Contempt II

A theatre festival of an experimental nature under the mentorship of Prof. Sebastijan Horvat, M.A.

Running time 3 hours. Two intervals.
Première 19. & 20. 6. 2012 Cankarjev dom

• Closed doora

Director Nina Šorak
Dramaturg Zala Sajko
Author of video Pila Rusjan

Cast
Ines Anja Drnovšek
Garcin Matija Rupel
Estelle Ana Urbanc
Sobar Arna Hadžialjević

Beginnings lull you to sleep as they are part of the protocol. Everybody is looking forward to this unravelling of events. As spectators, all of our intentions concerning the performance are directed towards seeking the solution, searching for the thought that is hidden at the end. As a matter of fact, the conclusion is not important as we always have a premonition about it. It is the roots that are important, the source from which everything springs out.

• Is not ga ga

The inspiration for the performance is an ancient proverb by a wise man from remote China who said: "The story is the shortest path between a man and the truth.” Or is it a shortcut? ... Or did the wise man in fact want to say: "The story is the shortest path between a man and another man.” The scroll has faded in this place and a precise analysis of Chinese characters allows for several interpretations … What unfolds is a very simple story between two young men. In fact, there are several stories that the young men tell each other after finishing work although that circumstance is the least important of all. Yet it is not that unimportant not to be worth mentioning. In brief, at the closure of one day, two men drift into evoking memories of their past and recent love stories … and there are more than a few of them … especially for two such young men … or perhaps they are just bragging since in reality they are not listening to each other at all. Each is using the story of the other merely as the initial point for his own truth, which is better and truer..
 

• Hamlet/Medium

Author of concept Simon Belak
Performer Arna Hadžialjević

When words enter the stage they acquire a new appearance as the experience of the presence itself. The presence of the voice, the presence of the body and last but not least the presence of the space itself. Hamlet/Medium is a performance of stitches: between the character and the actor, between the body and the space, between language and experience. It is a performance of searching and a performance of unbearableness.