3 May, 2012

These deliberately inconsistent passages and performative layering are currently the continuous tendencies in Jernej Lorenci's directing; he […] dissects time with extreme sensibility and establishes paradoxical loops between past, present and the absolute now. In cooperation with the assistant director and choreographer Gregor Luštek and dramaturg Matic Starina he systematically deconstructs Buchner's literary corpus; but reversely, using the fragmented dramaturgical technique […] develops it on the level of continuous acting escapes into private, excess, or extremely emotional scenes. Fragmented, orderly chaotic performance thus gainfully communicates with the auditorium, directly provokes it every now and then and leaves it in a permanent state of emotional and intellectual readiness.

Zala Dobovšek



30 April 2012

Director Jernej Lorenci approaches the text in terms of dialogue; with the dramaturg Matic Starina he opens it as a place of different inputs, among them the documentary (historic figures are presented with short biographies), while visually establishing it by creating metaphorical images. Among other thing, he follows one of the central playwright’s premises – the realisation that individuals are merely “puppets, […] made to dance on strings by unknown forces”.

Ana Perne

Radio Slovenija

25 April 2012

Revolution, somersault, the change of a victim. Revolution eats its own children, the morals and the established values are shaken, but how much, and is the one – Danton, for example – who draws attention the this transgression of the limit guilty and has to die? The endlessly repeated questions, forever the same passions, the eternal bad consciousness that won't leave anyone in peace, neither those from 1794 nor all those from years to come. It may seem that there is a difference in today's understanding, and this is what last night's performance showed, in its distance and dispersion, in the nakedness and emptiness of the stage and the action pushed on its edge, in putting question mark on everything, in relativisation. The question about the existence of god is ridiculous. We mock freedom, brotherhood and equality. Somewhere in between, there is something infinitely unimportant, but it's hard to see where. If heads fall with a smile, maybe it's dead only possible to be serious in love. Maybe. The contemporary Danton, played by Matija Vastl, is thus a hero of our time, shaken and dispersed, distant. He has women on his side, the devoted and deeply tragic wife Julie (Maruša Kink), the dark grisette Marion (Daša Doberšek), St. Just, the member of the Committee of Public Safety (the devastating Marinka Štern). All together are the insecure image of the side of the history that is at the same time constructed and dispersed.

Tadeja Krečič

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