visual performance storytelling / Ana Čavić

Premiere

13. December 2023 /Gledališče Glej /

v angleščini / RAZPRODANO


Gallery

Act I 2.jpg
© Osebni arhiv avtorice
Act I 4.jpg
© Osebni arhiv avtorice
Act II 6.jpg
© Osebni arhiv avtorice
Act II 7.jpg
© Osebni arhiv avtorice
Act II 8.jpg
© Osebni arhiv avtorice
Act II 9.jpg
© Osebni arhiv avtorice
Act II 10.jpg
© Osebni arhiv avtorice
Act II NEW.jpg
© Osebni arhiv avtorice
Act III 11.jpg
© Osebni arhiv avtorice
Act III 12.jpg
© Osebni arhiv avtorice
Act III 13.jpg
© Osebni arhiv avtorice
Act III 14.jpg
© Osebni arhiv avtorice
Act III 15.jpg
© Osebni arhiv avtorice
Act III NEW.jpg
© Osebni arhiv avtorice
Act IV 16.jpg
© Osebni arhiv avtorice
Act IV 17.jpg
© Osebni arhiv avtorice
Act IV 18.jpg
© Osebni arhiv avtorice
Act IV 19.jpg
© Osebni arhiv avtorice

About the performance

A thread without end, Act IV is the latest performance in Čavić’s ever evolving and potentially never-ending performance storytelling cycle A thread without end, in which a mythopoetic creation story about two archetypal characters, a woman and an anthropomorphic fox, unravels across four discrete performances to date (Act I-IV), like a thread without an end. A thread without end, Act IV will premiere at Glej Theatre, alongside the entire cycle to date, on 13th of December 2023, with repeat presentations on the 14th and 15th of December 2023.

Čavić’s “visual performance storytelling” is a contemporary interpretation of cantastoria, a traditional theatrical storytelling style in which the performer tells a story while pointing to a visual aid that both illustrates the narrative and prompts the performance by serving as a mnemonic device – a ‘story map’. In each act of A thread without end Čavić similarly uses visual aids to guide the audience through four different story maps: an analogue large-format hand-painted scroll (Act I), a digitally enhanced graphite drawing in the shape of a large, tiled map (Act II), a digitally augmented paper-cut theatre (Act III), and a set of folding hand fans (Act IV). At the same time, Čavić turns towards new, digitally augmented storytelling possibilities. In Act II and Act III, she re-images digital technologies as an extension and enhancement of her performances by introducing digital soundscapes triggered by touch and gesture.

Through “theatrical poeticization”[i] Čavić conjures sumptuous visual scenes alongside her verse stories, to immerse audiences in her theatrical audio-visual storytelling performances.

 

[i] Zumthor, P. (1990) Oral Poetry: An Introduction, trans. K. Murphy-Judy, intro. W. J. Ong, Minneapolis: University of Minnesota Press, p. 39.

Credits

Act I
Author: Ana Čavić

Act II
Author: Ana Čavić
Software and Sound Design: Tychonas Michailidis
Support: SARDAM, International Interdisciplinary Literature Festival

Act III
Author: Ana Čavić
Software and Sound Design: Tychonas Michailidis
Producer: Sektor Institute
Co-producer: DUM Association
Support: City of Ljubljana

Act IV
Author: Ana Čavić
Technical support: Žan Rantaša
Production support: Barbara Poček
Producer: Sektor Institute
Co-producer: Glej Theatre
Support: City of Ljubljana