o predstavi:
Jedan od najzastupljenijih trendova savremenog evropskog plesnog teatra jeste transformisanje elemenata licne biografije u dramsku/koreografsku strukturu. Barbara Kraus stvara upravo na tom tragu. Svojim predstavama ona postavlja pitanja o "identitetu/identitetima", problematizujci fenomene "autenticnosti" i "neprirodnosti" identiteta. Koristeci svoj talenat za improvizaciju ona izaziva gledaoce da uoce i cuju razlike - i promene svoju perspektivu. Katarina Pjuni, teoreticarka feminizma pita se: "Šta je to istinski identitet i zašto su ovakva pitanja toliko znacajna?", dok Krausova u svom performansu sugeriše nemogucnost odabira izmedju dve krajnosti - onog što je u identitetu prirodno, s jedne i "neprirodno" s druge strane. Deleci poveze publici Krausova joj porucuje: "Ja mogu da vidim ono što vi ne možete", stvarajuci time vrlo neuobicajenu situaciju u kojoj nije, kao inace, umetnik i njegovo delo (igra) predmet posmatranja, vec sam umetnik u stvari posmatra publiku. Glas koji se cuje u pozadini dodatno ometa opažanje publike i unosi nesigurnost. Može li se verovati onome što cujemo i osecamo? ... Da li je taj glas koji se cuje sa audio trake i koji govori o seksualnim (nasilnim) fantazijama - glas žene ili glas muškarca ? Krausova svojom predstavom razoblicava maskaradu "identiteta".

o autorki:
Barbara Kraus (Bec, 1966) - zanimaju je nelinearni životni planovi i koncepti poroznog identiteta. Obrazovala se u školi za razvoj novog plesa (Shool for New Dance Development) u Amsterdamu, Holandija. Usavršavala se kod znacajnih plesnih pedagoga.
Performansi u periodu 1995 - 2000: "Pisanje po cizmama moga oca", "Zabranjen pristup", "Urlanje na tvoje cizme", "Ko hoce, može da dodje", "Pozovi, sretni se, dodirni", "Vlaga", "Normalan, divan, ravnopravan" i "Dobrodošli u klub zadovoljstva".
Posebno voli improvizaciju, iritiranje i intenzivne energicne razmene situacija sa "svakom publikom" ponaosob.

Projekat je pomogao Austrijski Kulturni Forum - Beograd.

Austrian contemporary theatre
Barbara Kraus
WER WILL KANN KOMMEN/WHO WANTS, CAN COME
choreography: Barbara Kraus
dance: Barbara Kraus
set design: Paul Horn

about the performance:
Transforming some elements of a personal biography into a drama/choreography structure is one of widely spread tendencies within the contemporary European dance theatre that Barbara Kraus follows as well. She questions the issue of "identity/identities" in her performances examining the phenomena of its/their "authenticity" and "artificiality". She challenges her audience, with her talent for improvisation, to see and hear differences and to change its perspective. While Katharine Pewny, a feminist theoretician, asks herself: " Where is the true identity and why are such questions so important?", Barbara Kraus demonstrates the incomprehensibility and incapability of deciding between "authenticity" and "artificiality" in her performance. By handing out blindfolds to her audience, Kraus sends a message:" I can see what you cannot see" creating a situation unusual for performances where the artist and his/her work is not observed, but the audience finds itself in a situation where the artist observes it. A voice heard in the background disturbs the perception of audience additionally and brings insecurity in. Can we trust in what we hear and feel? Is it a woman's or a man's voice that talks about sexual (violent) fantasies on this tape? Kraus uncovers this masquerade of "identities" in her performance.

about the author:
Barbara Kraus (Vienna, 1966) is interested in non-linear life plans and concepts of a porous identity. She was trained in School for New Dance Development in Amsterdam (Holland) from 1990 till 1994. She received an advanced training under the tutelage of various prominent dance pedagogues.
Performances held from 1995 till 2000: "Writing on my father's boots", "Access denied", "Yelling at your boots", "Wer will, kann kommen" ("Who wants, can come), "Invite, meet, touch", "Feucht" ("Moist"), "Normal, super, egal" ("Normal, super, equal") and "Welcome to the club of pleasure".
She is especially fond of improvisation, irritation and intensive, energetic exchange situations with each particular "audience".

The project has been supported by the Austrian Cultural Forum - Belgrade.