Refection in action, reflection on action.

(Emerging formats )

Pia Brezavšček (Dnevnik, 2019) recognises the projects of Snježana Premuš as challenging spaces of participation that do not submit to representation. The spectator is not treated merely as a passive spectator but cultivates working formats that enable the spectator/viewer a more profound, experiential and preceptive penetration into art and work.

In the eight years of the project’s development, the author has nurtured collaboration with many experts and artists as well as spectators, who became regular followers of the events. The research formats are designed for the expert public (invited experts: dancers, choreographers, dramaturg, critics and theorists, architects) and for target groups who enter the field of contemporary dance (pupils and dancers within dance studios and education programmes) as well as for the wider public.


Through the choreographic-sociological structure, as a linear matrix of action, it establishes an intriguing environment not only for re-sensitising the body but also for re-defining relationships. Entering into new relationships with the audience, where, through the research of perception, we experience and observe how the imperceptible images arise through the body in the common spaces of action (poetic bodies) and test the space of the ethics of encounter (as Jasmina Založnik defines in her text Kretanja/Movements, 2019), in which we can practise the responsibility established on the primary responsiveness.

Invited artist and experts: Sanja Nešković Peršin, Mateja Rebolj, Teja Reba, Milan Ketiš, Rok Vevar, Radha Pernarčič, Vid Vodušek, Aleksander Ostan, Pia Brezavšček, Jedrt Jež Furlan, Melina Iordannidou, Liza Šimenc, Tina Valentan, Gregor Zorc, Dragana Alfirević, Suzana Koncut, Dejan Srhoj, Maša Radhi Buh, Lisa Clark.

2012 - 13

Match Gallery (Vžigalica)

In this process, you open up the immune system (from the immunity of the body to the community). This opening is kind of a precondition for the collective work, being together.

And obviously, after these three sessions and the experiential part, I guess, for example, that my body as an observer also gets more reactive and open and sensible … so this is the question: whether the body of the spectator can open up towards the new kinesthetics.

Rok Vevar, observer


Plesni Teater Ljubljana


Isadora & Raymond Duncun Dance Research Centre Atene


“The game between the depth of the body and the event that is unfolding on the surface. All the penetrations that go from the depth of the body and distort the surface of the event, where the designation is happening, where language is happening, where we understand what we are reading. It seemed to me that this depth of the body tries to send arrows because it would like in a different way to address us as someone who is a witness to this event.

Pia Brezavšček, observer


Stara elektrarna Ljubljana


SŠVGUGL (Gimnazija), Stara elektrarna Ljubljana

How is it that we don’t “need to warm up” for this kind of work? And yet the body gets warm?

I understand warming up as an act, which is integrated into the process. When one listens to the task, one can notice what is already happening. The process is therefore reversed: we are not heading towards a goal, an aim, a perfect form, a copy of somebody elses proposal. We are working with what is already there. So you do not need to separately define – this is a warm-up and this is choreography. One contains the other.

Snježana Premuš, researcher


Trafo gledališče, Budimpešta

One would usually ask when do you desire something – can we say where desire starts?

Desire is: similarity, otherness, driving towards, driving away from, recognition, need for more of the same, need for something else, direction into something new or into the unknown. Desire starts at the capacity/need to go somewhere else, while at the same time staying where you are.

Dragana Alfirević, performer


Workshop foundation / Trafo gledališče Budimpešta





Žana, to me, it seems that you’ve found the potential key for the way of working that you’re researching and is close to you, where you don’t need to submit to some rigid frame of a performance, and in doing so, add to it unnecessarily (in whatever aspect). At the same time, because of this, you did not give up theatre (I’m not thinking about theatre as a genre/medium but about the stage and its element: the visual aspect, sound, lights, etc.), and that seems like an excess to me. In a way, the event is very simple. And, in this sense, that is actually the hardest to achieve – when it is something so clear and concentrated that it doesn’t need additional ornaments.

Katja Legin, guest


Stara elektrarna Ljubljana


Stara elektrarna Ljubljana