A touch of the real

Ballerina - a cult of beauty, fragile and translucent on the outside, solid on the inside. Faced with endurance and pain, which is not on the outside or transforms and hides behind apparent lightness. Pain, except for playful - heart pain, does not exist for the viewer in a ballerina. A ballerina knows how to silence pain and play an unbearable lightness of movement and spirit, capable of joy or sadness.

What happens when we ask a ballerina about her primary emotions and reactions, how to play herself, her feelings, the tactility of the tangible and the transcendental?

Takt asks the dancer what her most precise feeling is for everything that surrounds her - what is the extreme limit of sensibility? Be it proximity or just the perception of another, the softness of the dancer's body, the hardness of the ground, the dustiness of the dust, the smell and taste of the liquid, the transparency of the air, the penetration of the sound and the power of the thought that touches it, penetrates it and comes out again on the other side - like a response or memory that gives rhythm to her being.

Can a ballerina feel and think for herself? It can be funny, furious, fresh or contrived, can it get old?!

Can he dance himself? Let her stories be true - present or past, the fruit of her imagination, her invention - just an interpretation, her feeling and current reaction.

Something touches her - she touches something. In the landscape of thoughts, images and sounds, the dancer reshapes and reshapes her essence. It connects memories with what it is and where it is destined.

He can dance to the beat of the moment.

Uršula Teržan