TaMara GvoZdEnoVic

Presented in a four-sided formation, Fata Morgana is an exploration of fragmented time, unstable co-presence and repetitive movement as a ritual of resistance. The dancers speak to us of working-class youth, of the places to which they belong. Drenched in sweat, suspended between stillness and anticipation, they re-enact the same actions. What we perceive is not so much what is there as what has remained. What remains is physical or temporal exhaustion. Yet what escapes the eye (the past event and the body’s memory) is precisely what structures what we see. Here, resignment is not a consequence but a condition of existence. The set design, conceived as a living tableau, evokes the memory of a gymnasium or 1990s street lamps. The connections between the dancers unfold over time, following a Japanese principle of negative space, where perception arises from gaps and levels, whether standing on the platform or on the floor. The platform becomes the roof of a building, a place from which one might jump, whilst the floor refers to the outside: a wild rave or a training ground. Each embodies a form of escape: chemical exhaustion, suicidal impulse or sporting obsession, and all converge in a Beckettian moment of wavering will.