Heroes have danced
Choreography: Branko Potočan
'Heroes have danced, within the land of Serbia.'
Heroes are examples of courage.
How to think the phenomenon of a 'wedding' and its social meaning, which goes back centuries? In everyday reality the object given most attention is the choice of a restaurant, as it is impossible to control everything. The higher the price, the more confidence can be had in the good outcome of the event. This isn't entertaining for you anyway; you have a chance to be delighted! Maybe just by looking at all this, from somewhere there at the back. Like voyeurs. Speak then, when you really have a chance to see such phenomena, and feel them too, about how romanticism feeds on cash?
Most men pretend not to be interested in all of this at all. And the women say: 'Just look at them, they really love each other!' Do you know that story about how women force-fed their husbands for a competition for the fattest? The winner would be eaten by the women, but before the ceremony, he had the right to choose a recipe according to which he will be prepared for the feast. The one in the story chose to be eaten raw. And then somewhere from the background we hear her voice: 'I can afford, to be a princess one day in my life?' And then his: 'Of course, you can!'
The wedding day is really her day.
And the musicians play on...
The play 'Heroes Have Danced' represents thoughts about the place of the individual in group and society, the human relations of inferiority and superiority, identity crisis, desires and dreams, love and pain, the fear of individuals, loss of words, dominance of the visual in contemporary society, supremacy of institutions, which divide us into the ones who are watching, and the ones who are being watched. About a determined man, who resists to, either because of circumstances or other people lose his essence...
Raw physicality and contemporary events always create a new and original story. Everyone has their virtues on which they ride, and faults, which they hide. Where is the boundary between the personality of an individual and their role in society? In order to measure the scope of the constitution of social reality, in which we find ourselves, we should look at it: when, where, how and why we dance. We are all actors, players in some 'show', which is more or less 'reality', and which moves from one generation to the next.
Heroes have danced.
Text by: Andreja Kopač
Branko Potočan was born on 5th February 1963 in Trbovlje (Slovenia). During his years in primary school, he learned ballroom dances and spent eight years dancing traditional dances. In the eighties, he founded his own breakdance group Gumiflex. Since his youth he has been actively engaged in sports. Among other things he also perfected his knowledge at the Faculty of Sports in Ljubljana. Before he begun his professional dance career, he worked in a coal mine in Hrastnik.
Branko is also a member of the Betontanc group.
Choreography: Branko Potočan
Dramaturgy: Andreja Kopač
Costume: Dejana Vučićević
Lighting designer: Tomaž Štrucl
Dancers of the Bitef Dance Company: Milica Pisić, Nevena Jovanović, Ana Ignjatović Zagorac, Nikola Tomašević, Strahinja Lacković, Luka Lukić, Miona Petrović
Ballet pedagogue: Marija Janković
Musicians - trumpets: Dragoslav Stanisavljević, Novak Mijović, Marko Đorđević
Premiere: 3nd of March 2011, Bitef Theatre
Technical manager: Ljubomir Radivojević