Concept / author: Nhandan Chirco (Italy)
Created / performed by: Nhandan Chirco, Mala Kline (Slovenia)
Performing live camera / live video creation / mentoring: Branko Popovic (Serbia - Italy)
Electronic sound and live manipulation: Igor Lecic (Serbia). Special appearance: Dragana Alfirevic (Serbia - Slovenia), Rastko Chirco Popovic and Vera Chirco Popovic.

Producer: Milan Vracar (Serbia).
Thanks to: Mario Chirco, Sinisa Bokan, Koma.

Production: YANVII - Cesena (Italy) and Studio za rasiskevo umetnosti igre - Ljubljana (Slovenia).
Partners: program &TD in Residency at University of Zagreb - Student Centre of Zagreb - &TD Theater (Croatia), Theater Glej - Ljubljana, Art Academy of Novi Sad - Audiovisual Department - University of Novi Sad.
Logistic support: Kulturanova - Novi Sad (Serbia). With contribution of EXIT - Novi Sad. Financial support: ECF - program STEP beyond and Slovenian Cultural Ministry.

Streamline Project is international performing arts project including a series of performances, each one realized by artistic residencies in different countries as Italy, Slovenia, Croatia and Serbia. Project develops from the solo performance “Phren”, presented in Italy and in Albania in 2008, “Quanta” is the further step of research on the same concept with an international team of artists, with the participation of the Slovenian dancer and choreographer Mala Kline, of the Serbian performing artist Branko Popovic and with the collaboration of Serbian electronic musicians Milan Aleksic and Igor Lecic.

The performance “Quanta” deals with the movement and breath stream, its waves and vibrations in the female-performer’s bodies, and it deals with the flow of conscience, stream of images, sensations and movements. Choreography and scenic languages are challenged by a non-theatrical approach to the performers “presence” in which the aim is a self exploration, a freedom - the freedom also of accepting limitations - comprehending the whole span of possible manifestations, from the daily gestures to the attempt of conquering an utopist integrated body, non representative, un-educated, un-divided. The dramaturgical approach is questioning the convention of the theatrical context, it creates an ambiguous situation between public space and intimate space. Actions take place in a suspended ambience, a “vacuum” where two female/performers are virtually alone and/or in the middle of many other persons - partners, observers etc. The performers are filmed from the close and projections happen in live time on the screens nearby. The action with no beginning nor end flows in a stream of words-movements-sounds-breaths, in a series of body-sound waves, in a sequence of low and high frequencies, creating a contradictory dynamic of exposition and introversion. Their doing is both the act of revealing and the act of hiding. Relation to the spectators develops in an introverted direction. Performers disclose their intimacy in-directly, un-protected, un-consciously. Individual streams of each performers alternate, clash, affect each other provoking an indirect meeting, a subtle exchange, the source of an encounter. Performer’s actions are framed and amplified by live video projections, and electronic manipulation of the sounds and voices. The video-camera, the live video projections and the electronic sound manipulation interact, amplify, give aesthetic frame to the action of performers, enter in dialogue with them, multiply the points of view, bring actions to visibility and create a bridge toward observers’ perception.

Research is focused on the idea of a “pool” from which the event is produced, a kind of “pressure pot” created by all elements that are present in the space as: performers with their individualities and professional background, artists performing live camera and live sound manipulation, the space itself, observers - all the persons that are in the space, their expectations related to the context. It explores possible relations and interactions among these elements, creating each time a slightly different event, happening in live time and never exactly repeatable.

An accent is given on documentary, on female universe and on dissolving borders among private life and theatrical context. Women/performers are there and bring them-selves as material in the space, their bodies, their professional and private life, to be exposed, to be watched upon. Maybe they are mothers. Maybe some of their children are there. There is a kind of professional biography in their doing. All what is “real” is brought in the space, the same convention of performing is brought in the space, exposed to be overlooked, questioned upon.

The long term aim of the project is to find a procedure for “displacing” the theatrical context and the relation among performers and observers, questioning the implicit expectations about it, and eventually redefining it on a different mode. The convention that is implicit within the situation is questioned and challenged, expectation about what it concern relation spectators - performers and about the procedures of theatrical context are slightly disguised and this model is in a certain measure melted away. Pleasant and un-pleasant feelings that may appear as consequence of this operation are accepted as being equally part of the game. The intention is to displace the ground of the relation among elements in the context, among performers, observers, theatrical event, so that eventually some “hole” could appear in it and few seconds of suspension could eventually occurs. Situation among performer and observer get un-defined, they might be both in the need to find out how to position and the way to be present to each other - this reciprocal questioning affects the development of the event. Even if no direct interaction occurs (in the sense that spectators are not invited to take part in the performing actions) the event creates itself in this particular relation among observers and observed.