Gostimo, Mreža DNA

Svet obsojenih

18.9.09

V sredo 30. ob 20h v Gledališču Glej z veseljem napovedujemo gostovanje predstave praškega Spitfire Company:

Svet obsojenih (World of the condemned),

fizičnega gledališča z action slikanjem.

Gre za plesno in likovno fresko o občutjih napuha, netolerance in nezmožnosti medsebojnega razumevanja v režiji Petra Boháča. V vsaki predstavi nastane izvirna slika Jana Mika.

Gostovanje je del mednarodnega projekta DNA v katerem sodeluje tudi Glej in v okviru katerega bomo v Ljubljano pripeljali še nekaj vidnejših predstav manjših evropskih odrov.



We play to kill some time, we play to kill ourselves. We hate others because we can’t love, we can’t love because we hate ourselves. The essential purpose of the project is to connect physical theatre with an active painting of Jan Miko. Feelings of vanity, intolerance and the impossibili­ty of understanding are explored throughout the production. During the one hour long performance, a new original painting is made in the presence of the audience. The performance of the dancers and actors directly influences the painting itself. The result is the production of a piece including dance, physical theatre and an action painting. The connection is clear mostly at the moment when the principal (the alter ego of the painter himself) steps inside the painting.

This plastic dance performance has the major character of the same name, which comes from the clan of derelicts, how it was portrayed by two Austrian dramatist Thomas Bernhard and Werner Schwab. Their books always, against our will, prove that death instinct still cannot be look apart of our existence. Beholder can look forward to seven pageants in which past memories and fantasies of this anti-hero are reflected. It’s him who couldn’t conciliate defeat or slightest idea of humiliation. His perverse manipulation with his wife and paramours was fatal to him. Ethical kind of view has no place here. Moment will come, when all have to come down to the depth of the night and knock on the door of absurdity.

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