Milan Tomášik & Co
PREMIERE: 11 June 2026, Plesni Teater Ljubljana
Concept and choreography: Milan Tomášik
Dramaturgy: Jaka Bombač
Dancers and co-creators: Anamaria Klajnšček, Beno Novak, Luka Ostrež, Kristýna Peldová, Giulia Tornarolli, Patrik Kelemen
Music: Alfonso Peduto (Binary Data)
Sound design: Rok Zalokar
Lighting design: Jaka Šimenc
Costume design: Jasna Vastl
Internship: Amlyana Harding (CNDC, Angers)
Photography: Darja Štravs Tisu
Graphic design: Andreja Jež
Video recording: Hana Vodeb
Production: Flota, zavod, Murska Sobota, Flota Ljubljana
Co-production: Plesni Teater Ljubljana
Residency: D.ID – Choreographic Centre Eisenstadt (Liz King)
Co-organiser: Zavod za kulturo, turizem in šport, Murska Sobota
Supported by the Ministry of Culture of the Republic of Slovenia and the City of Ljubljana
About
When we enter the theatre, we enter a time with no exit. Within a dynamic resonant system, everything appears predetermined, yet at the edges of the body’s architecture cracks begin to emerge: moments of freedom and human connection. Milan Tomášik’s choreography, in dialogue with Alfonso Peduto’s piano composition Binary Data, affirms solitude as one of the key sources of creative evolution and explores how, within a resonant system, solitude is not a lack but a qualitatively different experience of being. Small affective shifts within the bodies set the whole into motion; barely perceptible slips trigger chains of unpredictable transformations. Sometimes they reveal themselves in an instant, other times we recognize them only in retrospect, once they have irreversibly reshaped our space and our possibilities. Binary Resonance is a collection of micro-revolutions that accumulate, intensify, and ultimately collide in a sudden rupture that places the world in a new perspective. What is the body capable of when it recognizes the forces that shape it and begins to co-create with them?
Trailer
Reviews & Critical Responses
“The high level of commitment from the dancers and the exciting choices made in their physical connections is compelling. While building fleeting scenes of familiar human communication, the persistence and unrelenting drive in the choreography reminded me of the brave spirit of people living in war zones. Binary Resonanceleaves one with stirring images and a true purpose of what dance can manifest as an embodied art form.”
Liz King
“Binarna resonanca zdirja po žilah in napoji s soljo teles, ki izpuhteva v zrak med silovitim, virtuoznim plesom. Radodarno deli kinestetični ogenj v zameno za pozornost, hvaležnost in čudenje nad človeško močjo, ki, ko se spusti z vajeti, ni nujno uničujoča, temveč je zmožna prepletanja, usklajevanja in oblikovanja skupnega. Če ji dovolimo, zarezgeta po kosteh, da iz dvorane stopimo bolj živi in budni.”
Tina Valentan
“Binarna resonanca deluje kot vibrirajoči izrez trenutkov, v katerih se zdi, da je mogoče prav vse; ko lahko vsako sekundo hkrati uzreš del in celoto, posameznika in skupino, glasbo in tišino, gib in mirovanje, svetlobo in temo. Enkratno doživetje, čisti užitek in zavezanost k esenci plesa. Predstava Binarna Resonanca prevzame z natančno strukturo in uigrano gibalno močjo – kot vibrirajoče (re)akcije v hipnotičnem ritmu mikro (r)evolucij.“
Andreja Kopač
“Po premieri Mozartove Ugrabitve iz seraja leta 1782 naj bi sveti rimski cesar Jožef II. spevoigro pokritiziral z danes znamenito pripombo, da vsebuje preveč not, Mozart pa naj bi mu odvrnil, da jih je natanko toliko, kolikor jih je treba. Te anekdote, ovekovečene tudi v Formanovem Amadeusu, sem se spomnil ob ogledu Tomášikove najnovejše plesne predstave za šest plesalk_ Binarna resonanca, ki bi jo skoraj lahko označili za predstavo s preveč gibi, a je slednjih natanko toliko, kolikor jih mora biti.”
Metod Zupan, 22. 6. 2026, Si gledal
Gallery
