On June 18, a contemporary dance performance premiered on the Great Stage of the Madlenianum Opera and Theatre Dreams, a new author's work by the Greek choreographer Alex Cross, created in co-production Madlenianum Opera and Theatre i Institute for Artistic Dance.
Dreams are a multi-layered dance performance that encourages the audience to question their own dreams, desires and inner boundaries. The female players, who are at the center of the scene, explore the space between dream and reality, between what they are and what they aspire to, through a strong interpretation. Alex Cross does not offer simple answers, but opens space for personal reflection on one's own aspirations, fears and illusions.
Photo: Promo/Alex CrossFrom "Dreams"
The choreographic language of Alex Cross, by which he is recognizable on the international stage, shows all its complexity and demands this time as well. Precise extensions, clear body lines and virtuosic variations alternate with fluid movements that turn the performers into almost ethereal phenomena. The bodies sometimes conquer the space with explosive energy, and sometimes they spread across the stage like fog. The technically extremely demanding choreographic manuscript leaves no room for error, but it is precisely in this discipline that the performers find freedom and authenticity.
Without excessive pretentiousness, but with a clear artistic intention, the play achieves strong communication with the audience during its forty-minute duration. A musical image that meanders between contemporary sound structures and elements of classical music contributes significantly to this (Water, D. Bellamy & MA.MOYO; Flowstone, H. Mountfort; Madrigals, K. Monteverdi), creating an atmosphere of continuous transition from one state of consciousness to another.
Traces of thoughts and memories
A special contribution to the whole is given by the costume design of the multimedia artist Snežana Arnautović Stjepanović. Simple white satin costumes with carefully shaped lines further emphasize the volume and dynamics of movement, creating the impression that dreams themselves materialize on stage. The intertwining lines on the costumes act as traces of thoughts and memories, further strengthening the symbolic layer of the play.
The lighting design, which was created by the choreographer himself, also plays an important role. Light does not serve only as a technical element, but becomes an equal stage partner, shaping the space, rhythm and emotional flows of the performance. This time Kross also led the show technically, confirming his exceptional control over every segment of the stage event.
What makes this performance even more noteworthy is the fact that it confirms one of the essential truths of dance art - that sometimes it is enough to have top players and an educated, thoughtful choreographer to create a stage spectacle. It is really fascinating, and more than obvious, how it is possible to build a powerful and impressive stage work without a single piece of scenery or additional stage element. In such a space devoid of visual decorations, the focus remains exclusively on the body, movement and emotion, and this is precisely where "Dreams" realize their greatest artistic strength.
Modern pieta
In terms of performance, the already artistically mature Katarina Bućić stands out, whose solo is one of the most impressive moments of the evening. Starting with an almost imperceptible fracture of the palm, then the arm and the whole body, she builds a stage picture reminiscent of a contemporary piet - a moment of simultaneous fragility and strength. Her interpretation ends with an almost complete collapse of the body and a breath that the audience not only hears, but almost physically feels.
Special attention is also drawn to Aleksandra Timofeeva and Marija Bazanova, whose energy and performer's confidence additionally strengthen the ensemble structure of the play. In contrast to their strong stage presence, Magdalena Tomić brings an almost childlike softness and sincerity of movements, creating a valuable counterpoint within the choreographic whole.
Common artistic fabric
However, the greatest value of the play lies precisely in the ensemble. All ten dancers jointly build this complex choreographic structure, giving it full meaning and full embodiment through mutual trust, discipline and energy. None of them dominates the whole; on the contrary, each individual interpretation becomes a necessary part of the common artistic fabric.
Photo: PromoDancers and choreographer
At the very end, there is a question that runs through the entire work - what are our dreams? The answer is not offered directly. Instead, the performance ends with a kind of dance mirage to the song Sweet Dreams which the performers vocally interpret after an intense stage journey. Tired, but still fully present, as if they are sending a message to the audience that dreams have neither color nor smell, but they have the power to lead us towards a better and more humane world than the one we currently live in.
Dreams are a performance that does not offer final answers, but opens up space for personal reflection. At a time when it is often forgotten that the human body is the most powerful theatrical tool, Alex Cross and ten exceptional female artists remind us that knowledge, commitment and artistic honesty are enough for a true theatrical experience. That's exactly why Dreams they remain alive even after the curtain comes down - as a memory, a question and a call to not stop dreaming.
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