En–Knap & Iztok Kovač

My Kingdom for a Horse

#en–knap group's repertoire#co-productions

2008

A group of mature performers creates a new choreography each evening, its structure determined by the throw of dice. Carrying with them a shared history and a trust in chance, they encounter the dancers of En–Knap Group, whose energetic, pre-composed sequences act as an unstoppable force of structured order. The audience participates through the use of wireless headsets, contributing to the final shape of the performance. 

My Kingdom for a Horse is rooted in a principle that has informed Iztok Kovač's artistic practice for more than sixteen years. While chance has long functioned as a compositional tool in his work, here it also becomes the central theme of the performance. Through the simple act of throwing dice, Kovač establishes a framework within which different choreographic strategies unfold, constructing an artistic world suspended between unpredictability and structure.

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The performance unfolds in three parts without an intermission. A group of Guests (mature non-dance performers) creates a new choreography each evening through a choreographic system determined by the throw of dice. During the course of the performance, the choreography passes through several stages: from the initial throwing and notation of the dice around a table, to its first individual (invisible but audible) and later collective realisation on stage.

Kovač places the group of Guests within the history of chance in art and in dialogue with a number of seminal artistic works, including Marcel Duchamp's Three Standard Stoppages, Kurt Schwitters' Ursonate, Merce Cunningham's choreographic methods and the phenomenon of Cabaret Voltaire. These are among the earliest examples in modern art to embrace chance as a legitimate artistic procedure. By drawing on this lineage, Kovač invites the audience into the active game of his own "chance operations", which choreograph the stories of his artistic world. At the same time, he revisits his own use of chance through the ideas and practices that shaped its history, allowing these references to converge and generate something new within the Kingdom.

In contrast, En–Knap Group, a company of five energetic dancers, represents forces that seek to transform the existing order and challenge the established Kingdom. Although their motivation echoes the ambition and desire for power found in Shakespeare's Richard III, the performance does not attempt to narrate or interpret the play directly. Instead, it engages with the text on a subtle and almost imperceptible level. In the second part of the performance, the dancers work with fixed choreographic sequences, while towards the end they begin to engage with chance itself as a source of dramaturgical invention and choreographic innovation.

The two groups operate according to fundamentally different principles. The Guests carry with them history and a belief in chance, guided by Nietzsche's concept of amor fati—a complete trust in the choreography constructed and conducted by chance. The dancers of En–Knap Group, by contrast, appear as an unstoppable force of structured intervention, relentless executors of their own strategies and inventions. They embody distance, doubt and a Duchampian playfulness towards chance, which grants them the freedom to shape their own choreographic responses to the situations that emerge within a fixed dramaturgical framework.

The Kingdom is an open field of encounters. At its centre lies an irresolvable tension between those who inhabit the established history of a choreographic system and those who seek change, driven by the urgency of action. The outcome of these encounters remains uncertain. What will happen? How does the story end, and how does it continue? Can reconciliation be restored within the Kingdom? Can something genuinely new emerge? And who, in a world where everything ultimately rests on the throw of the dice, will offer the Kingdom for a horse?

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bio

Iztok Kovač is a choreographer and founder of En–Knap. Following the international success of his solo How I Caught a Falcon (1991), he became one of the key figures in the development of Slovenian contemporary dance. He founded En–Knap Group, Slovenia's first permanent contemporary dance ensemble, and serves as artistic director of both En–Knap and the Španski borci Cultural Centre. His works have toured internationally for more than three decades. Additionally, his artistic practice includes six dance films, international pedagogical work, guest choreography and the direction of major national events in Slovenia. During the Covid period, he initiated Stage360, developing dance works in virtual reality.

credits

Concept Iztok Kovač, Mala Kline

Directed by and choreographed Iztok Kovač

Created and performed by En–Knap Group Gyula Cserepes, Luke Dunne, Katja Legin, Ana Štefanec, Ilkem Ulugün, Marijana Brecelj k.g., Neja Kos k.g., Vasilij Polič k.g., Andrés Valdés k.g., Branko Završan k.g.

Executive producer Marjeta Lavrič

Copyright music Borja Močnik, Miha Klemenčič

Light design Jaka Šimenc

Camera Iztok Kovač

Set design Andreja Zapušek, Damjan Černe

Costume design Belinda Radulović

Sound design Charo Calvo

Sound technician Matej Ocepek

Technical support Miha Zupan

Costume design Vesna Novitović

Text / Editorial Mala Kline, Iztok Kovač

Public relations Lea Dolinšek

Proofreading Špela Frlic

Photography Miha Fras

Graphic design Novi Kolektivizem

 

Production En–Knap Productions

Co-production Cankarjev dom

 

Thanks to Tanja Skok, Matic Turk, Roman Konda, Uršula Berlot, Igor Štromajer, Stefan Doepner, Bojana Kunst, Rok Vevar, Helena Klun, Tomaž Kučer

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