MARMOT  | k: Irma Omerzo (HR)
Zagrebački plesni centar

To stand still is more difficult than to move“ – a statement by Moshe Feldenkrais.
Indeed, in dealing with moments in which apparently nothing happens, I felt the same way as the very first time I looked through the microscope and discovered all those things that are othewise invisible.

Nothing is not nothing, and especially when the quest for ‘nothing“ becomes the task for performers on the stage.  In this project, „nothing“ is a quality of the state of the dancer’s body from which at any time a movement could be born; the quality and potent movement is one which can always return in the state of „zero quality“; touching the fulness, density and tension of seemingly cheap emptied „nothing“.

“Nothing” is only  62,5% of the actual performance, while the remaining 37,5% does not exist and reflects Marmot’s budget decreases in this year.

For these reasons I extend my heartfelt thank you to all my collaborators who have agreed to work on this project despite the insufficient financial conditions

Irma Omerzo

author & choreographer: Irma Omerzo
movement co-authors and interpretors:  Sonja Pregrad, Zrinka Šimičić i Zrinka Užbinec
cello: Svebor Szekely
set design: Lara Badurina
lights:  Zdenko Trandler
graphic design: Boris Greiner
photography: Jasenko Rasol
production: MARMOT
coproduction: Centar za kulturu Trešnjevka – Trešnjevačka plesna scena
supported by: Ministarstvo kulture Republike Hrvatske i Ured za obrazovanje, kulturu i sport grada Zagreba

Irma Omerzo was born in 1969 in  Zagreb where she currently lives and works. Between 1989 and 1991 she studied dance at the Centre Natinale de Danse Contemporaine (CNDC Angers) in France.

While in France, and until 2003 she collaborated as a dancer with choreographers: U Andy Degroat, Francois Verret and Philippe Decoufle  (performances:  Petites pieces montees, Denise, Decodex, Cermonie de Festival de film a Cannes, Abracadabra, Triton 2ter, Shazam, Cyrk 13 and  Tricodex ).

She is the founder of the artistic organization MARMOT (2001) in Zagreb Zagrebu which presents the framework for most of her full-length dance works:    Mi-Nous, Meni ti to nije baš…, Euro vizija, Kratki program br.1, Foto-plession, Odijelo ne čini čovjeka, Trisolistice, Vizita, Ništa as well as films U našem gradu and Trisoslistice .

She also choreographs shorter works:  Veza i Simfonija padanja svježeg voća u slapovima, and solos:  Ja volim grah čušpajz , Prostor za ples, Sve po 10 kuna.  She is also the dance contributor to several engaged programs: Jedna čudna vrsta, Anketa plesnoj publici as well as dance research based work: Nastavimo s kretanjem.

She collaborates frequently with visual artists as well as with artists from the performing arts scene in Zagreb.

Since 2009 she has taken on  the study of the Feldenkrais method at Accord Mobile in Paris.