Suddenly Everywhere / Odjednom Odasvuda

  • Created and Performed by

    Bruno Isaković, Mia Zalukar

  • Dramaturgy

    Katarina Pejović

  • Premired

    15.6.2017. Perforations Festival, Zagreb, Croatia

  • Production

    Domino

  • Partners

    Zagrebački plesni centar

  • Financial support

    Ministarstvo kulture RH, The Sasion Foundation Japan

  • Video design

    Dora Đurkesac

  • Audio design

    Bruno Isaković

  • Costume design

    Ida Čvek

 

Suddenly everywhere is a dance duet by Bruno Isaković and Mia Zalukar that researches totality of influences on our (ir)rational decisions and states of being. Through movement and encounter of two bodies it brings about meanings and qualities of their charge to the surface. We are all woven by our own histories, our actions are the result of our experiences, our (in)securities and personal aims for the future. Suddenly Everywhere deconstructs a complicated structure of paths we take and through their gaps intensifies visibility of that not seemingly present.

Koautorski plesni duet Brune Isakovića i Mie Zalukar Odjednom odasvuda istražuje ukupnost utjecaja na (i)racionalne odluke i stanja te kroz pokret i susret dvaju tijela donosi spektar značenja i kvalitetu njihovog naboja na površinu. Satkani smo od svoje povijesti, naša su djela rezultat životnih iskustava, naših (ne)sigurnosti i osobnih stremljenja ka budućnosti. Odjednom odasvuda rastvara složenu strukturu naših odluka i kroz njihove procijepe pojačava vidljivost onoga što nije naočigled prisutno.

 

Katarina Pejović:
SUDDENLY EVERYWHERE:
PLAYING BY EAR IN THE FIELD OF CONSTRAINTS

G: It’s two o’clock in the morning.
M: Oh, George!
G: Well, it is.
M: What a cluck you are!
G: It’s late, you know, it’s late.
– Edward Albee

One and one make two. A seemingly simple equation of two elements to which we all believe we know the answer. But when One is Me and the other One is You, One and One becomes an equation that no pool of mathematical operations or quantum physics calculations could encompass and no artistic endeavor could exhaust its possibilities. The human One is already a self-contained universe of endless questions and dynamical changes that occur with each question conquered (or with us defeated by the lack of answer) and a new one appearing; a universe elated and pestered by the never-ending battle between Ego, Soul and Spirit. Coupling two One’s in whichever relationship combination discloses a territory that, by its nature, cannot be encompassed by any perception, individual or collective. We humans are myriads of processes-in-progress, and any human relationship, even the seemingly most static and predictable one, never really ceases to produce substance, even after its physical conclusion. Furthermore, if the coupling of two One’s means coupling the male and female principle, such relationship opens the Pandora’s box of absolutes and prompts us willy-nilly to deal with those whose names became our burden: life, death, good, evil, truth, lies, hate, and, of course, before, after and beyond all – love.If that couple, in turn, is Martha and George as created by Edward Albee in his legendary play ‘Who’s Afraid of Virginia Woolf?’ and incarnated by Elizabeth Taylor and Richard Burton in the equally legendary Mike Nichols’ film, then the content of Pandora’s box multiplies and intensifies to extremes. Here the border between all the dualities of a relationship is constantly blurred, if not violated, in a maddening swirl of passion, cynicism and despair. This iconic love-hate relationship is the springboard of the project
‘Suddenly Everywhere’.

Martha’s and George’s verbal tantrums pave the field of constraints, which ‘Suddenly Everywhere’ questions and challenges. Words are finite forms, even if we saturate them with our views and interpretations. Words have a determined duration in space-time and that is their fate. We use, misuse, overuse and abuse those verbal incarnations of absolutes, increasingly losing sense by making them lose their sense. Words get exhausted, the charge of the essence they strive to represent waning accordingly. Words betray the ideas they stand for. That is why we (‘we’ standing for those among us who cannot give up exploring, no matter what consequences) seek detours from the blind alleys of depleted denotations.

Martha and George. Liz and Dick. Mia and Bruno. Each relationship begins with an encounter and each encounter is unique. Even if it happens over and again.

The encounter between two differences is an event, is contingent and disconcerting, ‘love’s surprises’, theatre yet again. (…) It is the first, absolutely essential point. This surprise unleashes a process that is basically and experience of getting to know the world. Love isn’t simply about two people meeting and their inward-looking relationship; it is a construction, a life that is being made, no longer from the perspective of One but from the perspective of Two.
– Alain Badiou

The fundamental energy that drives an encounter is emotions fueled by desires and vice versa. Emotions are, as Proust noted, “geological upheavals of thought.” In that sense, love is the supreme ‘geological upheaval of thought’. A landscape of iceberg tips on top of the sunken landscape of human existence.

Mia meets Bruno and Bruno meets Mia. It is an altogether different world from that of Martha’s and George’s, Liz’s and Dick’s. Or is it? Two differences exploring the space of convergence within a minefield of depleted denotations. Desire fueled by emotion and vice versa. An encounter that at once bears the promise of satori and the premonition of drifting apart. A life that is being made by Two. Can they avoid being blown up by déjà-vu? They certainly venture there where little is taken for granted. The detours they seek don’t shy away from clichés: they comprise recognizable movements and gestures but in such constellations that they become devoid of ready-made symbolism. The words heard and read seem to be recognizable, the voices even more so. Yet they are garbled, mashed, grazed, juxtaposed in unexpected combinations, and therefore cleansed. The grammar of movement and the grammar of verbal language overlap, clash, coincide, diverge. Both Mia and Bruno examine their own limits and the urge to break them, their no’s and necessities. They subdue themselves to the utter confusion of our time when it comes to answering the question on what it means to be female or male. But they never give up on encounter.

Transparency. To let the light not on but in or through. To look not at the text but through it; to see between the lines; to see language as lace, black on white; or white on black, as in the sky at night, or in the space on which our dreams are traced.
– Jean-Pierre Richard

Mia and Bruno and Bruno and Mia travel through the time-space of ‘Suddenly Everywhere’ by drawing its coordinates each time anew. Making decisions is the fine-tuned navigation tool for this travel that has to take into consideration all the parameters of the now-here that they share with each other and that we share with them. We, the spectators. The accomplices. ‘Suddenly Everywhere’ is a time-space in which we take part, our gazes and senses drawing the meta-map of each event. Can we take responsibility for what we experience? For the consequences of Mia’s and Bruno’s decisions? The matter might seem light, but it’s not. Neither is it heavy. It is simply what awaits us at any corner. With every decision that we make.

Enigmatic form is living form; like life, an iridescence; an invitation to the dance; a temptation, or irritation. No satisfying solutions; nothing to rest in; nothing to weigh us down.

 

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