Jasna Layes Vinovrški is a regular guest of the Dance Week, local audiences are well known to the author by the professional development of the Croatian took him to Germany, where he still lives and where, together with Clement Layes founded group Public in Private. Their previous work that we have seen developing in Croatia humorous approach as inspiration in everyday social situations or specific performance limits. Recall the projects under construction in which the dancers selected to set up the task of memorizing the choreography is practically a day or two before the performance, choreography, and was also the memory of her own dancing, and Which Club? which deals with the relationship between the individual and the bureaucratic system. This time we saw the show Live to Tape, and still moving talkshow, which indicates the full breadth and diversity of approaches in contemporary dance choreography that not only as composing bodies in space, rather than reaching for example, spoken language and linguistic forms that can reflect choreography, as seen in several recent papers on the Croatian dance scene like I am in 1984 and Tracks Barbara Matijevic and Giuseppe Chico or solitary confinement cells Matija Ferlin. In the case of the 29th Layes Vinovrški Dance Week Festival, examines the pattern of talking heads and guests live in front of an audience as the format and form of mediatized reality TV entertainment whose spontaneity is actually strictly directed. The audience in the play put in the position of the audience that comes to shooting talkshow, seated in a circle around the area for contractors, which itself becomes part of the performance. In the annular space of the inputs and outputs from it two main performers Isabel Lewis and Martin Clausen alternating leadership role of the host and the guest, with all the accompanying distinctive backdrop like a camera circling around the stage, playing live for short breaks or advertising credits, animating and interact with the audience in his opening welcome speech, reloaded applause and laughter, and directing that behind the scenes dictating the pace and the whole setting. Performers sit on two chairs in the center of the circle, and with each new ringtones from directing nervously shifting their position. Their conversation is superficial, focused on all personal and intimate questions, and his already trivial content is subordinate to the minutes, which does not allow complete mind because the form and the team is always more important than the content, the media follows the imperative of good-conversion cost more than authenticity. Feigned spontaneity is apparent in just moments that are normally not acceptable on television, during breaks, the rupture of which direction is deleted, when we look at the record of behavior and conversation leaders and guests, when the lights go out. It was a time that theater as a medium different from television (and other contemporary media broker) and make it more interesting and more human. With this material, the show gradually built Vinovrški putting emphasis on the break illusions: failed materials, stopping and repetitions, pauses, awkward silences and confused guests. The highlight is the moment where Martin Clausen appears in a green suit covering his entire body and face, turning it into an object manipulation head left. From the center of the circle they are increasingly moving to the spectators, and the breaks are moving around a bit frantic scene, entering in the intimate space of the audience. Brilliant performers Isabel Lewis and Martin Clausen furnished excellent balance between poses and unsafe natural, human reaction, both spoken and gestualnoj, and on the physical level. Live to tape the show, and still moving talkshow clear Layes Vinovrški creatively taking existing media format, pulls it out of context in his famous theater and ga it deftly countered, to remind the illusion and so attractive spectacles in which daily run.
© Jelena Mihelcic, DANCE SCENA.hr, 26 May 2012.