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Hela

@hela3.33

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" Not to pick bad from bad, but by bad mend!" (Othello, IV. iii., 104)
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“Kwaidan” . Teatro Nacional da Istría. Croácia, jun/2026
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proba / ensaio / répétition
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GOLEM U ZEROSTRASSE This year's Anno Domini, entitled "The Golem at Zerostrasse", is an immersive site-specific performance developed during a ten-day artistic residency in collaboration with Terror Barato/Overtone, Dr. Inat Theatre, the Dance Studio of the Istrian National Theatre, and the Soul Flow Dance Studio, within Pula's Underground World War I Shelters.  Anno Domini 2026, set in the historic Zerostrasse tunnels, draws inspiration from the Kabbalistic legend of the Golem - a clay being brought to life through the inscription of the Divine Name, a primitive robot created to protect its community, yet ultimately transformed by the consequences of its own uncontrolled power. It is a cautionary tale that has, for generations, conveyed the message that raw power, devoid of truth and ethics, inevitably turns to dust.  Returning to the Old Testament meaning of the word golem - a formless being, a human body without a soul, an unfinished creature - the performance raises an urgent contemporary question: What form does the Golem take in 2026? The work explores the magical dimensions of technique and technology, the tension between self-defence and destructive impulse, divine wrath and messianic longing, art and artificiality, the human and the posthuman. Unflinchingly, the performance examines the myths, fears, hidden anxieties, and monstrosities that shape our contemporary world. Concept and Direction: Daniel Passi Dramaturgical Collaboration: Martha Kiss Perrone Assistant Director: Sílvia Maia Composer: Frederico Santiago  Mask: Rona Neves Performers: Sílvia Maia, Demian Lovrec, Gabriela Ruppert, Gordana Trajković  , Hana Golub, Hela Grgić  , Katarina Jelenković  , Korana Daić   van der Velde, Lucas Lacerda,Mateja Lovrec, Naomi Wiener, Vida Burić  , Vladimir Butković
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This year's Anno Domini, entitled "The Golem at Zerostrasse", is an immersive site-specific performance developed during a ten-day artistic residency in collaboration with Terror Barato/Overtone, Dr. Inat Theatre, the Dance Studio of the Istrian National Theatre, and the Soul Flow Dance Studio, within Pula's Underground World War I Shelters.  Anno Domini 2026, set in the historic Zerostrasse tunnels, draws inspiration from the Kabbalistic legend of the Golem - a clay being brought to life through the inscription of the Divine Name, a primitive robot created to protect its community, yet ultimately transformed by the consequences of its own uncontrolled power. It is a cautionary tale that has, for generations, conveyed the message that raw power, devoid of truth and ethics, inevitably turns to dust.  Returning to the Old Testament meaning of the word golem- a formless being, a human body without a soul, an unfinished creature - the performance raises an urgent contemporary question: What form does the Golem take in 2026? The work explores the magical dimensions of technique and technology, the tension between self-defence and destructive impulse, divine wrath and messianic longing, art and artificiality, the human and the posthuman. Unflinchingly, the performance examines the myths, fears, hidden anxieties, and monstrosities that shape our contemporary world. Concept and Direction: Daniel Passi Dramaturgical collaboration: Martha Kiss Perrone Assistant Director: Sílvia Maia Composer: Frederico Santiago  Mask: Rona Neves Performers: Sílvia Maia, Demian Lovrec, Gabriela Ruppert, Gordana Trajković  , Hana Golub, Hela Grgić  , Katarina Jelenković  , Korana Daić   van der Velde, Lucas Lacerda,Mateja Lovrec, Naomi Wiener, Vida Burić  , Vladimir Butković For Branko.
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Aparições Yōkai Balkan Baroque Beijing Opera Hoichi, The Earless Totentanz Trauerspiel
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KWAIDAN Rehearsals | Co-direction/Lighting Choreography by Tanja Ruta Grgić First showing at @ink_pula 29.06 With Tanja Ruta Grgić Sílvia Maia Lara Kapeloto Hela Grgić Tin Grgić
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Ne samo za odrasle. Ali ne samo za djecu. I ne samo za članove. U 2026. uveli smo ne jedan, ne dva, ne tri noviteta - već preokrenuli čitav sistem - kao neki uranjeni spring declutter 🌼 🌱mjesečne radionice gostujućih pedagoga - neke samo za @soul__flow__kids , neke baš za svih! 🌱natjecateljsku skupinu (za ovo nam je trebalo puno pregovaranja i nagovaranja!) 🌱 artist suradnje (što znači da ćemo ti možda ove godine iskakati iz paštete di nas najmanje očekuješ🤞🏼) 🌱 @soul__flow__contrology jer “Flow” u “Soul Flow” znači baš flooooowwww🍃 Hvala @elseaofficial što si nam pomogla da otvorimo sezonu decluttera baš baš s guštom✨ #suvremeniplespula #danceworkshop #plespula #contemporarydanceclass #dancestudio
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🐐TREĆA KOZA, 2025.- The art od transformation Ližnjan nam je zadnje četiri godine postao umjetničko utočište, prostor igre, transformacije, novih prostora, međunarodnih suradnji i razmjena, ideja, prostor promjene i nadogradnje. Ovogodišnje izdanje ugostilo je umjetnike i drage nam prijatelje iz Italije, Brazila, povezali smo se s lokalnom zajednicom kroz participaciju CuvisArt sekcije koja djeluje u sklopu KUD-a Kuje iz Ližnjana, uključili smo studente ALU iz Zagreba, održali somatsku i radionicu butoh prakse, družili se, plivali i okupili odličan broj publike, od kojih su neki potegnuli na dva dana iz Rijeke! Organizator: Trećeprostor Suorganizatori: Plartforma, Štoos teatar (@stoos_teatar )Partner: Knap (@centar_knap ) Hvala općini Ližnjan, Puli, Zadru, Zadarskoj županiji, Turističkim zajednicama Pule i Ližnjana, Ministarstvu kulture i medija, Zakladi Kultura Nova. @visitliznjan , @visitpula.hr
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Posljednji run do utorka! Metamorfoze su u Puli i otvaraju proces tebi! DANIEL PASSI | ANIMAL GODS, HUMAN TREES | radionica i kreativni proces 13. + 14. + 15.07. | Kazalište Dr. Inat, Karlo Rojc, 3.kat | 15:00-19:00 Radionica predlaže detaljno uranjanje u kreativne postupke korištene tijekom nastanka predstave Metamorfoze, suvremene izvedbene reinterpretacije inspirirane Ovidijevim mitovima. Polaznici će kroz strukturirani rad na tjelesnim i vokalnim principima, temeljenim na metodama fizičkog kazališta, ritualnih praksi i suptilnih vokalnih transformacija, istraživati načine na koje izvođačko tijelo može postati kanal za prijelaz između božanskog i zemaljskog, mitskog i svakodnevnog. Kroz rad na arhetipskim slikama, simboličkim gestama i organskom pokretu, radionica otvara prostor za dublje razumijevanje tijela kao medija koji ne samo da interpretira priču, već je i stvara – u trenutku, iz daha, iz tišine i iz impulsa. Klasični mitovi postaju žive matrice koje u suradnji s glasom, pokretom i prostornom svijesti dobivaju novu scensku artikulaciju. Osim što pruža uvid u metode rada i poetiku izvedbe Metamorfoze, radionica se otvara kao prostor zajedničkog stvaranja, dijeljenja i eksperimenta. Sudionici koji to žele imat će priliku sudjelovati u završnoj izvedbi predstave Metamorfoze, koja će se održati 15. srpnja u intimnom ambijentu unutarnjeg dvorišta Rojca. ***moguće je sudjelovati na svim ili pojedinačnim radionicama, a broj mjesta je ograničen. Prijave: ivonamedic.m@gmail.com | 0995005291 | DM fb+insta — na lokaciji Rojc, Pula.
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42. The body is the unconscious: the germs of ancestors sequenced in its cells, the mineral salts inserted, the molluscs caressed, the broken wooden stumps and the worms feasting on corpses under the earth or, if not, the flame that incinerates it and the ashes that are deduced from it and summarise it in impalpable dust, and the people, plants and animals it encounters and bumps into, the legends of ancient nannies, the crumbling monuments covered in lichen, the enormous turbines of the factories that manufacture the unheard-of alloys with which it will make prostheses, the harsh or hissing phonemes with which its mouth emits noises when speaking, the laws engraved on the steles and the secret desires for killing or immortality. The body touches everything with the secret tips of its bony fingers. And everything ends up taking shape, even the corpus of dust that gathers and dances a vibrant ballet in the narrow beam of light where the last day of the world comes to an end. '25. If man is made in God's image, then God has a body. Perhaps even a body, or the most eminent body of all. The body of the thought of bodies. 8. A body: a smooth or wrinkled soul, fat or thin, hairless or hairy, a soul with bumps or sores, a soul that dances or dives, a calloused, damp soul, fallen to the ground... 52. The body functions through spasms, contractions and distensions, folds, unfolding, knots and unravelling, twists, jolts, sobs, electric shocks, distensions, contractions, shudders, jolts, tremors, horripilation, erections, gasps, raptures. A body that rises, sinks, digs, peels and pierces, disperses, wanders, drips and rots or bleeds, wets and dries or suppurates, grunts, moans, mumbles, cracks and sighs. 34. In fact, ‘my body’ indicates possession, not ownership. That is, an appropriation without legitimacy. I own my body, I treat it as I wish, I have jus uti et abutendi over it. But it, in turn, owns me: it pulls me or interrupts me, offends me, detains me, impels me, repels me. We are a pair of possessed beings, a couple of demonic dancers.' Jean-Luc Nancy, 58 Indices on the Body @treceprostor ostror @soul__flow__space
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M E T A M O R F O Z E || Daniel Passi (BR) + Soul Flow + Trećeprostor |  Centar za mlade Zadar, Ulica Stjepana Radića 11c, srijeda 9.7., 20.30h Redatelj: Daniel Passi Izvedba: Francesca Barosi, Irena Boćkai, Ivan Bedalov, Anđela Bugarija, Korana Daić Van der Velde, Hela Grgić, Ivona Medić, Sandra Šok Foto: @andrejj.jpg @centarzamladezadar
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