Choregie aka Choregie International Festival of Music Theatre
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|Country and Region||Slovenia — Podravje|
|Type of Festival||Dance, Drama, Music|
|Location of Festival||Maribor, Podravje, Slovenia|
|Festival Contact Information|
Choregie - New Music Theatre
“…AMAZINGLY…PURELY…AMUSINGLY…INVENTIVLY…DREAMLY…DEJA VU…” —Choregie festival introduces innovative programming which explores works of different genres in the field of new music theatre, breaks down boundaries between art disciplines, opens up thoughts, perception and experience. By “new music theatre” we mean performances, which demonstrate a new development in the art form of music theatre when it is not opera, operetta or musical. Festival is open to experimental productions that expand the frontiers of the genre, as long as they can be seen as music theatre.
Choregie festival is a space for meetings and the exchanging of experience among various Slovene and international artists which at the same time develops theoretical thought about what music theatre actually is. Choregie is noted for its innovative programming which explores works from the forefronts of contemporary and early music scene. Choregie creates performances that thrive at the intersection of music and movement, sound and light, image and object, in an effort to discover and weave together new modes of perception.
Choregie opens up new spaces of expression and brings freshness, persuasiveness, intensity of experience and communication into the world of music. Choregie is an artform that breaks down boundaries between disciplines, opens up thoughts, perception and experience. Choregie performance is not a mixture of different art forms. Choregie is a form unto itself. Choregie is an artform which seeks to reestablish the unity existing in music and theatre.
|Festival Dates||January 8 - 13, 2012|
- January 8, 2012 — 18.00, Union, Maribor Slovenia
- OPENING OF THE FESTIVAL
- 19.00 WOMEN’S DELIGHTS
—Author: Belinda Radulović
- January 8, 2012 — 19.00 Union Hall, Maribor, Slovenia
- ORIANA concert
Musica Cubicularis — Theresa Dlouhy, soprano Joel Frederiksen, bass and renaissance lute Domen Marinčič, viola da gamba Tomaž Sevšek, harpsichord (or. virginal)
—Concept and material: Anja Jerčič
—Realization: Mladen Stropnik
—Music: John Dowland, William Byrd, John Bull, Thomas Campion, Tobias Hume, Anonymous
England was young again in the reign of Elizabeth I. (1533–1603). Many of England’s greatest playwrights were active at the time, including Marlowe, Jonson and Shakespeare. Sir Francis Drake sailed around the globe, Francis Bacon laid out his philosophical and political views, discoveries in the New World fired men’s imagination and England’s pride in her growing power of self-expression. The never-ending religious controversies acted as a leaven in men’s minds. Music’s growth in social importance and the artistic excellence it attained in the Elizabethan era closely paralleled that of literature. Elizabeth herself was a good musician and played the lute and the virginal. The chief developments of her musical age were its secular music for voices and instrumental virtuosity. Only one collection of madrigals was printed in England prior to the appearance of Byrd’s first set in 1588. Before 1600, twenty sets had been published. The first English ayres, by Dowland, appeared in 1597 and the genre quickly became one of the most popular music forms. Melancholy is typical for a large part of Elizabethan music but the four specialist performers combine period instruments with a contemporary video projection and create their own image of the period with a varied programme of song of war and love, traditional renaissance ballads, instrumental variations and dances.
- ORIANA concert
- January 9, 2012 — 19.00 Union Hall, Maribor, Slovenia
- WHO’D HAVE THOUGHT THAT SNOW FALLS,
—Artistic direction and Performative Innstalation: Jovana Popić
—Animation direction: Predrag Milosevic
—Performers: Ula Šegula, Mojca Potrč, Zvezdana Novakovič
In reflecting on the festival theme “Like a Virgin” the artist is especially drawn to the implications of the word “like” and the issue of identity with regard to two of the title’s reference points - Madonna and Morton Feldman. What does identity mean today and how is it established and manipulated through contemporary tools and cultural tendencies? Based on the idea that many identities within one personality exist simultaneous, Popic shows, that they are connected, but at other times you cannot see the connection between those multiple identities of any given individual. In today’s ever-changing and increasingly demanding world, we are forced to define ourselves anew. Also we are on a constant search to better define ourselves, to locate a root or essence as we attempt to realize who we really are and what are we searching for. In contrast to this search for an essence, there are many who manufacture an identity to promote their interests in achieving a level of social or economic success. They invent an image of themselves, as based on socially understandable and accepted signs that for example represent power and control upon the others. They all belong to the world in which they are “like” a Virgin but not a real Virgin. It is the world of Madonna, who stands for the symbol of todays “society of constructed images”, while constantly playing with her identities. Compared to Madonna, Morton Feldman was a genuine artist, and a clear thinker. He was living his life trying to be himself, without taking much care what the others are going to think. He was the true searcher of his identity in the field of art and in his personality. These are two contrasting searches for the multiple identities. On the one hand, we have the characters with their constructed, socially ruling images of them, and on the other, we have someone like Morton Feldman, a true artist, the inner searcher of his hidden personal identities. Jovana Popic´s performative installation will deal with the question of the identity of both groups. On its surface, its form is a kind of a funny, burlesque artistic performance. Beneath the surface, the piece displays the multiple identities of the both groups and also investigates the relations between those two groups of searchers.
- WHO’D HAVE THOUGHT THAT SNOW FALLS, Morton Feldman
- January 10, 2012 — 19.00 Union Hall, Maribor, Slovenia
- LA LICORNE DE LA VIERGE — a musical scene event
—Author of the project and music directive: Izidor Leitinger, Izidor Leitinger, Nathalie Pubellier, Sibille Planques, Luka Jamnik, Sašo Volmajer
Only a young virgin can tame the powerful, restless and uncontrollable unicorn, when it finds her, and lays his head in to her lap. Somehow ambiguous relation between them, creates gentleness, calm, desire, passion, finesse, but also tension, alert, awakens and strength, if the virgin is being used by the hunters in order to get in possession of the unicorn. The Virgin’s Unicorn is a performance treating the above mentioned relations through subtle communication in between dance, movement, voices and instruments in various interactive combinations, creating the possible atmosphere for the existence of the mythological couple. The performance is being divided in to six uncut scenes, inspired by the Flemish medieval tapestry composition “La dame à la licorne” from the late 15th century, made of six individual tapestries named: “taste”, “hearing”, “sight”, “smell”, “touch” and “to my only desire’”.
- LA LICORNE DE LA VIERGE — a musical scene event
12 and 13, 2012 — 19.00, Union Hall, Maribor, Slovenia
Is There One Who Would Not Weep
Stage concert in 14 tableaux
—Author of the project: Karmina Šilec
Eia mater, fons amoris! – Hail, mother, source of love! Man surmounts death, the unthinkable, by postulating instead – in the stead and place of thought as well as death – maternal love. That love, of which divine love will be no more than a not always convincing derivative, mother love as the primitive shelter that guarantees the survival. The representation of the maternal is established on the site of that tempered anguish known as love. A meditation inspired by the suffering of Mary, Jesus’s mother, during his crucifixion, and by the medieval text The Sorrowful Mother Stood. Performing: Carmina Slovenica, Slovenian Chamber Choir, Sabina Cvilak, Bernhard Landauer, Jožica Avbelj, Olga Kacjan, Musica Cubicularis, Bernarda Bobro, Karmen Pečar, Marko Hatlak etc.
—Music: G. P. Pergolesi, J. S. Bach, J. Cooper, A. Vivaldi, P. Vasks, G. Bryars, K. Šilec
—Production: Carmina Slovenica Co – production: EPK 2012, Cankarjev dom, Slovenian Philharmonic
—Performances: January 12, 2012, festival Choregie aka Choregie, Maribor; premiere January 13, 2012, festival Choregie aka Choregie, Maribor 21st and 22nd of January, Cankarjev dom, Ljubljana
- PLACEBO Is There One Who Would Not Weep Stage concert in 14 tableaux
- Festival Choregie aka Choregie 2011 (trailer)
- CHOREGIE a.k.a. CHOREGIE International New Music Theatre Festival 2010 (trailer)
Photo slideshow credits:
- In order of appearance…
- 2012 Festival poster
- Oriana Musica Cubucularis
- Who’d Have Thought That Snow Falls