TECHNIQUE. According to “Dictionary of Foreign Words” by Vjekoslav Klaić it refers to „ knowledge and tools used in production, or a set of methods applied in any work, art or craft as well as the capability of mastering these methods.“ Technique is a skill, mastery, ability, resource, method, procedure.
The performers in this show use different media in their work. Their practices and skills have very different origin. However, when asked about their performing technique, they reply in a similar way: „Technique is something we constantly rediscover on a very subtle level of expression. It becomes a part of ourselves, of our expression and of our everyday life, even when we try to ignore or deny it. Without a clear context in which we use a certain technique or without being inspired by a particular performance, technique is reduced to meaningless technicizing.“
„Technique“ was a starting point for this show. Its complexity might inspire the spectator to watch the contemporary dance performance from a different angle than before.
The question that remains is: “Which technique should be used for creating a performance today?“

Irma Omerzo
Zrika Užbinec
Pravdan Devlahović
Davorka Horvat
Bojan Gagić
missing for technical reasons
missing for technical reasons
missing for technical reasons
missing for technical reasons
missing for technical reasons
missing for technical reasons
missing for technical reasons
Jasenko Rasol
MARMOT, 2011
Hrvatski institut za pokret i ples
Ministry of Culture of the Republic of Croatia
Zagreb City Office for Education, Culture and Sports

The funding for the Independent Cultural Scene, including the entire Contemporary Dance production, has been drastically reduced for the past two years as a consequence of general situation in the city as well as in the whole country.
After 12 years of my artistic presence at the Croatian Contemporary Dance scene and after having received international recognition, I’ve witnessed the threat of disappearance of the entire contemporary dance scene in Croatia together with most of my colleagues.
From this year’s production I’ve omitted most elements that are often part of a dance performance. (If this kind of „support“ continues, I guess that in the next production I’ll be forced to omit the performers, too.)
Working in these conditions opens up questions like: „ How can one be self-consistent and keep up one’s own standards? What is the right way to show that this kind of financing is not supporting but rather suppressing the development of the scene? How can I continue to do what I can, like and want to do? “
Out of respect for the audience, who need not be concerned with the problems troubling dance as profession, the performance „Technique“ is not a semi-product. If the omitted elements were included in the creation of the piece, it would be a totally different „Technique“. It is impossible to know whether it would be better or not.
Anyway it would be good if the concept of the piece could be decided by its author and not, almost always, by some force majeure!
This performance is dedicated to my colleagues and theatre technicians in France who are to be ‘blamed’ for my passion for theatre.
Irma Omerzo