Janez Jansa
On No Time

On No Time If you have time you can think about future. Thinking, thinking on future, including prognosis, utopia and projection is what makes us human. We should establish such social and political regime in which time will be guaranteed as basic human right. One of the basic features of contemporary individual is lack of time. If we lost something after the fall of Berlin wall it is exactly time. Time has gone somewhere else and we’ve been left in a space in which we’ve been looking for (lost) time. The coaching intends to explore approaches to time in contemporary dance and performance. How do we work with time in performance? We will take some crucial concepts (duration, repetition, extension, speed, slow motion, exhaustion...) and explore them in situations in which time becomes subject itself. We‘ll combine playful concepts of time, coming from various jargons and disciplines - such as “buying time”, “killing time”, “spending time”, “saving time”... together with engaging body work. Bodywork will be adapted to the level of skills of participants. Participants will work on relation to time in their daily reality: what amount of time do they have on disposal to govern? How much (of time) do they owe at this point of their lives? How do you make art if you have no time? What kind of art do we watch when we have no time? How do you watch art when you have no time? Janez Janša is author, director and performer of interdisciplinary performances. He has studied sociology and theatre directing at the University of Ljubljana, Slovenia and performance theory at the University of Antwerp, Belgium. His pieces have been shown throughout the world a.o. "We are all Marlene Dietrich for" – a Performance for soldiers in peace-keeping missions (with Erna Omarsdottir), the reconstruction of the piece from 1969 – "Pupilija, Papa Pupilo and the Pupilceks" (2006), "Slovenian National Theatre" (2007), "The More of Us There Are, the Faster We Will Reach Our Goal" (2010) and "Who is Next?" (2011). He performed in the improvisation project At the Table curated by Meg Stuart and collaborated in projects by Tim Etchells, Boris Charmatz a.o. The works by Janša contain strong critical dimension, reflect responsibility of performers and spectators and deal with the status of performance in neoliberal societies. Janez Janša’s work includes also visual, media and performance art works. Among others are "The Wailing Walls", a tear donnor session, interdisciplinary artistic and research project "The First World Camp" (with Peter Šenk), conceptual exhibition "Name Readymade" (with Janez Janša and Janez Janša) and interactive installation "Life [In Progress]. He regularly curates interdisciplinary workshops and he is the initiator of the organisation P.E.A.C.E. - Peacekeepers' entertainment, art and cultural exchange (with Mare Bulc). He has published numerous essays on contemporary theatre and art including the book on Flemish artist and theatre maker Jan Fabre: "Jan Fabre - La Discipline du chaos, le chaos de la discipline", Armand Colin, Paris 1994, published in Dutch, Italian and Slovene. He has been editor in chief of the performing arts journal MASKA (1999-2006). He has edited a reader of contemporary theatre theories, "Presence, Representation, Theatricality", Maska, Ljubljana 1996, a reader of contemporary dance theories: "Theories of Contemporary Dance", Maska, Ljubljana, 2001 and several other articles. One of the most recent works is a documentary film, currently in post-production, which is based on the unique name change that took place in 2007, when three artists changed their names into the name of the Slovenian Prime Minister: "My name is Janez Janša". Read more: www.mynameisjanezjansa.com Since 1999 he is the director of Maska, a non-profit organisation in publishing, production and education, based in Ljubljana, Slovenia.