About Festival

age: 12+

trailer: https://www.youtube.com/watch?v=WajR_z0xHe8

The "Horror House Project" trilogy presents the circus artist's view of life and the matter from which life is woven. Existential fringe, politics, desires and dreams are some of the topics he deals with the intention of drawing the viewer into contemporary circus everyday life.

The first part - "Salto Mortale" presents the author's personal view of the art of the circus, as the struggle of man and gravity, sleep and reality, the projection of the mind and bodily limitations, the impossible and possible. "Salto Mortale" tries to conjure up a series of situations from which, through collage text formats, audio-video effects and vertical choreography, the marginal situations of circus artists' work are shown. Through the five stations of this journey, the authors tell some of their own, some of the others and some imaginary stories. They place each story in space and tie it to a prop close to the artist who is the story; mobile home, chest, wall, curtain, rope ...

"Salto Mortale" had its premiere in Zagreb, through 6 consecutive performances in March 2020.

The play will be performed three times in Rijeka, on November 26, 2020, at 19:00, 20:00 and 21:00.

Each of the performances of the play "Horror House Project: "Salto Mortale" is performed for 5 spectators who participate in the play and together with the performers go through all the steps of this play. 

Given the joint stay in a smaller performance space, and in accordance with epidemiological measures to prevent the spread of COVID-19 disease, the group can only consist of people who otherwise socialize, live or work together - family, friends, colleagues, ... Please to follow this rule and act responsibly. 

In addition to the groups "Five friends in the circus" :), each of the performances can be watched by 20 people (acquaintances/strangers) who have the role of "silent observers" in the audience. 

Authors: Jadranka Žinić Mijatović & Nikola Mijatović Bangavi 

Performers: Petra Bokić, Jadranka Žinić Mijatović, Nikola Mijatović Bangavi 

Light / Sound: Jasmin Dasović 

Mobile Home Master: Damien Daille ViVi 

Decorative scenography: Jelena Đanko 

The interior design of a mobile home: Petra Bokić, Jadranka Žinić Mijatović, Nikola Mijatović, Marin Remić 

Illustration / Animation / Painting object: Marin Remić 

Master welder: Maxime Weinmann 

Video collage: Josip Viskovic 

Musical collage: Igor Ivanković 

Graphic design: Route 

Voices in OFF: Iskra and Viktor Mijatović 

Production: Cirkorama 2020 

Horror House Project was supported by Kultura nova Foundation, Ministry of Culture of the Republic of Croatia, Office for Culture of the City of Zagreb, Pogon - Zagreb Center for Independent Culture and Youth through the program Pogonator - the incubator of contemporary dance and theatre 2020.

TICKETS:
Tickets can be purchased at the cash desk at the place of performance an hour before the start of each show.
Ticket price: 40 kn

All programs require prior notice and reservation.

Reservations and ticket information:

e-mail: festival.periskop@gmail.com

Starting from a very concrete performative and visual reference to the cult  Quentin Tarantino movie Kill Bill from 2003., Mia Zalukar and Bruno Isaković create a performative analysis of their own long-term professional relationship,  questioning the hierarchical structures inside the theatre-making process and the  power dynamic between the two, at least in theory, equal partners. In Kill B. Isaković prepares solo for Zalukar, in co-authorship with her, and deliberately builds a dramaturgical framework on the relation between the personal and the symbolic.  Personal as a space of many years of collaboration with his performing partner, and  symbolic as a space for exhausting somewhat ironically read references to one of  the most famous film protagonists of contemporary cinema, behind which a  successful box office, unfortunately, hides a number of irregularities in the  functioning of a specific director-actress relationship.

Created and performed by: Bruno Isaković, Mia Zalukar / Dramaturgy: Vedrana Klepica / Light Design: Saša Fistrić / Audio Design: Hrvoje Nikšić / Graphic Design: Bruno Isaković / Set design and costumes: Zdravka Ivandija Kirigin / Photography: Neven Petrović / Production: Malo Sutra, Coproduction: Domino / Partner: Zagreb dance center / Financial support: Croatian Ministry of Culture / Duration: 55 min 

For the authors of this work, rave culture is a memory from their past, their attempt to feel a part of the community by establishing a connection with the tribe through dance and physicality. Music and the aesthetics of the rave dance movements are a journey, transformation, transcendence and liberation, the recognition of individuality within a group. In the bodies of the authors, rave reverberates like a feeling aroused by sound and rhythm. In their words, „their“ rave is only theirs, and what they share with other people is just the space, not the emotion. This statement is a threat to mutual understanding in general. But by analyzing the feeling that results from the affective body, the performance they have created encourages an exchange of opinions. Thus this solo balances between a parody of vague attempts to explain the phenomenon of rave culture and a serious attempt to plunge into the inner self. The structure and the concept of this piece have been inspired by the work of Joseph Beuys, who is known as a „provocateur“, and his performance „How to Explain Pictures to a Dead Hare“ from 1965. Beuys created art that was not supposed „to be intellectually understood, but felt or looked at intuitively“. That suggests that not everything can be explained. For that reason this solo is motivated by the following questions: How can we explain the feeling of rave? Can a person rave alone? How to convey and explain something individual and inexpressible?

Authors: Aleksandra Mišić, Ognjen Vučinić / Choreographer: Aleksandra Mišić / Performer: Ognjen Vučinić / Assistant director: Filip Povrženić / Music selected by: Aleksandra Mišić, Ognjen Vučinić / Sound designer: Luka Gamulin / Lighting designer: Saša Bogojević / Costume: Ljerka Zmajić / Graphic design: Tihana Šeremet / Production: MASA DANCE COMPANY / Supported by: Mediterranean Dance Center residency program 2019, 36th Dance Week Festival / Financial support: Ministry of Culture of the Republic of Croatia, Zagreb City Office for Culture

After experiencing a physical trauma, the author explores insights into the somatics of the body and psychological narratives arising from healing and recovery processes. Using various methods, he puts the audience in the active position, where the viewer is the one who, driven by his own imagination, moves the performer. The experience of trauma and healing becomes both the subject and the material of the show through improvisation techniques ("situation performances"). The author is taking a cult figure of angel Daniel from Wim Wender's "Wings of Desire" and transforming the space of Export in Rijeka to Berlin in the 80s. The performance represents an aspiration to expand the possibilities and tools of improvisation beyond the realm of movement and, at the same time, to keep the performance/situation physical (dance). The whole process can escape the usual impro-dance format, but the author believes in his nature that intuitively translates ideas into his own choreographic language.

Person / performer in the situation: Žak Valenta / Venue: Export on the Delta / Duration: 50 min / Production: TRAFIK, Museum of Contemporary Art Zagreb, Improspekcija Festival Zagreb / Financial support: Ministry of Culture and Media of the Republic of Croatia, Primorje-Gorski Kotar County

Water splashes, wine is drunk and spilled and there is never any land in sight. Two strong women drift on the high seas in the remains of what may once have been a ship. They are on an odyssey. Like castaways in their own inner lives, they travel as a pair, but ultimately, each of them remains lonely and by herself. Simone Aughterlony, originally from New Zealand, and Croatian dancer Petra Hrašćanec, are drifting on the waves of tough times. Tangled ropes, canvas, a bull’s skull, bones and ram horns accompany them on their expedition inspired by Homer’s Odyssey and the novel trilogy The Notebook, The Proof and The Third Lie by Ágota Kristóf. To live music by Hahn Rowe, they dance and sway, undergo transformations and, in passing, create a metaphor for Europe in its current, troubled state. Maybe the two of them are not sailors after all, but perhaps their desire is an inquiring way of being. The violet light of frenetic dancing splits the magnetic field. Take off the wet clothes; sweeten the salt with freshly sucked blood. Give, take, reject and leave...

Created by: Simone Aughterlony, Petra Hrašćanec, Saša Božić / Performed by: Simone Aughterlony, Petra Hrašćanec / Dramaturgy: Saša Božić / Music: Hahn Rowe / Set and costume design: Ana Savić-Gecan / Light design: Bruno Pocheron / Photography: Ivica Ivčević, Damir Žižić, Renato Mangolin / Produced by: 21:21 and de facto theatre group / Co-produced by: Simone Aughterlony, Verein für Allgemeines Wohl, Studentski centar u Zagrebu – Kultura promjene – Teatar &TD via apap-Performing Europe 2020, International Coproduction Fund of the Goethe-Institut / Project is realized with the support: City of Zagreb, Ministry of Culture Croatia, International co-production fund Goethe-Institute, Stadt Zürich Kultur, Kanton Zürich Fachstelle Kultur, Swiss artistic fund Pro Helvetia and Creative Europe Program / Special thanks to: Emily Wilson, Petra Šoštaric, Gessnerallee Zurich

This program is part of the project Rijeka 2020 - European Capital of Culture.

Simone Aughterlony is an independent artist based and supported in Zurich and Berlin, working predominantly in dance and performance contexts. Over more than decade, Simone she has been devising and producing choreographic works. As a performer she has worked with artists such as Meg Stuart/Damaged Goods, Forced Entertainment and Jorge León, Phil Hayes amongst others. Her works playfully compose with representation and its saturation, seeping into and embracing the phenomenology of mis-recognition and the absurd.

This program is part of the project Rijeka 2020 - European Capital of Culture.

Movement, d. T. Bilankov / CRO

In Croatian factories and plants which have gone bankrupt in the last couple of years due to recession, enter various performers who present the destiny of former employees through dance choreography and scene movement and also through the dynamic of their own perception, they open new worlds using their spatial visualization and its context.

Director: Tamara BIlankov / Image and sound editor: Igor Dropuljić / Sound and music design: Igor Dropuljić / Sound cameramen: Igor Dropuljić, Jan Tomić / Photography director: Jure Cukar / Camera: Jure Cukar, Toni Mijač / Performers: Nela Sisarić, Alen Celic, Romano Dautanac / Mentor: prof. Slobodan Jokic / Production: Arts Academy of the University of Split / Duration: 10'24 ''

Contrada, d. M.Debeljuh / CRO

Contrada is an experimental video collaboration with the contemporary dancer Roberta Milevoj. It attempts to connect the elements of dance and movement in a natural forest environment. The camera records a new interpretation of the body, where the focus is on the human being and his relationship with the environment – on the individual confronting the natural world. Here, through the art of dance, the need for non-linear stories is expressed. It has its roots in nature, from which the choreography draws its inspiration, and ultimately finds a new form of expression through dance.

Director: Matija Debeljuh / Screenplay: Matija Debeljuh, Roberta Milevoj / Cinematography: Matija Debeljuh / Editing: Matija Debeljuh / Music: Tamara Obrovac / Sound Design: Matija Debeljuh, Roberta Milevoj, Tamara Obrovac / Dancer: Roberta Milevoj / Producer: Matija Debeljuh / Duration: 11'06"

Pierottijeva 11, Škvadra / CRO

Pierottijeva 11 represents one form of reaction from art organisation Škvadra to the current events in Zagreb city. Lack of work places and shutting down areas of urban and street culture, unclear and illogical political decisions which have major impact on us as young artists along with recent unfortunate events that shook the city such as covid-19 outbreak and earthquakes emphasized already existing problems... AKC Medika is one of that kind of urban place where artists meet, create and share art ideas, but it seems like it will soon disappear because of lack of government support. 

Choreography and performance: Anđela Bugarija, Marta Habulin, Ema Kani, Ema Crnić, Eva Kocić, Gendis Putri Kartini, Una Štalcar-Furač, Šimun Stankov, Margareta Firinger / Music: Ana Kovačić, Karlo Lugarić, Luka Čapeta / Camera and editing: Karla Kocić, Roland Rostohar / Production: UO Škvadra (in collaboration with AKC Medika) / Duration: 14'35''

Contortion is a circus art of extreme flexibility: its performers are popularly known as “the rubber people”. The workshop is designed to show and practice both basic and advanced exercises of frontbending, backbending, and oversplit, which increase the flexibility of shoulders, pelvis, hips, and the upper, middle and lower back, as well as strengthen muscles and tendons in the legs. The number of participants is limited to 8, the participation fee for a two-day workshop is 200 kn. 

Antea Vrdoljak is a member of the contemporary circus collective ROOM 100 from Split, which specializes in an unusual mix of circus and dance techniques based on gymnastics and yoga. Antea has been attending contortion classes since 2017. In 2018 she joins ROOM 100 and participates in their performances and productions.

In Petra Hrašćanec and Saša Božićs workshop we will engage in the practices of contemporary dance / theater and performance practices, we will oppose these performance practices, see how much they feed on each other, and discuss the issue of performance materials.

The workshop is intended for young artists with interest in and basic prior knowledge of the performing arts, professional actors and dancers, dance and acting students, and other interested students and citizens. The number of participants is limited to 12, the workshop is free.

In the field of performing arts, Petra Hrašćanec is active as a dancer, choreographer and pedagogue. The main point of her interest and education is contemporary dance whereas her works are characterised by a specific use of a host of different media to investigate the body and corporeality.
Hrašćanec is also an active external member of Francesco Scavetta's WEE COMPANY based in Norway.

Saša Božić is active in various artistic fields ranging from theatre directing, choreography and creation of dramatic text to organization of promotional cultural actions and strategic planning of culture projects.
As a dramaturge, Božić collaborates with renowned choreographers and dancers in Croatia and abroad. Along with a host collaborative projects, Saša Božić accomplished a number of independent dramatic, dance and multimedia projects that are currently part of the repertoire of the main Croatian theatre institutions.

This program is part of the project Rijeka 2020 - European Capital of Culture.