrt Jež Furlan, Napovednik, 14 April 2014 (I Fear Slovenia) 2013 INTERVIEW Leja Jurišić &amp; Teja Reba Smeh je tornado, ki ruši in se pred ničemer ne ustavi, Mojca Kumerdej, DELO - Sobotna priloga, 27 July 2013&nbsp;PDF &nbsp;&nbsp;PDF SI &nbsp; PDF EN&nbsp; ARTICLE Leja Jurišić &amp; Teja Reba Odrski umetnici, Vanja Pirc, Mladina, 15 November 2013&nbsp;PDF SI Neoliberal Europe and the even more neoliberal Slovenia are undoubtedly entities worth the revolt. This is visible, audible and almost tangible in the performance »Ballet of Revolt«. Nenad Jelesijević, Radio Študent, 25 February 2013 (Ballet of Revolt) PDF EN Abolishing the limit between an artistic gesture and ‘life as such.’Nenad Jelesijević, Radio Študent, 17 June 2013 (The Second Freedom) PDF SI &nbsp; PDF EN Today Leja Jurišić and Teja Reba form part of a milieu, composed of the most exciting Slovenian dancers of the younger generation and they are, without a doubt, the boldest of them all. Mojca Kumerdej, DELO, 27 July 2013 One of the highlights of the U3, the 7th Triennale of contemporary Art in Slovenia.Matevž Čelik, Nedelo, 23 June 2013 (Sofa) 2012 Jurišić is the first of her dance generation, who is weaving the theme of revolution into choreography, and she does this in a provocatively modernistic manner for our late postmodern times.Helmut Ploebst, Der Standard, Austria 2012 (Ballet of Revolt) PDF EN 2010 A decadence of figures, performed by Leja Jurišić and Teja Reba in the performance Sofa, illustrates the erosion of cultural and neoliberal Europe and the ever stronger rejection of intellectuality. A stinging performance in which each individual spectator can choose their own 'rhyme.'Helmut Ploebst, Der Standard, 4 December 2010 (Sofa) PDF DE 2009Med nama is a refreshment for Slovene stages: it fills them with humor, imagination and reflection - all in one package. And the package is neither entertaining nor stuffy or fatalistic, it is just the right mixture of it allAna Schnabl, Dnevnik, 1 December 2009 ... Leja Jurišić &amp; Teja Reba walk a fine line between private and public, backstage and stage in this well performed playMojca Kumerdej, DELO, 24 November 2009 2006Her refined staging plays with the moving potential of the body, only that in contrast with other usual attempts at its aesthetics she explores it in deformations. Radio Študent Leja stuns me. She sighs, I sigh. An extraterrestrial, one finger nail red, she moves like no one I have seen move on stage before.Ivana Ivković, dance and theatre critic The first solo work of Leja Jurišić certainly proved she is one of the most promising Slovenian young choreographers at the moment. Bojana Kunst https://lejajurisic.com/contact Mon, 09 Nov 2020 08:03:09 +0000 Leja Jurišič https://lejajurisic.com/contact ︎ ︎ LEJA JURIŠIĆ leja.jurisic@gmail.com Distribution ziga.predan@pekinpah.com +386 40 505 047 www.pekinpah.com #mc_embed_signup{background:#fff; clear:left; font:14px Helvetica,Arial,sans-serif; width:100px;} /* Add your own Mailchimp form style overrides in your site stylesheet or in this style block. We recommend moving this block and the preceding CSS link to the HEAD of your HTML file. */ https://lejajurisic.com/de-facto Tue, 03 Nov 2020 13:57:00 +0000 Leja Jurišič https://lejajurisic.com/de-facto <img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/c6fe9218b6523dd0792f1fe0339a2338d137a84299ea15666b76f7385dab6d2d/Jurisic_Lazar_de_facto_MatijaLukic_b.jpg" data-mid="87518914" border="0" src="https://freight.cargo.site/w/1000/i/c6fe9218b6523dd0792f1fe0339a2338d137a84299ea15666b76f7385dab6d2d/Jurisic_Lazar_de_facto_MatijaLukic_b.jpg" /> DE FACTO - GO WITH YOURSELFEN On podium, covered with the image of Michelangelo’s The Last Judgement, a compact stage entity is unwinding, built on special dialogue between musician and dancer playing with one’s own authorial positions thru hybrid theatrical form. Their performance is based on the research of the (in)ability to overcome one’s own position, as well as on spontaneous interactions with the Other, both at the immediate level of movement and sound and at the level where their relation mutates into the sensual allegory of a wider social constellation. De Facto (Go With Yourself) thus maps the terrain for searching the truth in the post factual world. The truth which is reflected in the stage presence of the untamed female body and deconstructed sound matrix, which develop in front of the viewers into a sensual manifestation of longing, passion, and courage. SI Na podiju, prekritem s podobo Michelangelove Poslednje sodbe, se odvija kompaktna odrska celota, zgrajena na svojevrstnem dialogu med glasbenikom in plesalko, ki skozi hibridno odrsko formo vešče preigravata lastni avtorski poziciji. Njuno izvajanje temelji na raziskovanju (ne)zmožnosti preseganja lastnega položaja, kot tudi na spontanih interakcijah z Drugim, bodisi na neposredni ravni giba in zvoka kot tudi na nivoju, kjer se njun odnos levi v čutno alegorijo širše družbene konstelacije. Predstava De facto (pojdi s seboj) na ta način mapira teren za iskanje resnice v postfaktičnem svetu. Resnice, zrcaljene v odrski prezenci neukročenega ženskega telesa in dekonstruirane zvočne matrice, ki pred gledalci prerasteta v čutno manifestacijo hrepenenja, strasti in poguma.CREDITS Authors: Leja Jurišić &amp; Milko Lazar; Credits text: Leja Jurišić &amp; Milko Lazar; Choreographer: Leja Jurišić; Assistant to choreographer: Leja Jurišić; Rehearsals coordinator: Leja Jurišić; Cast: Soloist: Leja Jurišič; Dancers: Leja Jurišić; Music composer: Milko Lazar; Prepared piano: Milko Lazar; Orchestra: Conductor: Milko Lazar; Violins I: Milko Lazar; Violins II: Milko Lazar, Violas: Milko Lazar; Cellos: Milko Lazar; Double basses: Milko Lazar; Flutes: Milko Lazar; Clarinets: Milko Lazar; Bassoons: Milko Lazar; Soprano saxophone: Milko Lazar; Horns: Milko Lazar; Trumpets: Milko Lazar; Trombones: Milko Lazar; Percussion: Milko Lazar; Orchestra inspector: Milko Lazar; Archivist: Milko Lazar; President of the Orchestra Syndicate: Milko Lazar; Artistic Advisor: Milko Lazar; Set design: Petra Veber; Light design: Petra Veber; Costumes: Petra Veber; Photographers: Petra Veber, Matija Lukić; Technical director: Igor Remeta; Producer: Žiga Predan; Produced by Pekinpah, Leja Jurišić; Coproduced by: Cankarjev dom; Supported by: Ministry of Cuture Republic of Slovenia, City of Ljubljana - Department of Culture Photo by Matija Lukić SHOWS NOVA GORICA (Urbane note-SNG), 10 October 2020LJUBLJANA (Trigger Platform), 29 August 2020 LJUBLJANA (Spider Festival), 17 June 2020LJUBLJANA (Cankarjev dom), 7 November 2019LJUBLJANA (Cankarjev dom), 6 November 2019MARIBOR (54. Borštnik festival), 27 October 2019LJUBLJANA (Cankarjev dom), 10 September 2019LJUBLJANA (Cankarjev dom), 15 May 2019LJUBLJANA (Cankarjev dom), 14 May 2019LJUBLJANA (Cankarjev dom), 12 May 2019 PRESS ENDe Facto (Go with Yourself) by Leja Jurišić and Milko Lazar is excellent. Rok Vevar, Independent dance critic, 13 May 2019 Contemporary dance may have travelled a long way, having escaped its dependency on music and becoming autonomous, but in the case of the Lazar–Jurišić duo, it seems to enter back into relationship with music completely independently...These days, all that is needed to achieve the most powerful and most real effect, is – de facto – a reduction. Pia Brezavšček, Dnevnik Newspaper, 23 May 2019 Jurišić and Lazar boldly and intensely embody the transitions between modes of expression, roles and their own creative identities, approaches and procedures, and thus, awkwardly put, create a kind of deconstruction of the factual on a personal and broader level. Luka T. Zagoričnik, Neodvisni, 12 June 2019 SINova predstava Leja Jurišić in Milko Lazar: De facto (pojdi s seboj), ki smo si jo nocoj premierno ogledali v Cankarjevem domu, je odlična. Rok Vevar, 12. maj 2019 Na tak način je tudi sodobnoplesni medij, ki v priznanosti gotovo zaostaja za resno glasbo, afirmiran na najboljši možen način: Leja Jurisic Milko Lazarju v vsem parira, saj v koreografijo vključuje vsako specifičnost svojega (ozaveščenega, seksualiziranega) telesa. Dnevnik, Pia Brezavšček, Resnica je v redukciji, 20. maj 2019 Jurišić in Lazar v De facto (pojdi s seboj) smelo in intenzivno utelesita prehajanja med izraznimi modusi, vlogami in lastnimi ustvarjalnimi identitetami, pristopi in postopki in s tem, nerodno rečeno, na osebni in širši ravni ustvarita nekakšno dekonstrukcijo faktografskega. Neodvisni, Luka T. Zagoričnik, Dekonstruirana faktografija, 12. junij 2019 READ MORE PRESS︎︎︎ https://lejajurisic.com/Concert Thu, 13 Jan 2022 09:58:22 +0000 Leja Jurišič https://lejajurisic.com/Concert <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/eebb4f217309488c486cf8cc1ec77401777d1b49337108fbcc5246843f74ea67/L.Jurisic_KONCERT_PetraVeber.JPG" data-mid="130043658" border="0" src="https://freight.cargo.site/w/1000/i/eebb4f217309488c486cf8cc1ec77401777d1b49337108fbcc5246843f74ea67/L.Jurisic_KONCERT_PetraVeber.JPG" /><img width="4820" height="3213" width_o="4820" height_o="3213" data-src="https://freight.cargo.site/t/original/i/af0716f7ba7667e56d24bc3341908eae83c59171d188e9a0f957aafd934a6f1c/L.Jurisic_Koncert_MatijaLukic_5.jpg" data-mid="160809361" border="0" src="https://freight.cargo.site/w/1000/i/af0716f7ba7667e56d24bc3341908eae83c59171d188e9a0f957aafd934a6f1c/L.Jurisic_Koncert_MatijaLukic_5.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/76e5eca6eeba1415059586d37d312521607e4ed5af446d33c4a8cccefe41bce8/L.Jurisic_Koncert_MatijaLukic_1.1.jpg" data-mid="160809802" border="0" src="https://freight.cargo.site/w/1000/i/76e5eca6eeba1415059586d37d312521607e4ed5af446d33c4a8cccefe41bce8/L.Jurisic_Koncert_MatijaLukic_1.1.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c79f53a9935a4c8a90818ff73e23f3d6c50de457fc46891192021397c1ab00eb/L.Jurisic_Koncert_MatijaLukic_3.1.jpg" data-mid="160809981" border="0" src="https://freight.cargo.site/w/1000/i/c79f53a9935a4c8a90818ff73e23f3d6c50de457fc46891192021397c1ab00eb/L.Jurisic_Koncert_MatijaLukic_3.1.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/550ac06d6bf6e11e9d2c0c30e520b5c65a12ecb59e9850bc8d32a4d2e9ed3119/LJurisic_KoncertMatijaLukic.jpg" data-mid="160811351" border="0" src="https://freight.cargo.site/w/1000/i/550ac06d6bf6e11e9d2c0c30e520b5c65a12ecb59e9850bc8d32a4d2e9ed3119/LJurisic_KoncertMatijaLukic.jpg" /><img width="1200" height="1800" width_o="1200" height_o="1800" data-src="https://freight.cargo.site/t/original/i/0fef7fdeaa92bc49c86de678324b0894902cb05f8e7dbcc6774b6f8ee83968b3/Koncert_premiera_5_new.jpg" data-mid="133164025" border="0" src="https://freight.cargo.site/w/1000/i/0fef7fdeaa92bc49c86de678324b0894902cb05f8e7dbcc6774b6f8ee83968b3/Koncert_premiera_5_new.jpg" /> KONCERTEN For quite some time, the dancer and choreographer Leja Jurišić has been developing her interest in the arts that in their time transformed the field of art, those that had cut into it, stirred it up, and redefined it. This impulse and focus can be observed in her creative work; she collaborates with artists from various fields to create pieces in which she can cross the conventions and boundaries of a dance performance. As she has repeatedly pointed out in interviews, a perspective which would express the ‘I cannot, I do not know, I will not’ does not exist in her artistic processes. In the new piece entitled CONCERT, the horizon of the leap from the dance arts is even bolder, even bigger. CONCERT has been created in close collaboration with set designer Petra Veber. The performance programme finds its source material in literary works by Futurists and Dadaists, as well as original compositions by Leja Jurišić.&nbsp; Programme: 1. I hear you, 2. Spiral, 3. I put a stone on my foot, 4. There is no time to lose (China), 5. Solo body piano, 6. The mothers of invention, 7. Triangle, 8. Second movement, Ursonata, 9. But a dog, 10. Canzione di Maggia, 11. Divine advantage, 12. The chair and I, 13. I do not allow!, 14. The sky prefers the night, 15. RADI OS, Book III (Paradise), 16. Poème a crier à danser (chant 1), 17. The Radical Characters of Verbs and Nouns (to be), 18. So it is writtenSI Plesalka in koreografinja Leja Jurišić se že dlje časa zanima za umetnosti, ki so v svojem času pretresle polje umetnosti, vanj zarezale, ga razburkale in ga na novo definirale. Ta interesni poriv je viden tudi v njenem delu; avtorica pogosto sodeluje z umetniki z različnih področjih, skupaj z njimi pa skuša vedno znova prestopiti konvencije in meje plesnih predstav. Kot je večkrat poudarila v intervjujih: drža, ki bi &nbsp; Program: 1. Slišim te, 2. Spirala, 3. Kamen dam na nogo, 4. There is no time to lose (China), 5. Solo body piano, 6. The mothers of invention, 7. Trikotnik, 8. Second movement, Ursonata, 9. Toda pes, 10. Canzione di Maggia, 11. Božanska prednost, 12. Stol in jaz, 13. Ne dovolim! 14. Nebo ima raje noč, 15. RADI OS, Book III (Paradise), 16. Poème a crier à danser (chant 1), 17. The Radical Characters of Verbs and Nouns (to be), 18. Tako pišeCREDITS Author, Performance and Music: Leja Jurišić; Set design: Petra Veber; Light design: Petra Veber; Music design: Jure Vlahovič; Dramaturgy: Petra Veber, Leja Jurišić; Text recommendation: petra Veber; Text choice: Leja Jurišić, Petra Veber; Text: Giacomo Bella, Pierre Albert-Birot, Kurt Schwitters, Miklavž Komelj, Francis Lodwick, Ronald Johnson; Photography: Petra Veber; Translation: Jezikovna zadruga Soglasnik; Producer: Žiga Predan; Produced by Pekinpah, Leja Jurišić; Coproduced by: Cankarjev dom; Partners: Kino Šiška SHOWS LJUBLJANA (Cankarjev dom), 5 February 2022 LJUBLJANA (Cankarjev dom), 6 February 2022PRESS ENA multidimensional spin-off of a concert Maša Radi Buh, Sigledal, 10 February 2022 Her projects are innovative, honest, daring andground-breaking, whether she creates alone orwith someone else. She likes weaving togetherdifferent art disciplines and her range of interestsis broad. In CONCERT, she keeps creating anddeveloping the idiosyncratic genre of solo-body-piano...Lara Paukovič,MLADINA, 4 March 2022 A nonchalant collision between culture and&nbsp;sweaty physicality... the remarkable presence of Leja Jurišić, whomanages, with a kind of serious playfulness, toweave together the high and the low register,music and dance, immersing the whole in intense, procedural stage action, in which the logic of thebody idiosyncratically distorts the social codes of&nbsp;meaning. Samo Oleami, Radio Študent, 22 March 2022 The body is no longer bound to the progressionof the musical composition—instead, it frees itselffrom the prescribed formality of the concert, findsits own expression and rhythm, and outlines aspace for its liberation within the otherwise rigidframework of the concert programme.Ana Lorger, Neodvisni, 6 April 2022 SI Večdimenzionalni spin-off koncertnosti.Maša Radi Buh, Sigledal kritika, 10. februar 2022 Njeni projekti so inovativni, iskreni, drzni, prelomni; najsi ustvarja sama ali v paru. V&nbsp;KONCERTU razvija svojevrsten žanr solo-body-piano, ki ga je iznašla za prizor v performansu De&nbsp;facto, plesno-glasbenem dialogu s skladateljem&nbsp;Milkom Lazarjem.&nbsp; Lara Paukovič, MLADINA, 4 marec 2022 Nonšalanten trk vzvišene kulture in prešvicane&nbsp;telesnosti&nbsp;... izredna prezenca Leje Jurišić, ki uspe v zaresniigrivosti preplesti visoke in nizke registre, glasboin gib ter to potopiti v intenzivno procesualnoodrsko dogajanje, znotraj katerega telesna logikapo svoje sprevrže družbene pomenske kodeSamo Oleami, Radio Študent, 22 marec 2022 Telo ni več vezano na potek skladbe, temvečse osvobodi diktata koncertne formalnosti, najde svoj izraz in ritem ter si v okviru rigidnozastavljenega koncertnega programa medpavzami zariše prostor osvoboditve. Ana Lorger, Neodvisni, 6 april 2022 READ MORE PRESS︎︎︎ https://lejajurisic.com/NOTES-TO-ANTIPHON Thu, 21 Mar 2024 10:49:37 +0000 Leja Jurišič https://lejajurisic.com/NOTES-TO-ANTIPHON <img width="1350" height="1074" width_o="1350" height_o="1074" data-src="https://freight.cargo.site/t/original/i/3006fe6109f256b839e35478a44571e4990c83f7c9888dfc425ea39706a5b03f/IMG_1988.jpg" data-mid="207253098" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/3006fe6109f256b839e35478a44571e4990c83f7c9888dfc425ea39706a5b03f/IMG_1988.jpg" /> NOTES TO ANTIPHON EN Notes to Antiphon by Petra Veber and Leja Jurišić is the conclusion of the first phase of reading The Antiphon, the great work by Djuna Barnes, as well as an announcement of the Slovenian translation by Miklavž Komelj, which will be published by cf. "One could almost see a modern Oresteia in it. In a way, it is precisely carrying out an interrogation of the whole of Western civilisation, a much deeper and crueller interrogation than the one it has suffered at the hands of its enemies..." -James Burn Singer, The Times Literary Supplement This installation is the first public reading of The Antiphon in silence. The exhibition of the text is presented as an installation in a space that includes photographs of the reading process of the text. In their work, Jurišić and Veber are questioning whether the body can be as powerful as the word, and whether it is only in silence that the body is able to articulate a thought that can be understood by another.&nbsp; The opening of Notes to Antiphon is on 1 December 2023 at 6 pm with a 7-minute performance by Leja Jurišić, followed by a talk by Miklavž Komelj, with repetition of the intervention on 2 and 3 December 2023 from 17h to 18h at Studio Pekinpah. CREDITS ENLeja Jurišić and Petra Veber in collaboration with Miklavž Komelj producer: Žiga Predan; production: Leja Jurišić, Ljubljana PROGRAMME 1 December at 6 pm - Opening: intervention 7' Leja Jurišić, installation + talk with translator 2 December at 5pm: intervention 7' Leja Jurišić, installation 3 December at 5pm: intervention 7' Leja Jurišić, installation https://lejajurisic.com/Dance-in-Stone Thu, 15 Jan 2026 10:54:50 +0000 Leja Jurišič https://lejajurisic.com/Dance-in-Stone <img width="1647" height="1100" width_o="1647" height_o="1100" data-src="https://freight.cargo.site/t/original/i/27adab6608ef4093fe5ab226834b8f86e7d3ec79dc74aeddeeb2600064034996/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec74.jpg" data-mid="243280667" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/27adab6608ef4093fe5ab226834b8f86e7d3ec79dc74aeddeeb2600064034996/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec74.jpg" /><img width="1647" height="1100" width_o="1647" height_o="1100" data-src="https://freight.cargo.site/t/original/i/141a94eff7a5906a3c27e1cf928c5d5138d1f1a669ec92e26acd76ea7e61cb8b/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec78.jpg" data-mid="243358211" border="0" src="https://freight.cargo.site/w/1000/i/141a94eff7a5906a3c27e1cf928c5d5138d1f1a669ec92e26acd76ea7e61cb8b/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec78.jpg" /><img width="1647" height="1100" width_o="1647" height_o="1100" data-src="https://freight.cargo.site/t/original/i/3721c75b59d0f53f2cc8cc4e3ad3441d611ed5cd78bb7ce72b0b82f9ee319841/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec61.jpg" data-mid="243358210" border="0" src="https://freight.cargo.site/w/1000/i/3721c75b59d0f53f2cc8cc4e3ad3441d611ed5cd78bb7ce72b0b82f9ee319841/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec61.jpg" /><img width="1647" height="1100" width_o="1647" height_o="1100" data-src="https://freight.cargo.site/t/original/i/8bac9f18a72a50d02a827a659caac295974bc8d42c36acd40b49c9521b14342b/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec41.jpg" data-mid="243358209" border="0" src="https://freight.cargo.site/w/1000/i/8bac9f18a72a50d02a827a659caac295974bc8d42c36acd40b49c9521b14342b/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec41.jpg" /><img width="1647" height="1100" width_o="1647" height_o="1100" data-src="https://freight.cargo.site/t/original/i/ccafa28262063c6fbd610e83f9ce7c638caf2726606e548ebab638311e859f89/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec26.jpg" data-mid="243358208" border="0" src="https://freight.cargo.site/w/1000/i/ccafa28262063c6fbd610e83f9ce7c638caf2726606e548ebab638311e859f89/L.Jurisic_Ples_v_kamnu_LGL_GregorGobec26.jpg" /> DANCE IN STONEEN “Stones carry ideas, but they cannot withstand hammers” - Leja JurišićThe puppet show The Philosopher Stone primarily opens up the question of how modern human society can so often shape an individual who hates themselves, who is their own greatest rival, their own most despised other. The stones, which in the show function as puppets and also as scenography, symbolise the radical other, that which seems uncontrollable or unacceptable – both within ourselves and in society. The performance is aimed at primary school students in their third triad. “We have entered an age where it seems all have fallen silent on what is essential, even when they speak, and suddenly the very stones must cry out.” - Miklavž Komelj The performance is a hybrid of genres; it contains elements of postdramatic theatre, dance, object theatre, and installation, but the fundamental state of mind it tries to evoke is poetry. It establishes various registers, from the mythically sublime to the humorous. The words that meet the stones in this performance range from the re-creation of humans after the great flood, which Deucalion and Pyrrha achieve by throwing stones in Ovid's Metamorphoses, through Kafka's interpretation of the myth of Prometheus, to the poetry of Anton Aškerc, Jure Detela, and Miklavž Komelj. At the same time, it establishes a true palimpsest of intertextual connections; the final effect is linked to the description of the mysterious stone in Pier Paolo Pasolini's novel Petrolio: "The infinite variety of its gentle colors corresponds to the infinite variety of substances, but none of them were truly recognized, because each mineral has contradictory properties, both in relation to itself and in relation to the other minerals with which it is mixed or of which it is composed: in that stone it was impossible to separate what seemed precious from what seemed worthless or even toxic; to this day it has been impossible to define its inaccessibility to analysis and its complete contradictoriness […]" SI Naslov predstave je poklon kratki pesmi Jureta Detele: »Bodi v kamnu, magični ples, / prišle so sanje, odzgoraj, / selijo se misli!« Kamen običajno dojemamo kot nekaj neživega in nepremičnega, ta predstava pa poskuša odkriti ples, ki je v kamnu, in raziskuje, kako se ta ples lahko povezuje s sanjami in mislimi. In s seljenjem in spreminjanjem misli, kajti tak pristop h kamnu je mogoč samo skozi proces »razbijanja« lastnih omejitev v dojemanju sebe in sveta. V najbolj ikonični predstavi Lutkovnega gledališča Ljubljana, Zvezdici Zaspanki, ima razbojnik kamen namesto srca in potem se kamen spremeni v srce. Miklavž Komelj pa med drugim v procesu napiše tole pesem Čudež: ČUDEŽ /Za Lejo Jurišić/ S takim prepričanjem držati kamen, / da je, ko ga izpustiš, / enak čudež, če ti pade na tla / ali če ti poleti v nebo. Predstava je zvrstno hibridna; vsebuje elemente postdramskega gledališča, plesa, gledališča objektov in instalacije, temeljno stanje duha, ki ga poskuša priklicati, pa je poezija. Vzpostavlja različne registre, od mitsko vzvišenih do humornih. Besede, ki se v tej predstavi srečujejo s kamni, gredo od ponovnega stvarjenja ljudi po vesoljnem potopu, ki ga z metanjem kamnov dosežeta Devkalion in Pira v Ovidijevih Metamorfozah, prek Kafkove interpretacije mita o Prometeju do poezije Antona Aškerca, Jureta Detele in Miklavža Komelja, obenem pa vzpostavlja pravi palimpsest medbesedilnih povezav; končni učinek se povezuje z opisom skrivnostnega kamna v romanu Nafta Piera Paola Pasolinija: »Neskončna raznolikost njegovih blagih barv ustreza neskončni raznolikosti snovi, a nobene od njih v resnici niso prepoznali, kajti vsak mineral ima protislovne lastnosti, tako v odnosu do samega sebe kakor tudi v odnosu do drugih mineralov, s katerimi je pomešan oziroma iz katerih je sestavljen: v tistem kamnu ni bilo mogoče ločiti tistega, kar se je zdelo dragoceno, od tistega, kar se je zdelo brez vsake vrednosti ali celo strupeno; do danes ni bilo mogoče opredeliti njegove nedostopnosti za analize in popolne protislovnosti […]« CREDITS EN Author, director and choreographer: Leja Jurišić Author of texts: Miklavž Komelj; Authors of used texts: Franz Kafka, Jure Detela, Anton Aškerc, Mia Skrbinac, Alenka Tetičkovič;&nbsp;Dramaturgs: Petra Veber, Leja Jurišič; Set designer, costume designer and lighting designer: Petra Veber; Author of music: Eduardo Raon; Video author: Atej Tutt; Animation consultant: Martina Maurič Lazar; Language consultant: Irena Androjna Mencinger; Puppet technologist: Zoran Srdić; Co-creators of the performance: Rok Kunaver, Gašper Malnar, Martina Maurič Lazar, Alenka Tetičkovič, Mia Skrbinac;&nbsp;Cast: Rok Kunaver, Gašper Malnar, Martina Maurič Lazar, Alenka Tetičkovič, Mia Skrbinac;&nbsp;Head of the performance and sound designers: Damir Radončić; Producer: Alja Cerar Mihajlović/Katra Krsmanović; Lighting direction: Maša Avsec;&nbsp;Stage technician: Darko Nedeljković; Wardrobe: Nataša Konić; Make-up artist: Anja Pika Lopatič; Workshop leader: Zoran Srdić; Production of puppets, sets, props and costumes: David Klemenčič, Olga Milić, Sandra Birjukov, Lorena Bukovec, Emma Serra Rius, Zoe Špehar, Uroš Mehle, Artiko, Pleksi izdelki Vrhovec; Acknowledgements: Jiři Bezlaj, Ema Kugler, Andrej Detela, Marko Pogačnik; Co-production: Ljubljana Puppet Theatre and Pekinpah SHOWS LJUBLJANA (Ljubljana Puppet Theater), 18-19 March 2026 LJUBLJANA (Ljubljana Puppet Theatre) 11-12 January 2026LJUBLJANA (Ljubljana Puppet Theatre) 21-22 November 2025LJUBLJANA (Ljubljana Puppet Theatre) 25-28 October 2025 LJUBLJANA (Ljubljana Puppet Theatre) 23 October 2025 PRESS EN… the acoustics of stories of cosmogonic thunder, conflicts, dynamics, the emergence and collapse of harmonies and co-sentience within the hierarchically assumed relationships between stone and human, and the universal-world.Magda Tušar on A Dance in Stone, Radio Slovenija, Svet Kulture, October 27, 2025 SI … akustika zgodb kozmogonskega grmenja, konfliktov, dinamik, nastajanje in rušenje sozvočij in soobčutji v hierarhično predpostavljenih razmerjih med kamnom in človekom ter vsesvetovjem. Magda Tušar o predstavi Ples v kamnu, Radio Slovenija, Svet Kulture, &nbsp;27. 10. 2025. READ MORE PRESS︎︎︎ https://lejajurisic.com/Rdeci-gozd Fri, 02 Dec 2022 11:05:11 +0000 Leja Jurišič https://lejajurisic.com/Rdeci-gozd <img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/1c7a56a927983f04a7cfad585aa4a9c3fbf2188d4520011eec41f9ff86f32d47/LJurisic_Rdecigozd_1MatijaLukic_reduced.jpg" data-mid="162023566" border="0" src="https://freight.cargo.site/w/1000/i/1c7a56a927983f04a7cfad585aa4a9c3fbf2188d4520011eec41f9ff86f32d47/LJurisic_Rdecigozd_1MatijaLukic_reduced.jpg" /><img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/e2bf60e561bb5f817ce1329108a0cc6a78335c1e3757f0cddee07de048967078/LJurisic_Rdecigozd_2MatijaLukic_reduced.jpg" data-mid="162023567" border="0" src="https://freight.cargo.site/w/1000/i/e2bf60e561bb5f817ce1329108a0cc6a78335c1e3757f0cddee07de048967078/LJurisic_Rdecigozd_2MatijaLukic_reduced.jpg" /><img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/71819dfc0fd2887749aa270b36208ea3624734936bc3391c3dcd84ca9a3365e2/LJurisic_Rdecigozd_4MatijaLukic_reduced.jpg" data-mid="162023573" border="0" src="https://freight.cargo.site/w/1000/i/71819dfc0fd2887749aa270b36208ea3624734936bc3391c3dcd84ca9a3365e2/LJurisic_Rdecigozd_4MatijaLukic_reduced.jpg" /><img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/8050d769c91ef768d44b8845ab59b40fe7e2af15b3cbaca3e1d6298ed0f5070e/LJurisic_Rdecigozd_3MatijaLukic_reduced.jpg" data-mid="162023570" border="0" src="https://freight.cargo.site/w/1000/i/8050d769c91ef768d44b8845ab59b40fe7e2af15b3cbaca3e1d6298ed0f5070e/LJurisic_Rdecigozd_3MatijaLukic_reduced.jpg" /><img width="1200" height="675" width_o="1200" height_o="675" data-src="https://freight.cargo.site/t/original/i/2503b6b7cdfff1355b4cb90236f75c8b9b8224b9c9ff031f43eb7883c4991260/LJurisic_Rdecigozd_5MatijaLukic_reduced.jpg" data-mid="162023574" border="0" src="https://freight.cargo.site/w/1000/i/2503b6b7cdfff1355b4cb90236f75c8b9b8224b9c9ff031f43eb7883c4991260/LJurisic_Rdecigozd_5MatijaLukic_reduced.jpg" /><img width="1000" height="667" width_o="1000" height_o="667" data-src="https://freight.cargo.site/t/original/i/062e013356520aa404f76338980c45911b41aa784b2b7dcd83d7dd9eb1d0a41b/LJurisic_Rdecigozd_8MatijaLukic_reduced.jpg" data-mid="162023579" border="0" src="https://freight.cargo.site/w/1000/i/062e013356520aa404f76338980c45911b41aa784b2b7dcd83d7dd9eb1d0a41b/LJurisic_Rdecigozd_8MatijaLukic_reduced.jpg" /> 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,&nbsp;Žigan Krajnčan,&nbsp;Gašper Kunšek, Kristýna Šajtošova in&nbsp;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 FORESTIn 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 ENIdea and choreography: Leja Jurišić; co-authorship and performance: Urška Centa, Žigan Krajnčan, Gašper Kunšek, Kristýna &nbsp;Šajtošova, Veronika Valdés; scenography, lighting, costumes, dramaturgy, photography: Petra Veber; music: Eduardo Raon; technical director: Igor Remeta; producer: Žiga Predan; production: Pekinpah &amp; Leja Jurišić, Ljubljana SHOWS LJUBLJANA (Stara mestna elektrarna - Elektro Ljubljana), 14. december 2022 LJUBLJANA (Stara mestna elektrarna - Elektro Ljubljana), 15. december 2022PRESS SIREAD MORE PRESS︎︎︎ https://lejajurisic.com/BRINA-A-Kinaesthetic-Monument Tue, 27 Sep 2022 08:19:28 +0000 Leja Jurišič https://lejajurisic.com/BRINA-A-Kinaesthetic-Monument <img width="4707" height="3131" width_o="4707" height_o="3131" data-src="https://freight.cargo.site/t/original/i/1ef2f745092b95c100b597c8dd6cbca94112d4f167f9cb5461cef604f9bf4b12/BRINA_HIGH-RES_2_David-Visnjic.jpg" data-mid="154170368" border="0" src="https://freight.cargo.site/w/1000/i/1ef2f745092b95c100b597c8dd6cbca94112d4f167f9cb5461cef604f9bf4b12/BRINA_HIGH-RES_2_David-Visnjic.jpg" /><img width="5198" height="3458" width_o="5198" height_o="3458" data-src="https://freight.cargo.site/t/original/i/2d1824a6d6009723ecf118ecfee46568b1552623bab688272c82375cf9a8c1d2/BRINA_HIGH-RES_4_David-Visnjic.jpg" data-mid="154170371" border="0" src="https://freight.cargo.site/w/1000/i/2d1824a6d6009723ecf118ecfee46568b1552623bab688272c82375cf9a8c1d2/BRINA_HIGH-RES_4_David-Visnjic.jpg" /><img width="4480" height="6600" width_o="4480" height_o="6600" data-src="https://freight.cargo.site/t/original/i/433c6b24e3859833679a6f883a68815f31e24f872133365265616e573602625a/9_Pristas_Brina_2_Masun-closeup.jpg" data-mid="154170379" border="0" src="https://freight.cargo.site/w/1000/i/433c6b24e3859833679a6f883a68815f31e24f872133365265616e573602625a/9_Pristas_Brina_2_Masun-closeup.jpg" /> BRINA - a Kinaesthetic MonumentEN “When, as a dancer, I stood alone in the massive crowd of liberation fighters, aware that I shall be able to use my dance gift and weak body to express what had been uniting us, that I shall also be able to master the vast natural space, I felt strength in my feet, tramping the hard soil of the forest ground. ” - Marta Paulin alias Brina A monument: a structure, a tangible structure, a lasting tangible structure as a reminder to a historical phenomenon, a fixation of a specific memory arising from the fear of loss of memory. Now: to make one who is movement itself into a monument. Brina – a kinaesthetic monument brings to presence the Slovenian contemporary dancer Marta Paulin alias Brina – as she was known among her fellow partisans in the National Liberation Front during the WWII. As an artist, Brina performed improvisational dance acts for the fighters and the locals on various meetings and gatherings. After the war, she was forced to give up active dance creation due to frostbite on her toes. The kinaesthetic monument empowers Brina, as an antifascist and a dancer-choreographer, to rise in a liquid and vocal appearance, as body which is movement itself.SI »Ko sem kot plesalka stala sama med množico borcev, zavedajoč se, da bom zmogla s svojim plesnim darom in šibkim telesom izpovedati, kar nas je družilo, da bom zmogla obvladati tudi neizmeren naravni prostor, sem čutila v nogah moč, ko sem teptala trda zemeljska tla.« – Marta Paulin – Brina Spomenik: struktura, otipljiva struktura, trajajoča otipljiva struktura kot spomin na zgodovinski pojav, fiksacija specifičnega spomina, ki izide iz strahu pred izgubo spomina. Zdaj pa: narediti nekoga, ki je gibanje samo, v spomenik. Brina – kinestetični spomenik prinaša v obstajanje slovensko sodobno plesalko Marto Paulin alias Brino – kot je bilo njeno partizansko ime. Brina je na mnogih srečanjih nastopala z improvizacijskimi plesi za borce in borke ter lokalno prebivalstvo. Po vojni se je morala zaradi pomrznjenih prstov na nogah odpovedati aktivnemu plesnemu ustvarjanju. Kinestetični spomenik opolnomoči Brino kot antifašistko in plesalko koreografinjo, dviga jo v tekočo in glasovno pojavnost, kot telo, ki je gibanje samo. CREDITS Brina – A kinaesthetic monument is a collaborative project of Leja Jurišić, Bara Kolenc, and the NO1 collective (Peter Kutin, Patrik Lechner, Mathias Lenz); &nbsp;Production: Pekinpah; Co-production: Samosvoj; With support of the Ministry of Culture of Slovenia&nbsp; Brina – kinestetični spomenik je kolaborativni projekt Leje Jurišić, Bare Kolenc in kolektiva NO1 (Peter Kutin, Patrik Lechner, Mathias Lenz); Produkcija: Pekinpah; Koprodukcija: NO1 &amp; Samosvoj; S podporo Ministrstva za kulturo RS SHOWS LJUBLJANA (Spider Festival), 17 June 2021&nbsp;VIENNA, Austria (ImPulsTanz), 6 August 2021PRESS EN SIREAD MORE PRESS︎︎︎