{"id":725,"date":"2018-03-19T09:28:08","date_gmt":"2018-03-19T09:28:08","guid":{"rendered":"http:\/\/www.tadicmarko.com\/web\/?p=725"},"modified":"2018-03-20T13:23:17","modified_gmt":"2018-03-20T13:23:17","slug":"correcting-rhythm","status":"publish","type":"post","link":"https:\/\/www.tadicmarko.com\/web\/correcting-rhythm\/","title":{"rendered":"Correcting Rhythm 2017 \/\/\/ HNK Zagreb, Croatia"},"content":{"rendered":"

<\/strong>Someone makes the decision,
\nAnd someone suffers the consequences of the made decision.
\nSomeone attacks to correct the rhythm,
\nAnd someone allows to be attacked correct the rhythm.<\/p>\n

– Goran Fer\u010dec:\u00a0Correcting Rhythm<\/em><\/strong><\/p><\/blockquote>\n

Correcting Rhythm<\/em> theatre production rooted in crisis of cognitive framework the dramatic situation, the explosion of analysis, observation and presentation in terms of suspended causality. A disrupted rhythm is precondition the rerun of analytical obsession. Everything is there, everything in totality, all proportions in respects, and nothing emerges out of anything. The rhythm of body with that rhythm of the society with these rhythm of planet – perceived as arrhythmia. Relative events. The explosion happened. The murder happened. How do we show what we encountered here? What can we say what was there before? What happened next? How do we show it? How?<\/p>\n

… we have to do with a temporal form where I await myself in the future, where I \u2018make an appointment with myself on the other side of that hour, of that day, or of that month.\u2019 Anguish is the fear of not finding myself at that appointment, of no longer even wishing to bring myself there. <\/p>\n

– Jean-Paul Sartre<\/strong><\/p><\/blockquote>\n

Forty years after Pavao Pavli\u010di\u0107 wrote his short story\u00a0The Good Spirit of Zagreb\u00a0<\/em>we return to the topic of a man’s obsession with the rhythm of a city, the rhythm of crimes, in Goran Fer\u010dec’s text\u00a0Correcting Rhythm<\/em>.<\/p>\n

The production sets off with an inquiry of the very building of the Croatian National Theatre and the inner organization of a space that becomes an observatory of the square below it, the city, territory and cosmos that surround it. The seldom-used Sound Studio transforms into a cabinet that houses a collection of wondrous apparatuses and evidence of an event the production traces.<\/p>\n

 <\/p>\n

The production gathers an exceptional team of collaborators: the writer\u00a0Goran Fer\u010dec<\/strong>\u00a0as the author of its text, visual artists\u00a0Marko Tadi\u0107<\/strong>\u00a0as set designer and\u00a0Silvio Vuji\u010di\u0107<\/strong>\u00a0as costume designer, Austrian composer\u00a0Radu Malfatti<\/strong>\u00a0and\u00a0Alen Sinkauz<\/strong>\u00a0and\u00a0Nenad Sinkauz<\/strong>\u00a0as authors of music and sound. The artistic team of the production is also comprised of director\u00a0Goran Sergej Prista\u0161<\/strong>, choreographer\u00a0Nikolina Prista\u0161<\/strong>, dramaturgs\u00a0Ivana Ivkovi\u0107<\/strong>,\u00a0Tomislav Medak<\/strong>\u00a0and\u00a0Diana Meheik<\/strong>.<\/p>\n

Performed by BADco. members\u00a0Ana Kreitmeyer<\/strong>\u00a0and\u00a0Nikolina Prista\u0161<\/strong>\u00a0and by members of the Drama of the Croatian National Theatre\u00a0Livio Badurina<\/strong>,\u00a0Mislav \u010cavajda<\/strong>\u00a0and\u00a0Du\u0161ko Goji\u0107<\/strong>, with music performed by member of the orchestra of the Opera of the Croatian National Theatre\u00a0Ivan Bo\u0161njak<\/strong>.<\/p>\n

 <\/p>\n

Correcting Rhythm<\/em> is the culmination of the year-long project Nothing Inert in the World – the observatory of everyday rhythms<\/strong><\/em>, that BADco performance collective developed during 2017 in collaboration with visual artist Marko Tadi\u0107, Croatian National Theatre, Dubrovnik Summer Festival, Vladimir Bu\u017ean\u010di\u0107 Gallery, Institute Tomislav Gotovac and Croatian Television.<\/p>\n

The project explores rhythmo-analytical research – conducted according to the writing of Henri Lefebvre – in several dispositives of watching: in the theatre, in the gallery, in public space and in the TV studio, and presents insights in formats of the theatre production Correcting Rhythm<\/em>, the exhibition by BADco. and Marko Tadi\u0107 Dispositives of Watching<\/em><\/a>, the reconstruction of Tomislav Gotovac\u2019s performance in public space Adapting to objects on Marshal Tito Square \u2013 Marshal Tito Square I love you!<\/a>\u00a0<\/em>on the occasion of its twentieth anniversary and the TV performance Is there life in the TV studio?<\/em>.<\/p>\n

The research and production work on this series of works has been contextualized through the presentations of artists titled How Work Works<\/em><\/a> and the symposium The Turn<\/em><\/a> organized at the Croatian National Theatre and including a number of artists and theoreticians from Croatia and abroad: Ramsay Burt, Bojana Cveji\u0107, Anders Paulin, Una Bauer, Nata\u0161a Govedi\u0107, Adrian Pezdric, Gregor Kamnikar, Mila Pavi\u0107evi\u0107, Sergiu Matis, Radu Malfatti and a number of young students of dance and dramaturgy who joined us in workshop during the production. www.watches-guide.com<\/a><\/p>\n