Irena Curik CRO

Irena Curik (1983/Zagreb), writer, director, dramaturge, choreographer and experimental theater maker, holds a master degree in dramaturgy from Academy of drama arts in Zagreb.She has created three theatrical pieces for &TD Theatre in Zagreb: 'Je n'ais plus d'idées' (2008), ‘Dyslexia’ (2010), ‘Tomorrow, tomorow’ (2011), and participated in various other projects in theatres throughout Croatia.

She was an ArtsLink fellow for 2011, taking a 6-weeks artist residency at Yale School of drama. Since 2011 she is also a Croatian representative in apapnet and uses the partnership’s residential program to work on new productions. In 2012 she created the piece ‘_replacements for Years of refusal’, developed at Tanzfabrik Berlin in March and premiered in &TD Theatre in April. At residences in Zagreb and Linz in June and September of the same year, she choreographed the short piece ‘There was no news anymore’ for the Austrian dancer Silke Grabinger, as a part of her international ‘Versuchperson’ project. She is currently marketing and putting together a tour with  ‘_replacements’, and preparing the new piece ‘More beauty, less beauty’, which she started to develop at the Buda Art Centre in Kortrijk, Belgium in February.Her mentor within apap network is Michael Laub.

Beside performing arts, she is engaged in radio, film, literature and theory.  
She developed an experimental and original approach to arts.

ARTIST STATEMENT
I’m interested in open, inclusive and mutating concepts which are challenged during live performance, making it almost impossible, if all parameters are properly capacitated and activated, to predict the outcome of a piece, in regard of both form and content. These concepts of dramaturgical structures enable simultaneous and spontaneous hyper production of performance materials that interact with each other and create new material that develops on its own and adapts its performance parameters to other materials in order to create an original complex of parallel performance plans that in the end generate an original performance piece which is, in its every new performance – different. As I tend to experiment with automatic theatre making and performing, using rehearsals as ad hoc processes that perform private, political, cultural, narrative, subconscious simulacrums, I’m also focused on reducing the knowledge of the performer on the created and directed perspective of the spectator in order to equalise their information levels so that the medium itself would achieve the highest degree of autonomy and therefore uncertainty. Once the medium has been relieved of its controlling component, we are able to see it in its elementary, lively, singularly, unpredictable, original and phenomenological shape.

My core preoccupation is in creating, establishing and implementing performative mechanisms that generate performance itself, simultaneously working for the performer by producing the stage body and relationships through responses and reactions to numerous tasks which employ and produce different operating systems. These systems are improvisational and based on mathematics, counting on a sense of time and balance, unlikely relying on fragile inner tempo that has been challenged by a heavy rush of unpredictable impacts of consuming adrenalin delivered by live stage and direct contact.

Theatre as an escapist, magic world thus becomes a puzzle of meta-private material, where the revolution of everyday life becomes possible through catharsis of live performance, making the basic art procedure of observing and absorbing generate simultaneous processes of detecting, recognising and applying ironic common places of collective conscience and memory, of established political, social and cultural formulas that drive our lives through collective unconsciousness, slipping only emotions of general sadness, anger or peacefulness that appear for instance on the first sunny day on streets in February.

This project has been funded with support from the European Commission. This publication reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein.
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