THREE MINIATURES
Three Miniatures open up the square to collective memory and sensibility. These dance imaginaries are the result of encounters between the choreographer and young performing artists on the theme of the solo form and performative exoticism.
Performance & choreography: Mia Šare, Tina Jurjević, Jela Ugarkov
Music: Claude Debussy
Flute: Ana Lakić
Concept & choreography: Sanja Petrovski
SANJA PETROVSKI: PRI LIPI
The artistic practice of connecting with space has long been an ongoing idea at the Monoplay Festival, often realised through the use of small-scale open-air spaces. Through a reflection on urbanisation and social engagement, this work seeks to shape creative relationships within the framework of contemporary challenges. Both its conceptual and performative levels connect the elements of the Branko Stojaković Square: space, tree, human.
Concept & performance: Sanja Petrovski
Logistical support: Patricia Gospić, Ljupka Petrovski
KLARA ZRILIĆ: IN and OUT
At the core of IN and OUT, the dancer explores precision, rhythm, and repetition. Movements are performed like a mechanical task, with strict gestures creating the image of a body fully immersed in labour. Gradually, the tempo accelerates, the rhythm breaks, control disappears, and the structure collapses under the weight of its own intensity. Through that rupture emerges a space where sharpness and freedom intertwine, roughness melts into fluidity, and precision gives way to unpredictability. The duration of each gesture becomes a key tool in maintaining the audience’s attention, building tension, and focusing on a body that transitions from mechanical gestures to freer movement.
Choreography and performance: Klara Zrilić
Klara Zrilić completed her secondary education in contemporary dance in 2019 at the Blagoje Bersa Music School in Zadar. She then enrolled at the Faculty of Teacher Education in Zagreb while actively participating in the dance scene through workshops and projects with the Zagreb Dance Center, Liberdance, and DanzArt. She is currently studying contemporary dance at the Academy of Dramatic Art in Zagreb. As a member of the Zadar Dance Ensemble, she has performed in the productions Kako je Potijeh tražio istinu, Noći… Koreofrenija, and Arhiviranje – tajni dnevnik umjetničke prakse.
ANA GOSPIĆ ŽUPANOVIĆ: INSTEAD OF DANCE, CLOSER TO SILENCE…
This piece lies somewhere between an exhibition, an installation, and a performance, or perhaps contains elements of all three. It is a personal reflection, an almost unreal meditation on despair about the state of the contemporary world, political and ideological positions, and power relations. While seeking to step away from direct and often ineffective activist frameworks, this act, as the smallest possible gesture of resistance, still wishes to inscribe itself into the field of condemnation and the search for answers. What does it mean to be aware? Whose responsibility is it?
Everything here is mini – except for the boxes/stands. They are the only true museum exhibits, neutral masses waiting for content.
Concept & performance: Ana Gospić Županović
Support/assistance: Andreja Lemić, Koraljka Alavanja, Andrea Lauš, Sanja Petrovski
Ana Gospić Županović works in Zadar as a university professor. She is the author of one scholarly monograph and numerous studies, reviews, and critiques in the field of theatre and contemporary performance. She was more actively involved in dance from 2000 to 2005, receiving training through various dance seminars, courses, and workshops. As a dancer, she has participated in several performances and projects on the local independent scene, including the ones with Zadar Dance Ensemble, Zalet association, and Antiudruga. In recent years, she has been a member of the Zadar Dance Ensemble’s Adult Dance Studio, working under various pedagogues. She is also engaged in photography and in strengthening the independent cultural scene, having exhibited in several group shows and one co-authored exhibition.
ANDREJA LEMIĆ: WAITING OR DON’T LOOK BACK
Waiting is my second dance solo exploring the body’s reaction to stress. I began this line of work in 2024 with the solo Did I Tell You I’m Afraid of Thunder?, performed at the 2024 Night of the Dark Circus. That piece focused on the body’s spontaneous reactions to sudden light and sound stimuli signalling an approaching storm. Waiting deals with a similar spectrum of uncomfortable emotions, the anticipation of a catastrophic outcome to an otherwise ordinary stressful situation, but in a changed context.
The physical material of the solo draws on subtle expressions of nervousness, questioning and exhausting the material of steps, turns, decision-making, and giving up. The solo is set in the confined space of a corridor, which feels even smaller due to the impossibility of escaping the closed doors and the fear that lurks behind them, yet simultaneously vast thanks to the possibilities it offers for movement.
Choreography & performance: Andreja Lemić
Advisor/collaborator: Ana Gospić Županović
Andreja Lemić graduated in Comparative Literature in 2025. She has been active in theatre since 2017 and in contemporary dance since 2022. She acted in The Play of Gordogan (after Radovan Ivšić’s King Gordogan) and The Ghost Sonata (2019), both directed by Matea Antunović with Teatar K. She directed an adaptation of Janežić’s No Acting, Please! (2022), and in 2024 co-directed a site-specific performance in Split’s old town as part of the Split Calling festival. Since 2025, she has been developing a research project, THE CLUB IS CLOSING!, which examines the presentation of identity in everyday life through the lens of Erving Goffman’s theories. She works independently as a director in Zagreb, exclusively with amateur performance groups.
KORINA OLTRAN: Ctrl ⇧: IID enter log001
“focus is great to catch and I can do everything at once and then some because when other and frequency and stimulus and sound and image and I take the radio the phone there’s an unbelievable amount all at once I sometimes get little pieces and sometimes everything I wanted and whole pictures and I choose search lose in a pile of information and they keep swarming in my head, all the ”
Through movement, the author decodes algorithmic everyday life, transforming her “intimate internet diary” into a multimedia experience.
Performance & concept: Korina Oltran
Mentor: Matea Bilosnić
Visual: Jan Mišković
Special thanks to Knjigozemska for support in scenography realisation.
Korina Oltran has been a long-time member of the Zadar Dance Ensemble, where she works as a performer, author of short dance forms, and choreographic assistant. She has appeared in numerous productions, including Kako je Potjeh tražio istinu, Dvije žene, pet žena, 1518., and Metamorfoze. As the executive producer of the Monoplay Festival and a participant in international projects, she bridges performance practice with organisation and collaboration. She teaches at the Primary School for Contemporary Dance and Ballet in Šibenik and works with adult dancers at the Zadar Dance Ensemble Studio. This is her third solo work presented at Monoplay.
ANDREJA LAUŠ: CIRCLE
“We turn in circles to find ourselves.”
In a short solo, the performer takes the geometric shape of the circle as a physical and conceptual symbol of elaboration. Inspired by the musical background of ritual rhythm, she explores the idea of impulse, rotation and isolation. The short circular journey is divided into three stages.
Choroegrapgy: Andreja Lauš
Mentor: Nataša Kustura
Glazba: Dino Sabatini – Ego experior
Andreja Lauš holds a BA in French language and literature and in art history from the University of Zadar, where she is currently completing her MA in Art History (conservation and museum/gallery studies). She has been dancing for the past five years with the Zadar Dance Ensemble studio under the guidance of Korina Oltran, Josipa Štulić, Nataša Kustura, and Sanja Petrovski. She also trained for two years in modern ballet at the Pirueta Dance Association (teacher: Vinka Zekić). An amateur painter with two solo exhibitions, she enjoys writing poetry, photography, and film but dance is her greatest passion, and the field in which she intends to further grow and refine her skills.
ko-galerijski smjer. Zadnjih pet godina pleše u studiju Zadarskog plesnog ansambla pod voditeljstvom Korine Oltran, Josipe Štulić, Nataše Kusture i Sanje Petrovski. Dvije godine trenirala je moderni balet u plesnoj udruzi Pirueta (voditeljica: Vinka Zekić). Amaterska je slikarica s dvjema održanim samostalnim izložbama. Voli pisati poeziju, fotografirati, obožava film, a ples joj je najveća strast te se u tom polju namjerava dalje razvijati i usavršavati.
