Intersemiotic Modernism: Matija Ferlin’s Sad Sam Lucky between Poetry and Its Embodiment

• Authors: Leo Rafolt

Title variants

HR

Intersemiotički modernizam: Sad Sam Lucky Matije Ferlina između poezije i njezina utjelovljenja

Abstracts

HR

Sad Sam Lucky je solo izvedba koreografa i performera Matije Ferlina, osmišljena u sklopu njegova trajnog neplesnog i nekazališnog konceptualnog projekta Sad Sam, započetog u siječnju 2004. u Amsterdamu, gdje je praizveden prvi dio. Ferlinova predstava donekle je specifična u autorovu opusu, ponajviše zato što nastoji utjeloviti fizički odgovor na djelo slovenskog avangardnog pjesnika Srečka Kosovela (1904-1926), prevodeći ga i transponirajući u isto vrijeme, između jezika i dijalekata (slovenski, hrvatski, istarski i/ili engleski), te između performativnih režima (utjelovljeni odgovor i pseudorecital). Kosovelova ispovjedna poezija, dakle duboka, suvremena, napeta u stilskim slikama, a istodobno gotovo revolucionarna u svojim idejama, izvodi se stoga kao živa stvar jezika, vođena glavnom Ferlinovom idejom - ne raditi kazalište, ne plesati, ne prevoditi, nego intersemiotički utjeloviti Kosovelove stihove i njegova melankolična proročanstva, stvarajući tako formu izrazito fizičkog, burnog i emotivnog pseudoteatra, hommage ovom vrlo jedinstvenom avangardnom autoru.

EN

Sad Sam Lucky is a solo performance by the choreographer and performer Matija Ferlin, conceived as part of his ongoing non-dance-like and non-theatrelike conceptual project Sad Sam, which started in January 2004 in Amsterdam, where the first part of this pseudo-durational piece was premiered. Ferlin’s performance Sad Sam Lucky is somewhat specific in the author’s oeuvre, mainly because it assays to become a physical response to the work of the Slovenian avant-garde poet Srečko Kosovel (1904-1926), translating it and transposing it at the same time, in-between languages and dialects (Slovenian, Croatian, Istrian, and/or English), and in-between performative regimes (embodied response and a pseudo-recital). Kosovel’s confessional poetry, i.e. profound, contemporary, tense in its stylistic imagery, and, at the same time, almost revolutionary in its ideas, is therefore being performed as a live matter of language, driven by Ferlin’s main idea - not to do theatre, not to do dance, not to translate, but to trans-body Kosovel’s verses, and his melancholic prophecy, thus creating a form of a highly physical, turbulent and emotional homage to this very unique avant-garde author.

Keywords

HR

prijevod; Srečko Kosovel; transpozicija; suvremeni ples

EN

staging; difference and repetition; intersemioticism; translation; re-wording; embodiment; dance theatre

• Publisher: Wydawnictwo Uniwersytetu Śląskiego
• Journal: Przekłady Literatur Słowiańskich
• Year: 2023
• Volume: 13
• Pages: 1-26

Dates

published

2023

Contributors

author

Leo Rafolt

• Uniwersytet Josipa Juraja Strossmayera w Osijeku

• https://orcid.org/0000000233885074

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Identifiers

DOI

10.31261/PLS.2023.13.07

Biblioteka Nauki

38591552