Devised & Performed By: Miloš Sofrenović
Sound Engineering By: Stevan Milošević
Piano Played By: Dina Čubrilović
Costume By: Katarina Vuković
Photo By: Ksenija Španec
Trailer: By Chris Clow
Special Thanks To:
Zagreb Dance Centre, Uk Parobrod (Belgrade ), Dina Čubrilović, Stevan Milošević, Chris Clow, Katarina Vuković, Ksenija Španec, And Vladimir KoraćYoutube channel
The work of art should be a mirror not only of one’s nerves, of the acuteness of one’s observation, the consequence, coldness and sincerity of one’s conclusions, or of the refinement of one’s senses, but of the whole person.
- Wilhelm Furtvengler
1. In our age, fascinated by language and linguistics, it is easy to forget that a high level of thought is possible without the help of words, either through sound or movement. This solo piece attempts to articulate the unbreakable two-way link between music and movement, beyond the level of words.
2. This solo is inspired by the artistic legacy of one of the greatest orchestral conductors of the 20th century - Wilhelm Furtwängler, who managed to attain complete artistic freedom without descending into eccentricity; expressing the urgency of his feeling without ever losing the sharpness of his control. His musical line was a perfect match of ecstasy and strategy. It was this duality of freedom and control, applied simultaneously, that fascinated me the most when scoring the movement for this solo.
3. The six segments of this solo correspond to the seven energy centres / areas of the body that absorb and emit energy all the time. Sometimes these centres are very open; at other times they are closed. “The six segments of this solo are mirrored in six audio recordings of this great German conductor which I selected - the last being his own expressed views on the importance of interpretation in music.”.
4. Wilhelm Furtwängler’s music was based on the fact that music has human value. It is an authentic experience that cannot be copied nor reproduced because each time it is an original experience of the moment reflecting and expressing the whole person. In the same way, movement, once performed and seen, is an authentic experience of the moment, however strictly choreographed. It can never be the same again, even when repeated with perfect precision.
By its very nature the beautiful is isolated from everything else. From beauty no road leads to reality.
- Hannah Arendt
Miloš Sofrenović (1976): performance artist - choreographer - stage director - festival curator; received his choreographic education at Trinity Laban Conservatory (BA) in London . He is a recipient of several international scholarships and has performed for choreographers including: Michael Lazic (Belgium), Ana Sanchez Colberg (London), Kitt Johnson (Denmark), Liz King (Vienna), Danny Tan (Singapore), Mikhail Honessau (Berlin), Filippo Armati (Locarno), Sonja Vukicevic (Belgrade). He has presented his works at festivals in New York, London, Edinburgh, Vienna, Istanbul, Singapore, Stockholm, Graz, Belgrade, Novi Sad, Zagreb, Rijeka, Skopje etc.
6.6.2014. - interview with Miloš Sofrenović, during the 31st Dance Week Festival in Zagreb, by Vesna Mimica, for HRT3 - Dobro Jutro, Hrvatska (Croatian/Serbian - no translation)