WORK EVERY DAYhttp://sodaberg.hr/?p=153

Marjana Krajač

En

Hrv

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WORK EVERY DAY* vas u nekoliko kadrova vodi kroz intrige rada

tijela. Dokumentarizam plesnog rada proizvodi kao višak slojeve fi kcije

koji su uvijek na pragu uspostavljanja naracije. Prièa izostaje, ali ostaju

sjeæanja na fi lm kojeg niste gledali.

WORK EVERY DAY za ishodište preuzima nekoliko kadrova fi lma

nepoznata naslova i autora pronaðena pri renovaciji jednog arhitek-

tonskog biroa u Londonu prije nekoliko godina. Traka je bila poprilièno

ošteæena, no restauracijom se uspjelo saèuvati 13 minuta fi lma. Iz

dva eksterijerna kadra zakljuèeno je da je fi lm sniman poèetkom os-

amdesetih u Londonu. Jedan od ta dva kadra kao i jedan interijerni

kadar privilegiran su resurs u raspravama u fi lmskim krugovima o

rekonstrukciji narativa i autorske poetike redatelja ili redateljice.

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*

Prvi kadar u trajanju od nepune tri minute prati zbivanja na jednom

londonskom križanju. Promet vozila je vrlo rijedak i na poèetku se

èini da kamera nemotivirano bilježi kretanje ljudi. Ipak, uskoro postane

jasnije da dvoje prolaznika ima naglašeniji status od ostalih. Muškarac

i žena se pojave u kadru svatko po dva puta. Njihovo pojavljivanje

obilježeno je anticipacijom mjesta na kojem æe se pojaviti. Kamera

koja se cijelo vrijeme lagano kreæe zaustavi se i nekoliko sekunda

“èeka” da osoba uðe u kadar. Nakon što izaðe kamera još nekoliko

sekundi miruje te zatim nastavlja s polaganim kretanjem. Postupno

križanje postaje prazno, a prolaznici sve rjeði. Nakon što se potpuno

ispraznilo, kamera se zaustavi i petnaest sekundi se fokusira na se-

mafor koji ne radi.

Drugi kadar u trajanju od dvije minute prati veèeru èetvero ljudi za

stolom. Kadar je statièan – dvoje ljudi se vidi s leða, jednoj ženi vidi

se lice, a èetvrtoj se osobi u nekoliko navrata vidi ruka dok poseže za

hranom. Razgovor je u potpunosti vezan uz hranu, osim reèenice na

samom kraju koju izgovara žena kojoj se vidi lice: “Danas sam dvaput

izbjegla sukob. Jednom je bio blizu, a drugi put ne toliko.”

WORK EVERY DAY sredstvima plesnog rada pokušava rekonstruirati

režime pažnje iz nesaèuvanih dijelova fi lma.

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WORK EVERY DAY* leads you, in several frames, through the in-

trigues of the working bodies. The documentary mode of work pro-

duces a surplus, that is, layers of fi ction which are always on the edge

of narration. The story is missing, but the memories of a movie you

haven’t watched remain.

WORK EVERY DAY takes as its point of departure a number of shots

from a fi lm of unknown title and author which was found by chance

during the renovation of an architecture studio in London a few years

ago.* The fi lm was seriously damaged, but restauration succeeded

in preserving 13 minutes of material. From two exterior shots it was

concluded that the fi lm was shot in London in the early eighties. One

of those two exteriors and another interior shot provide the privileged

resource for discussions centred around attempts to reconstruct the

narrative structure as well as the unknown author’s poetics.

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The fi rst shot, lasting a little under three minutes, documents the ac-

tivities of a London crossroad. The density of vehicle traffi c is very low

and in the beginning it seems as if the camera is randomly document-

ing the movement of pedestrians. Yet, quickly it becomes clearer that

two passers-by have a more pronounced status than the others. A

man and a woman each appear twice. Their appearance is marked

by anticipatory focus on the place of their appearance. The camera,

otherwise constantly in slow movement, stops and “waits” a few sec-

onds for the person to enter the shot. After the person leaves the

shot, the camera holds still for another few seconds before resum-

ing its slow movement. Gradually, passers-by become rarer and the

crossroad emptier. When it is completely empty, the camera stops

again and focuses on a disfunct traffi c light for 15 seconds.

The second shot, two minutes long, involves a table at which four

people are having dinner. The shot is static. Two people are turned

with their backs towards the camera, a woman’s face can be ob-

served, while the fourth person’s hand and arm enter the shot sev-

eral times to reach for food. The conversation evolves entirely around

food, except for a sentence at the very end, spoken by the woman

whose face is visible: “Today I avoided confl ict twice. One time it was

close, the other one less so.”

WORK EVERY DAY attempts to reconstruct the attention regimes of

the missing parts of the fi lm by means of dance-work.

*

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Koreografi ja i koncept / • Choreography and concept:

Marjana KrajaèIzvode / • Peformed and created by:

Amelia Uzategui Bonilla, Bettina Bölkow, Elisa Fernández Arteta, Chloé SerresDramaturgija / • Dramaturgy:

Wiebke Hensle i Marko KostaniæFotografi je / Photos:•

Sergio-Falconi Parker, Iva KorenèiæOblikovanje prostora / • Stage design:

Gordan KarabogdanOblikovanje svjetla / • Light design:

Bojan GagiæAsistent na projektu / • Assistant:

Leonardo KrakiæPrijevod / • Translation:

Stipe ÆurkoviæProdukcija / • Production:

Sodaberg

Realizirano uz podršku Gradskog ureda za kulturu Grada Zagreba i Ministarstva kulture RH.Project is funded by City Offi ce for Culture Zagreb and Ministry of Culture of Republic Croatia.

Realizirano uz podršku Hrvatskog instituta za pokret i ples, Zagrebaèkog plesnog centra i Tanzfabrik Berlin. Realizirano u sklopu projekta EL 2010: TRANSFER.Hosted and supported by Croatian Institute for Movement and Dance, Zagreb Dance Center and Tanzfabrik Berlin.Realized within the project EL 2010: TRANSFER.

Zahvaljujemo na nizu stvari / • Many thanks to:

Jasni Žmak, Petri Zanki, Marku Boldinu, D. B. Indošu, Ivi Korenèiæ, Corinni Friese i Andrei Hagedorn, Ludgeru Orloku, Hani Jušiæ, Mati Kapoviæu, Vladi Buliæu, Nikolini Marmiliæ, Johanni Timm, EkS-sceni te Berlinskoj medijateci za ples i kazalište.

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www.sodaberg.hr

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