Hunting Season

dance performance in two acts without intermission

MilanandCo

 

 

 

 

  • Concept, choreography: Milan Tomášik
  • Performance, Co-creation: Jan Rozman, Alessandro Sollima, Milan Tomášik, Tina Valentan, Špela Vodeb, Aja Zupanec
  • Music: Vladimír Godár
  • Lighting design: Luka Curk
  • Costumes: Jasna Vastl
  • Outside eye: Suzana Koncut
  • Production: MT, KUD Cortesia
  • Public relation: Jedrt Jež Furlan
  • Technical director: Luka Curk, lukacurk@gmail.com
  • Co-production: EN-KNAP (Slovenia), Ljubljana dance theater (Slovenia), NorrlandsOperans (Sweeden),  Stanica Žilina-Záriečie (Slovakia)
  • Partner: Mediterranean dance centre Svetvinčenat (San Vincenti, Croatia), The Old Power Station (Ljubljana, Slovenia), Španski borci cultural centre (Slovenia)

 

The Hunting Season, or, Who is Catching Whom

Inhale-exhale-freeze-action-reaction are the connective tissues of  the performance The Hunting Season. Seemingly meditative signatures appear throughout the performance in various scenes with escalation, thickening and, above all, release of tension. Each hunting action demands concentration, attention, self-nullification, blending into the environment and listening to internal (bodily) and external impulses. All it takes to quickly release the tension, which triggers a swift act of  catching. Thus, the principle of hunting is being internalized, outwards it serves the »clashing« among the dancers. That by all means gives an insight into the body structure, one’s perception of oneself, others and the group. It leads to a story that exceeds the psychology of an individual, of hunting, and of a group. It is not merely a story about (inter)relationships, about the catch if you like. It is the story about the world and mankind. It is a process showing us images of our insanity, egoism, vulnerability, moments of beauty. Here the performance with individual scenes relaxes and concentrates, it concretizes itself. Welcome home, in the world of tension, relaxation, catch and (non)sense. Also of humour, irony, competition and heartbreaking duets, solos. C’est la vie.

JJF

above: OFFICIAL TRAILER by Stanislav Dobák

below: trailer made by New Line Picture:

 

TOUR SCHEDULE:

16th of December 2017 – Tervuren, Belgium

7th of October 2016 – Aarschot, Belgium

15th of April 2016 – Norrlandsoperan, Umea, Sweden

12th of Aril 2016 – Kungsbacka theater, Kunsgbacka, Sweden

7th of April 2016 – Falkhallen, Falkenberg, Sweden

5th of April 2016 – Spira Kammaren, Jonkoping, Sweden

14th of October 2015 – Tabačka, Košice, Slovakia

12th of October 2015 – Bratislava v pohybe, Bratislava, Slovakia

10th of October 2015 – KULT festival, Usti and Labem, Czech republic

4th of September 2015 – Fronta festival, Murska Sobota, Slovenia

24th of July 2015 – KioSK festival, Žilina, Slovakia

13th of July 2015 – Deltebre dansa festival, Spain

26th of June 2015 – Lent festival, Maribor, Slovenia

29th of May 2015 – Rdeči revirji festival, Hrastnik, Slovenia

20th of May 2015 – MOVE FEST, Ostrava, Czech republic

18th of May 2015 – ALTA, Praha, Czech republic

17th of May 2015 – Divadelni flora festival, Czech republic

19th of February 2015 – Gibanica festival, Ljubljana, Slovenia

3rd of November 2014 – Španski borci, Ljubljana, Slovenia

24th of October 2014 – Slovene PREMIERE – Španski borci, Ljubljana, Slovenia

11th of September 2014 – Slovak PREMIERE – Stanica Žilina-Záriečie, Slovakia

 

 

ZSUZSANNA KOMJÁTHY, dancescript.blogspot.hu, 27. 7. 2015,                                                http://dancescript.blogspot.hu/2015/08/on-roadechoesmilan-tomasik-hunting.html:

“it is a clever, well-matured and complex choreography, which has the rare and valuable quality to feed every layer of the spectator’s curiosity. From chunky jokes to delicate historical and technical dance references, it invokes several relations simultaneously through the movements, while in the cross-fire of registers and references it is able to remain absolutely ‘meaningless’ and facile.”

MARTIN MACHÁČEK, tanečnizona.cz, June 2015,                                       http://www.tanecnizona.cz/2014/index.php/recenze/item/500-videno-dvema-hunting-season:

“Lov má k tanci velmi blízko. Je dynamický a rozhodující okamžiky nelze sledovat jinak než se zatajeným dechem. Inscenace Hunting Season Milana Tomášika je přesně taková. Slovenský choreograf působící na slovinské scéně s mezinárodně obsazenou skupinou připravil dech beroucí kreaci, u které se diváci, podobně jako na safari stávají svědky velkolepého honu. “

“Hunting is very close to dance. It is dynamic, and its decisive moments can take your breath away. Milan Tomášik’s performance Hunting Season does exactly that. The Slovak choreographer, based in Slovenia, prepared a breathtaking creation together with an internationally cast group, in which the audience, just like on safari, witnesses the grand hunt. “

NINA VANGELItaneční zóna no. 02, 2015:

“Bonusem navíc je ješte sveží, neretušovaný a bezprostrední projev mladých tanečníku. Večer byl zábavný, prinášel stále nové nápady, byl tanečne rafinovaný a zároveň publiku prátelsky otevrený.”

MARKÉTA FAUSTOVÁ, taneční zóna no. 02, 2015:

“Tomášikova Hunting Season je hravá a zároveň toužící po klidu.”

 JANA NAVRÁTOVÁ, tanečnizona.cz, June 2015,                                         http://www.tanecnizona.cz/2014/index.php/recenze/item/500-videno-dvema-hunting-season:

“Tomášik je intuitivní matematik a umí protkat všechny složky prostředky jevištního díla do pevné struktury tak, že z ní přirozeně – jako z goblénu v loveckém salonku – vystupují situace, vztahové struktury, komické crashe i drobné dobře zvládnuté interakce s publikem.”

“Tomášik is an intuitive mathematician and can interweave all components of stage work into a solid structure – like a tapestry in the hunting lounge – so that situations naturally emerge, relational structures, comic crashes and small well-managed interactions with the audience.”

LUCIE KOCOURKOVÁ, operaplus.cz, 21. 5. 2015,                                                                                                       http://operaplus.cz/lovecka-sezona-ve-studiu-alta/:

“A choreografie s hudbou nesoupeří, ani ji nekopíruje, tanečníci si k ní nacházejí vztah důstojně, v dialogu se zvukem i v dialogu s tichem. Přitom propojení s hudební předlohou a její pochopení je něco, co často v choreografiích současného tance postrádáme, o to příjemnější zážitek je, když někdo dokáže harmonie dosáhnout.” 

“And the choreography neither competes with the music, nor copies it. The dancers are relating to the music with dignity, in dialogue with sound and dialogue with silence. While the connection with musical artwork and its understanding is something often lacking in contemporary dance choreographies, it is a pleasure when someone is able to achieve harmony. “ 

JOHANA MUCKOVÁ, českatelevize.cz, 20. 5. 2015,                                                            http://www.ceskatelevize.cz/ct24/kultura/312160-v-tanecni-lovecke-sezone-se-trefuje-do-cerneho/:

“K působivému vyznění nepotřebuje tato inscenace žádné okázalé prostředky. Bohatě stačí nápadité, kontrastní struktury, pohybové pasáže, které po celou dobu neztrácejí na příjemném tempu, a úderná energie tanečníků, jež se v komorním prostoru snadno nese do hlediště.”

“This production does not need a spectacular means to achieve an impressive message. Richly imaginative, contrasting structures, movement passages throughout, which never lose their pleasant pace, and the striking power of the dancers, which in the intimate space, easily carries into the auditorium. “

INGRID TÜRK-CHLAPEK, tanznetz.de, 23. 2. 2015:                                                                               http://tanznetz.de/blog/26876/tiefgang-vielfalt-hohenflug

“Tomášiks komplexer Choreografie zum Concerto Grosso von Vladimir Godár spielt virtuos mit dem Genre des höfischen Barocktanzes und den Lazzi der Commedia dell’arte. Energiegeladen, fröhlich und unbekümmert gewinnt das blutjunge Ensemble dem Anschleichen, Lauern und beherztem Zupacken immer wieder neue Facetten ab.”

MARINA B. ŽLENDER, GLASNA, January 2015:

“Gre za živo in utripajoče delo, ki bo privabilo še veliko gledalcev”

“It is a live and pulsating work that will keep attracting new spectators.”

DALIBORKA PODBOJ, PARADA PLESA, 12. 11. 2014:

“Plesni projekt Sezona lova v zamisli in koreografiji Milana Tomášika se predstavi kot čista prostorska poslikava, kar je tudi osnovni pomen besede koreografija v prevodu dveh grških besed: khoros/kor (ples, množica, plešišče) in graphein/grafija (pisati, včrtati, risati).

“Hunting Season, the dance project conceptualized and choreographed by Milan Tomášik, presents itself as a clean spatial painting, which is also the basic meaning of the word choreography as a translation of two Greek words: khoros (to dance) and graphein (to draw, to write).”

MOJCA KUMURDEJ, DELO, 5. 11. 2014:

“V predstavi je najbolj premišljen prizor, ki bi dejansko lahko bil izhodišče uprizoritve, sklepni solo Tine Valentan, v katerem je plesalka ob Godarjevi glasbi z natančno izvedbo in osmišljeno dinamiko ustvarila vtis prevajanja lastnih “notranjih” motivov in zgodb v asociativno bogat abstrakten gib.”

“The most thought out scene in the show, which could be the starting point of the performance, is Tina Valentan’s final solo. In it, the dancer along with Godar’s suggestive music, a precise execution and well-conceived dynamics managed to create the impression of translating her own inner motives and stories into an abstract movement, rich with associations.”

 

TECHNICAL RIDER click hereHS technical rider 1

LIGHTING PLOT click here: HS light plot