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Snježana Premuš engaged herself  with collaborators in a long term, what may be called a choreo - social project Physical manifestations, implementing the somatic practiceas a material for creating the system for re-vitalisation of  “the collective body”.

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Physical manifestations is a dance research project that the author has been developing since 2012 with various collaborators. With a somatic system - principles of "body-mind centering” as a base, the study focuses on choreographic situations, observations, reflections with different audiences, artists and professionals, generating specific scores and presentation formats that would best suit the particular study segment of the research.

The author brings in the forground reflections on physicality in personal, social and public space, questioning the disciplined body ( coded in dance techniques and other social patterns ) in relation to the dynamic body  (being able to detect, produce and articulate movement and sensory processes beyond the supposed body codes and forms).

 

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Perceptual images

The term “perceptual image”, that she borrowed from the neurological researches and available literature,  comes from understanding the body in a broader sense than the Body as it can be scientifically and objectively measured or the Body as it is experienced by the subject. In that sense the perception is understood as an intelligible system and constitutes the what we call our sense of self / our body image. 

 

Subjects perceptual experiences should not be undermined in relation to subjects conceptual understanding or subjects emotional attitudes. On the contrary, all three aspect form the subjects body image of him/her self and/or the others, the world. Namely, perceptual content of the body image originates in intersubjective perceptual experience. Beliefs and attitudes towards our bodies not only  have an affect on how we perceive our bodies and the bodies of others or the world, but are also deeply affected by our kinaesthetic predispositions.

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Research focuses on different strategies in the translation of perceptual images, which through this experience, emerge in language. It is a complex process allowing the formation of a variety of body/dance writings that are ultimately manifested on stage. 

 

The bodily image, and the process in which it is embedded, therefore necessarily impacts the poetic nature of the stage writing.

 

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The framework

In neo-minimalism (film), an uninterrupted long take (plan-séquence), the static frame captures insight into the dynamics of an event or action. Such takes do not only record minimalist motion but allow the eye of  to calm down and stop searching. The spectator becomes harmonized with their sensations, and they begin to pay attention; in this context the everyday detail suddenly acquires relevance and meaning. The sensorial-motor methods that the author  employs in her work represent a similar still frame, which allows the protagonist to reach the "apparently" emptied state. Any stimulus or new information becomes an important support in perception, decision-making and activity. This is what she calls  reflective attention, which includes individual experience forming an original introspection of the imperceptible, which is articulated and confronted with the world. 

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