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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    presenting different characters and styles In a polyvalent show we perceive Elisabeth and her counter characters on the stage and on the screen The video screen opens up the entrance into other space and the symultaneous speech of more people In this way the performer shows to the audience the acting apparatus techniques of speech dance and movement and her acting intimacy Barbara Novakovič and her collaborators video artist Miha

    Original URL path: http://www.muzeum.si/press/jelizaveta.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    s wife falling to the ground and then immediately rising again the force being to strong not to make her fall down again on her knees the professor is merely a voice coming from somewhere which accentuates his resemblance to a kind of god given that the fate of every person who is also physically present on the stage is connected to his existence and lack thereof We have not mentioned everything only the main most evident and efficient elements let us conclude with the fact that even the guitar player s and the drummer s presence on stage do not disturb the play in the least while the sounds they create organically fall into the process of development of contents and form in Uncle Vanya and the 12 bouquets Dnevnik Pop Kultura 25 September 2008 Ignacija J Fridl The horizon enclosed by the barred windows which is transformed with the help of video background provided by Boštjan Božič from the optimistically green silhouettes of nature into the fantastical imaginary of the sky to the colorless transparent grey expressing life in the form of a dungeon is the best actor in the performance Otherwise Lea Menard as the female embodiment of Uncle Vanya acts out the story of the twelve stops of his disappointment with all intensity most impressively with her hollowed look and the intense pulsating movement of her contracted arms depicting the clipped wings of a wild duck MMC RTV SLO Uncle Vanya with a Question about God 21 September 2008 Ljubljana Lejla Švabić Barbara Novakovič the author of the staging featuring actors Manca Krnel Alena Medich Lea Menard and Rafael Vončina with musical scores contributed by Luka Prinčič Dominik Bagola and Manuel Kuran explains that Uncle Vanya tries to survive by committing suicide in which he fails

    Original URL path: http://www.muzeum.si/press/stricekvanja.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    with warm chess board black and white crowns costumography Jelena Leskovar Sicilian king Leontes Branko Završan pregnant queen Hermione Lane Stranič and Czech king Polixenes Milan Tomašik In the second part the events follow more smoothly more dynamically it starts on Czech soil with the meeting between the beautiful shepherd girl the not meant to be princess Manca Krnel and the king s son Akira Hasegawa Krnel introduces into the

    Original URL path: http://www.muzeum.si/press/zimskapravljica.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    performance starts as a theatrical piece and later gradually morphs into an exhibition opening Afterwards it concludes again with the conversation between the audience and the two guards who play the role of the guides through the exhibition at the end of the performance Are the exhibits tied to the two performers or to the space in which the performance is happening The opening night of the performance took place in Jakopič gallery in the collaboration with the City Museum Ljubljana 45 artefacts were thus borrowed from the repository of the City Museum The performance with the exhibition begins to tour and travel and its content transforms along the way However the performance travels also through its changing in time Not only because of different spaces but also because of contemporary artists who participate in the performance For with their works they somehow remain but the artefacts themselves change And what does that mean concretely for the next staging When the performance will be touring again and if it will be staged in a theatrical space the repository might be replaced by a theatre storage in which old performances old photographs props the photographs of older performances come to light It will be a part of a whole just like in our lives where a certain constant remains there are things that we simply remember A part of the exhibited works of art thus remains remembered therefore this space emphasises guarding and preserving and is inhabited by guards performers And where did the idea for such an abstract performance come from Barbara Novakovič I have mainly researched the connection between the theatre and visual arts This is somehow linked to the fact that my profession is directing and producing theatre performances but on the other hand I am also a

    Original URL path: http://www.muzeum.si/press/fundus.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    the negation of it Their identities are hollow similar to some extent but still nameless the physical investment veers towards the effect of objectification the body appears as an apparatus that causes time to stretch on painfully and at the same time adds nuances of uneasiness to it due to the distinctive absence of sound and space abstraction In the solo performance by Bor Pungerčič the previous conditionally reciprocal communication shifts to strict individuality to a dialogue with one s own organic rhythm which the performer regulates with the help of a stethoscope and interprets through the pulse heard through a loudspeaker system The externally instrumental intertwines with his internal dynamics through the dancer s movements The heartbeat surpasses the external physical appearance and the deliberate heart arrhythmia outlines this essential organic regenerator as the mysterious inconsistent and not easy to decipher other side of existence The Room with No Echo which was inspired by an anechoic chamber which besides the phenomenon of the absence of echo and the sterility of its content eventually also intensifies panic fear insistently evoked cognate effects of such a chamber by exaggerating what is overlooked in the pace of everyday life and suppressing everything that could appear spontaneous m The performance with its anatomical unfolding of movement and sounds constantly oscillates between the unbearableness and exuberance of observation However it is very hard to determine whether the uneasiness is intentional or whether it is at times nevertheless the result of a not perfected enough concept DNEVNIK Debates Commentaries 13 November 2010 Primož Jesenko Completely different sensory code The Room With no Echo by Miha Erman translates its allegorical existence to the minimal presence of movements and sounds This is the staging of a situation in which the subject experiences his social context as a

    Original URL path: http://www.muzeum.si/press/sobabrezodmeva.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    summary of the classical play transfers the dramaturgical emphasis elsewhere yet it does not seem to even attempt to be a somewhat exemplary modernisation of a classical play and steps in another interpretative direction Shifts between not particularly clear meanings come to a surprising turn near the end Therefore there is no drama about power struggle in the taboo field of interclass relationships and the link between a servant and a mistress is not even felt from represented relationships The performance is not inhabited by the system of inequality music by Sašo Kalan the dramatic lasciviousness of lust differences and barricades manipulations and suicidal tendencies are all wrapped in the three characters in pastel cream coloured costumes designed by Uroš Belantič who are joined in the mass of choreographed human flesh and hair The building of action with words is out of question and seems impossible the obvious inability of verbal expression veers towards abstraction even towards the namelessness of characters in a gaspingly hysterical time whom the audience decodes gradually Apparently the same can be expressed through a completely different code Indeed how to actualise the war between the sexes or social differences today when they no longer touch for there are hollows between them Or is it better to start working in a completely different field The impression of a courageous battle with the tradition and progressive audience which is eager for a new direction alongside the classic the classic audience wishes for more undisputed completeness prevails The performance which in the first part builds upon the atmosphere ventures into the unknown there On the essentially experimental pursuit of a contemporary interpretation of the dramatic classic of the naturalism of contemporary time it abandons the filigree characterisation and no longer examines the characters The key to the performance

    Original URL path: http://www.muzeum.si/press/julija.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    moment on stage it managed to vividly depict the state of the performer when the curtain drops and an invisible gap appears between him and the viewers The author did not forget the ballet pole which was quite imperceptibly set among the seat rows with ballerinas in their characteristic positions leaning on it thus providing a short ballet pause for their legs At another time we see ballerinas moving screen boxes across the stage but even this action appears to be a fine arts illustration given that they are wearing their ballet equipment even though their movement is natural it is still caught in the ballet costume form Another fresh and depictive feature was the colour light manipulation undulating in a series of dotty forms on the sides of the stage across the objects and viewers originating from a screen background Sanja N Peršin has proved to be a sensitive observer of her professional medium and the ballet scene on which she has been active for all these years It seemed like the performance brought to life the artistic images from the pictures of the great Degas 1834 1917 who managed to detail the states and positions of the ballerinas of his age with an eye of a painter Between the painter s ballet portraits and Sanja s ballerina poses it seems like not much has changed during these past hundred years which can be expected given the classic art in question which still in this modern world keeps inspiring its fans Thus the choreographer s 33 Turns sound out like a bridge between the historic current of both time periods in which she was able to place the classic virtues of ballet art into the stage framework of the up to date present She did so with mastery and a deep reflection on art imagination the virtual and the real The romantic of the ballet aesthetics was experienced live and from up close in the performed excerpts of ballet shows the Dying Swan Michele Fokine Giselle Marius Petipa the Bluebird from Sleeping Beauty Marius Petipa and in the expression of performance by the three ballerinas when Ana Klašnja Alena Medichi and Tjaša Kmetec at a certain moment transformed from the unusual stage activists into the romantic creatures of their roles and into artists admired by the viewers The fine arts set design and lighting design was the responsibility and certainly an achievement of Damjan Kracina who also designed the casting of the contemporary grave of Giselle according to Ana Klašnja s image Klašnja in the danced excerpt also stands upright from the casted sarcophagus and since it is a ballet cast the plaster also eternalizes her grand battement Due to the dramaturgy by Jana Pavlič the performance 33 Turns is interestingly intertwined with the quotations muzeum info 2011 from the book by Antonin Artaud The Theatre and its Double translated into Slovenian by Aleš Berger Knjižnica MGL 119 It can be read from the quotations and the chosen dramaturgic

    Original URL path: http://www.muzeum.si/press/33obratov.htm (2016-02-18)
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  • MUZEUM, Institute of Art Production, Mediation and Publishing
    proud mellowness as if inviting audience in his world of splendour and grandness of dancing spirit Topless wearing knee length wide black trousers richly puffed in baroque style with prominent wide belt and high heel shoes with clips His dancing is not baroque it does not display the demanding technique of baroque steps although at a certain moment he uses the typical style of baroque arms created against the backdrop of crinolines and laces of the fashion of that era He devises his dance on Baroque music and with the musicological advice of Lidija Podlesnik Tomášik He performs it also in the silence of movement with the stamping of feet and combines it with modern electronic sounds music by Janez Krstnik Dolar Saša Kalan In his dancing flight he seemingly opens up new spaces new illusions In front of us is a young enthusiastic nobleman who with a new costume piece upper white cloak forms a new image of that era maybe a nobleman with a sword in a word a new dance elegance When he dons an inner tube which he softly rumbles on the floor with the illusion of cavalry is created and with another one which rumbles more keenly of some other more heavily rolling machines To show all this only as a moment of dancer s playful optimism there follows a mischievous high jump into the stacked opening at the third inner tube Like a magician who wants to show off his skilfulness he takes props out and returns them back into the openings of stacked inner tubes A new image is formed in the moment when the dancer drops his baroque trousers and there is now in front of us a young man wearing a long skirt a brand new stylized image With additional long skirt of cut up rectangles Tomášik already performs a new dance sketch a new style of movement reminiscent of the philosophy of martial arts This time it is not only the dancer who floats in the softness of his movements for the swirls of movement and spatial volume are drawn also by floating sides of the added skirt Costumes were designed by Andreja Stržinar and shoes by MM Dance solo Off Beat is a rich visually in depth gallery of dance sketches in which artist Milan Tomášik combines art his knowledge and pleasures against the backdrop of the era of court history with the performing modernity of dance with his time DELO 9 2 2012 Mojca Kumerdej Review of Milan Tomášik s Dance Performance Through baroque origin to foundations In dance solo Off Beat choreographer and dancer Milan Tomášik tackles dance and performance elements from temporal distance Choreographer and dancer Milan Tomášik designed his dance solo Off Beat as a basic temporal dialogue between two eras modernity and Baroque and dialogically incorporated fundamental dance performance elements in it It seems in fact the creator has immersed himself in the Baroque as the originating era of classical ballet in the court

    Original URL path: http://www.muzeum.si/press/off_beat.htm (2016-02-18)
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