En–Knap & Maja Delak

Gina & Miovanni

#earlier en–knap works#co-productions

1999

When Mina Loy published her first poetry collection in Paris in the twenties, no one believed that she was not a fictional character. Years later, when literary critics took her forgotten poetry under their magnifying glass, they wondered whether the words she used in her work were invented or perhaps just written in a less than perfect grammar. Her life and poetry were an unusual collage of emigration, forgotten identities, different emotional states and impulses, lost spaces, subtle perceptions on the evolution of new arts and of the intricate universal and individual enigmas. These enigmas of the real or imaginary body, on the content of inner movement of thoughts and associations, and outer expression of the bodily movement, of communication with fellow human beings and the world, can also be found in the pulsation of Gina and Miovanni`s dancing duet.

Narration in written poetry and dance in the performing arts is very similar in form. Even my notes for the Manifestation of the Introvert, my choreography sketches, looked like poetry. It was important to me to find a new source in movement. You must have some fundamental training as a dancer to be able to venture into creating the movement, but there are so many ways of doing it, so many different methodological ways of approaching it, and this is also a kind of training which dancers can get at many schools and seminars. To me, what counts is in the content you  put in the form, that is the difference. In a way, Mina Loy is the anima of bodily movement in this performance. I have traslated her poems as associations and rhythm, different poetics. Movement was instantly defined with the content and then undefined in Andrea's response and mine, as we poured our own experience into it.

Maja Delak

press

Gina & Miovanni is well-conceived dance miniature in terms of choreography and concept, with many movement and acting details.«

Mojca Kumerdej, Delo

Every fibre of Delak’s body and soul is infused with artistic endeavour; therefore, the spectator’s conscience experiences the passion of a woman and dancer shivering with devotion to the character she embodies. Her performance is undoubtedly moving; various sensations and shivering of the soul are given with intensity, but above all one is touched by the extreme essence of her steps and motion. Now they are prompt, convulsive and nervous, then again soft and sensual, undeniably original, although full of classical beauty which is precisely modulated by the changeable touch of different ways and directions.

Marina Rossi, La Provincia Pavese

If Gina & Miovanni wants to be a story of opposite principles, of the so often overplayed dichotomy between two different, but immensely compatible, existences, then it is not successful in this. The dramaturgy is too fragmented, as the scenography, the music, and the both characters, for this to be a contribution to the above altar. But if it seeks to push comments with all their age-old conservatism into the background, so to speak into parentheses, to be able to speak about something else in the foreground, the apparent fragmented character of all levels then takes on a completely different meaning.

Anja Golob, Večer

bio

Maja Delak is a choreographer and dancer. She studied contemporary dance at CNDC L’Esquisse in Angers, France, and at numerous dance seminars, lead by internationally renowned pedagogues. She was, from 1993 to 2002, a member of the international dance group En-Knap, and a programme leader of the realization of a high school programme for contemporary dance, provided for at the Pre-School Education and Grammar School Ljubljana. In her choreographic opus, Maja Delak has traversed numerous worlds, which – despite the different themes and approaches to work – whirl into an anchorage of the author’s dance and performative poetics, with which she is making a clearer and clearer definition of the methodologies of contemporary art and dance. In 2006, Maja Delak established institute EMANAT, with which she aims for the affirmation of contemporary dance – both with performance production as well as with a book programme (Transitions series) and education (variety of research and educational projects). In 2010 she won the Prešeren Fund Award, the highest recognition for achievements in the field of art in the Republic of Slovenia.

credits

Concept and choreography Maja Delak

Performed by Maja Delak, Andrea Ruberti

Dramaturgy and text Irena Štaudohar 

Set design Marko Peljhan 

Construction Marjan Lipičar 

Light design Marko Peljhan, Jaka Šimenc 

Costume design Pletilni studio Draž 

Soundscape and music (recording) Studio Microlab (Klemenčič, Zemljič, Peljhan).

Sound sources Marij Kogoj, Andantino Cantabile; Marcel Duchamp, La Mariée mise à nu par ses célibataires, même; Alvin Curran, From a Room on the Piazza (from Songs and Views of the Magic Garden).

Light technician Jaka Šimenc 

Audio technician Damjan Delak

Photography Žiga Koritnik 

Design Špela Colja 

Executive production Marija Skodlar

 

Production En–Knap Productions

Co-production Cankarjev Dom

With support: Ministry of Culture of the Republic of Slovenia, Municipality of Ljubljana - Department for Culture