Idea and choreography: Mateja Bučar
Idea in visual concept: Vadim Fiškin
Movement/dance/co-creation: Kristina Aleksova, Maja Kalafatić
Sound: Borut Savski
Light: Jaka Šimenc
Construction of the parquet ball: Matija Jakin, MOJ HOBI
Mechanisms: Zavod Zet
Producer: Tina Dobnik

Production: The DUM Association of Artists, Zavod Maska In cooperation with the National Gallery of Slovenia
Coproduction:MGML/Indigo festival, Kino Šiška
Special thanks to: Stefan Doepner, Aleša Valič, Zavod ZET

“Parquet Ball is the title of choreographer Mateja Bučar’s newest work. More than just an indication of the content, the essence of the presentation, and its hidden points and implications, in this case the title is everything. Or, nomen est omenas the Latin phrase goes. Otherwise, Parquet Ball primarily creates an association to elaborate ballroom dances, balls, the height of dancing life in bourgeois society: perhaps we can imagine how couples in evening dresses circled around in luxurious halls, this vivid association is contrasted by the strict literality of the title, Parquet Ball, in its remoteness from a parquet ball, is a story about dance; a dance about dance as the phenomenology of movement and space. Here, the numerous moments of reference to modernism are no coincidence: the performance plays a part in marking the hundredth anniversary of the first issue of the journal Maska, and it therefore takes us to the 1920s; to the time of Bauhaus, and other modern turning points, all of which are paid homage to at various moments in the performance.

Last but not least,the performance is set in motion by a parquet ball, a self-referential object which is closed in on itself, and which simultaneously summarises not only the thinking (in terms of dance, choreography) and the media itself but also a materialisation of the space itself; the space as a medium of artistic creation. And here we also cannot simply conclude that the medium is the message: we might sooner understand the material scheme of dance in Parquet Ball as a search for that most common primordial language of the body, which is the foundation of the universality of dance, and also always the cause and motivation for its manifold codes.”
Vladimir Vidmar