| Abstract | Otočka samoća pokretačka je točka mojeg umjetničkog istraživanja koje je rezultiralo predstavom Otok sam. Proučavanjem otočkih navika pokušala sam pronaći mogućnosti otjelovljenja istih. Promišljala sam kako kazališno uprizoriti otočke teme, kako publiku solidarizirati s otočkim životom i kako ih uvesti u atmosfere koje vladaju otokom. Koji put izabrati da publika zaroni u predstavu i otkrije svoj otok? Sama dvoznačnost naslova predstave Otok sam pruža publici mogućnost preispitivanja svog otoka, sebstva ili osluškivanja otočke samoće. Nakon stvaranja i napuštanja brojnih performativnih rješenja izniklih iz improvizacijskih i glumačkih zadataka, uslijedilo je dramaturško kolažiranje svega učinjenog. Spajanjem zvučnih etida koje su glazbenici proizveli po istom improvizacijskom ključu na temu otočkih raspoloženja i već ranije kreiranih izvedbenih etida dogodila se sinergija koja je nužno promijenila inicijalno postavljen izvedbeni pravac. Zaključno, nakon cijelog umjetničkog procesa dogodila se atmosferska predstava provučena kroz četiri godišnja doba jednog otoka u kojoj zajedno s glazbenicima balansiram između emocije i situacije. Publika je, s druge strane, pozvana na predstavu, na gledanje jednog izvedbenog komada, no, suštinska je intencija poziv gledatelju da nakratko posjeti otok i napusti ga razmišljajući o viđenim simboličkim narativima, osluškivanjem otoka u sebi. |
| Abstract (english) | The loneliness of the island is the starting point of my artistic research that led to the theatrical performance entitled (I'm) An Island Alone. By studying the island's customs, I attempted to find ways to embody them. I thought about how to stage the island's themes theatrically, how to make the audience sympathise with the life that reigns there as well as introducing the viewer to the island's atmosphere. Which way to choose for the audience to immerse themselves in the performance and discover their own island? The very ambiguity of the play's title, (I'm) An Island Alone, offers the audience the opportunity to question their own island, to themselves or to listen to the loneliness of the island. After the creation and abandonment of numerous performative solutions from improvisational and acting tasks, it followed the dramaturgical collage of all that has been done. By combining the sound etudes produced by the musicians in the same improvisational key on the theme of island moods and the previously created performance etudes, a synergy occurred that necessarily altered the initially set performance direction. In conclusion, after the entire artistic process, there followed an atmospheric performance throughout the four seasons of an island, where together with the musicians I experienced a balance of emotion and situation. The audience, on the other hand, is invited to the show, to watch a performance piece, but the essential intention is to invite the viewer to briefly visit the island and leave it thinking about the symbolic narratives they have seen, listening to the island in themselves. KEYWORDS island, solitude, |
