Multidisciplinary staging
The dance performance just before the end of the dancer and choreographer Luke Ostrez is based on the research of the motor tic, which accompanies the dancer from birth. At least in his everyday life – when he dances, the tick disappears.
But this is not a story about pathology. Nor is it a story in which the protagonist ends up accepting himself, and we applaud him at the same time. We are not looking for the causes of tic or the conditions under which tic disappears. This story has no end, it is only aimed at the abyss of the end that scares us all.
The dancer, imprisoned in an experimental laboratory, in a kind of Sartre hell, is both an object of Science and art. The science that sets the norms measures its tics and tries to minimize them. He urges him to get rid of his "mistakes" and
he finally becomes "normal".
The dancer eventually transforms the tics into his creative extensions. But at the moment when he transcends "normality", he is chained by our eager views, which, despite submitting to the laws of social normativity, want the occasional difference and strangeness. Trapped between two bodies, the everyday and the performative, and weighed down by a bunch of glances, the dancer becomes an art object.
The play does not try to be biographical and confessional, but explores the conditions under which difference can be introduced into repetition. In a dialogue with the musician Luka Ursic, who sonically materializes his movements in the return loop, the dancer flirts with the disastrous post-industrial modernity, in which we cannot imagine either an end or a new beginning.
Multidisciplinarna uprizoritev
Plesna predstava Tik pred koncem plesalca in koreografa Luke Ostreža je osnovana na raziskavi gibalnega tika, ki plesalca spremlja že od rojstva. Vsaj v njegovem vsakdanjem življenju – ko pleše, tik izgine.
A to ni zgodba o patologiji. Niti ni zgodba, v kateri protagonist na koncu sprejme samega sebe, mi pa mu ob tem ploskamo. Ne iščemo vzrokov za tik ali pa pogojev, pod katerimi tik izgine. Ta zgodba nima konca, le uperjena je v brezno konca, ki nas vse straši.
Plesalec, zaprt v eksperimentalnem laboratoriju, v nekakšnem sartrovskem peklu, je hkrati objekt znanosti in umetnosti. Znanost, ki postavlja norme, meri njegove tike in jih poskuša minimalizirati. Prigovarja mu, naj se reši svojih »napak« in
končno postane »normalen«.
Tike sčasoma transformira v svoje ustvarjalne podaljške.
A v trenutku, ko avtor preseže »normalnost«, ga priklenejo naši željni pogledi, ki si kljub podrejanju zakonom družbene normativnosti želijo občasne drugačnosti in nenavadnosti. Ujet med dvema telesoma, vsakdanjim in performativnim, ter obtežen s kopico pogledov, plesalec postane umetniški objekt.
Predstava ne poskuša biti biografska in izpovedna, ampak raziskuje pogoje, pod katerimi je v ponavljanje mogoče uvesti razliko. V dialogu z glasbenikom Luko Uršičem, ki v povratni zanki zvočno materializira njegove gibe, se plesalec spogleduje s katastrofično postindustrijsko modernostjo, v kateri si ne znamo predstavljati niti konca niti novega začetka.
