Critic 1

In spite of safety and comfort: Perforations Festival round up by Maura Donohue

Nov 29, 2017 New York

Jasna L. Vinovrški’s Staying Alive, in the Experimental Theater of the Abrons Arts Center, used a migrating book – passed among the audience members – to lightly focus us on the perils of romanticized pasts and a fraught present. Near the beginning of the book, Walter Benjamin’s “Theses on the Philosophy of History” is quoted: _The tradition of the oppressed teaches us that the “state of emergency” in which we live is not the exception but the rule._Vinovrški’s welcomingly pleasant demeanor masks the underlying crisis that unfolds in her evolving tasks. And while, most audience members probably missed the Benjamin reference – many were watched by the rest of the audience while trying to fan through the pages as Vinovrški commented on the book’s border crossings from hand to hand – the framing of the performance work against this critique of historicism was pitch perfect. Benjamin’s final and controversial essay has fed my own previous performance struggles with fixed notions of time. But Vinovrški portrays Klee’s_Angleus Novus (_as described by Benjamin in his “Theses” as the angel of history), like a beleaguered press secretary facing the assault of progress in the midst of ridiculous accumulating responsibilities. There she is systematically increasing the speed as she repeats seemingly simple movement sequences, in pantyhose and with choreographed eye scans, and then adding the balancing of an iPad (the digital metronome) on her head while gliding high on the balls of her feet, or balancing the iPad and reading on top of a stack of books… none of it sounds astounding but the effort of keeping up and staying “alive” strengthened in resonance throughout the piece. That she also sang and danced to the Bee Gees also helped delight and distract us from the highly technical elements of her perfect execution. As an artist who grew up in Zagreb, Croatia but who has lived and worked abroad since the disintegration of Yugoslavia, she effectively amplified the absurdity of endlessly precarious battles for survival amidst unrelentingly mundane circumstances, and yet the hint of enormous historic atrocities was passed among us like neighboring countries. https://www.culturebot.org/2017/11/27882/in-spite-of-safety-and-comfort-perforations-festival-round-up/

Critic 2

Dance week festival Zagreb by Una Bauer (HR)

Staying Alive communicates different experience of vulnerability, that is present as a contrast between the loss of balance on a piled books and obsessive, repetitive, accelerating form that deals with the issue of the control over the migrant bodies in literally partnership with personal technological device - the tablet. ….Staying Alive is a funny, because Jasna Vinovrški assumes the role of soft-strict Hostess /flight stewardess in her own show, but the piece has none of cynicism, or a need to distance itself from its own exposure, neither the naive fantasy of no conflict multiculturalism. It talks about new quality of the existences’ power in motion.

**Critic 3 **

Springback Aerowaves review by Donald Hutera (UK)

Jasna Vinovrski welcomes us in neat suit and heels. She’s a bureaucrat with a difference – warm, deceptively self-deprecatory, immediately charming. As we’re informed in the opening moments of Staying Alive, Vinovrski’s chief creative collaborators on this smartly askew investigation of the meanings of migration were a book (passed around but never reaching me in time) and an iPad. The latter is both partner-like prop and time-piece as she tiptoes through genre variations in an increasingly speedy line dance. Eventually Vinovrksi ditches her heels to perch precariously atop a stack of books carefully selected for their titles (the words Moral and Revolution stuck out), and to recite in various languages words like constitution, institution, obligation and transformation. The lyrics of the Bee Gees’ famous title anthem play a key role in what shapes up into a delightfully modest, smartly conceived and topical solo.

http://aerowaves.org/springback/reviews/article/staying-alive

**Critic 4 **

Springback Aerowaves review Francesca Pinder (UK)

In Staying Alive, Public in Private’s Jasna L. Vinorski and her so- called collaborators - a book and an electronic tablet - tackle the topical debate of migration. In a humble demonstration of migration and community the book is handed to the audience for us to touch, read and pass to each other. Meanwhile Vinovrski plays experimentally with the tablet, investigating the difficulties posed by maintaining and removing “eye contact” with it. What follows is a tiptoed line dance of sorts, accompanied by the bleeping device and the Bee Gees’ classic, Stayin’ Alive. With images of her b- boying in a pencil skirt and shimmying around the space Pink Panther-style, Staying Alive is both amusing and heart-felt. To quote the Bee Gees: “Whether you’re a brother or whether you’re a mother” it’s a safe bet that you’d be glad to have seen this. http://aerowaves.org/springback/reviews/article/staying-alive

JASNA LAYES VINOVRŠKI – MIGRACIJA I SUSTAVI KONTROLE

Što su to migracijska tijela? (4)

  • Staying Alive, autorica: Jasna Layes Vinovrški, foto: Facebook Migrant Bodies

    Za razliku od Alessandra Sciarronija koji je promišljao migraciju kao kretanje, hrvatsku umjetnicu Jasnu Layes Vinovrški u predstavi_Staying Alive _zanimalo je pitanje selidbe te kako sustavi kontrole uvjetuju migracijska kretanja. Htjela sam se fokusirati na pravila i zakone. Zanimao me proces njihova donošenja te kako migracije utječu na ekonomski, kulturni i socijalni razvoj pojedinih zemalja. Sustavi kontrole isti su u svakoj zemlji, bez obzira na to koliko se one po svemu drugome razlikuju. U mnogim zemljama pravni sustavi su podložni manipulaciji i korupciji, mnogo toga se obavlja ‘ispod stola’. Zato sam odlučila odjenuti kostim pravnice, to jest osobe koja ima sve pod kontrolom i koja predstavlja zakon. Htjela sam publici približiti procese pravosuđa i zakonodavstva.

    Staying Alive, autorica: Jasna Layes Vinovrški, foto: Facebook Migrant BodiesNa kraju predstave stojim na nestabilnoj hrpi knjiga, u svakom trenutku mogu pasti i borim se održati ravnotežu. To je prava situacija u kojoj je prisutna prezentnost, dok istovremeno igram reprezentaciju. Upravo pitanja prezentnosti i reprezentacije me u plesnom izrazu najviše i zanimaju. Zato sam odlučila spojiti fizički napor koji je u trenutku izvedbe stvaran i koji publika zajedno sa mnom proživljava, s tekstom koji je napisan u reprezentativne svrhe. Na engleskom, njemačkom, francuskom i hrvatskom izgovaram pojmove kao što su nacija, migracija, reprezentacija, interpretacija, getoizacija… Govorim na sva četiri jezika jer su to jezici kojima se služim u svakodnevnom životu. Živim između Berlina i Zagreba, većinom u Berlinu. Kad se probudim, s kćeri razgovaram na hrvatskom, a sa suprugom na francuskom, kad izađem na ulicu okružena sam njemačkim jezikom, a kad dođem na probe razgovaramo na engleskom. Svaki dan govorim četiri jezika i to je također pitanje migracije. Na početku projekta dosta sam se bavila jezikom. Jezik je velika barijera, ali i ulaznica za razumijevanje neke kulture i društva. Jezik je vrlo važan u migracijskim procesima – zato je on neizostavni dio moje predstave. Lik pravnice izgovara navedene riječi kao da ih tek uči. Kad dolazimo u neku stranu zemlju, osjećamo se poput djeteta jer nemamo znanje jezika koje nam omogućava da se integriramo i asimiliramo. Zato moja pravnica ima podučavateljski ton, a zapravo je cijelo vrijeme u nesigurnosti. Zanimalo me kako mogu povezati te dvije stvari i kako mogu proizvesti stanje nesigurnosti. Walter Benjamin govori da je izvanredno stanje svako stanje u kojemu nemamo kontrolu, a takva stanja više nisu izuzetak. Postala su pravilo. Nesigurna stanja proizvode se s namjerom stvaranja ekonomskih dobitaka. Zanimalo me kako to mogu postići u izvedbenom obliku.“



    Povratak u početnu točku
    Staying Alive, autorica: Jasna Layes Vinovrški, foto: Facebook Migrant Bodies
    Projekt _Migrant Bodies _završio je početkom srpnja tamo gdje je prije dvije godine počeo – u talijanskom gradu Bassano del Grappa, gdje se održala međunarodna konferencija na temu migracija. U tom partnerskom projektu sudjelovali su Comune di Bassano del Grappa iz Italije, La Briqueterie – Centre de dévelopement chorégraphique du Val de Marne iz Francuske, Circuit-Est centre chorégraphique iz Quebeca, The Dance Centre iz Britanske Kolumbije te Hrvatski institut za pokret i ples. Migracijskim se temama naši plesni umjetnici vrlo rijetko bave, no voditeljica HIPP-a Mirna Žagar misli da val tih tema tek dolazi. „Ta je tema za nas vrlo važna, makar je mnogi ne prepoznaju. Mi smo zemlja emigranata, a kao dio Europske unije Hrvatska sudjeluje u rješavanju problema oko smještaja imigranata. Zato mislim da je to vrlo aktualno i bit će sve aktualnije.“

    © Katarina Kolega, PLESNASCENA.hr, 21. listopada 2015.