23 September 2010

King Lear, as directed by Matjaž Berger, is a play about scrambling, about the painful coping with the consequences of a hasty division of the kingdom, and about the flight from oneself. More than into Lear’s fate, the performance looks into the development of the events in the courts of Lear’s two daughters and the schemes (particularly of Edmund) that accompanies the events. […]

In terms of direction, Berger creates situations that are partly linear (which is helped by the nature of the space in the castle) and partly symbolic (particularly with the abstract light locations by Simon Žižek and associative video projections by Gašper Brezovar); while often lyrically intoned (supported by Irena Yebuah Tiran’s mezzo-soprano), the most effective are those in which the physical intensity of the performers is in sync with the signs of the space to form a solid symbolism (for example, in the performance of Uroš Kaurin as Edgar).

Blaž Lukan

TV Slovenija 1
Osmi dan
27 September 2010

 Berger’s staging of King Lear is not a complete trip into the unknown. Following his recognisable personal poetics, as a great aesthete who likes discovering new spaces, he pays particular attention to the carefully constructed visual side of the performance; lighting is excellent, as is the very precise articulation of the story. Once again, it turns out that, for Berger, the poetic dimension of a performance is equally important as the aesthetic one. [...]

Berger’s reading of Lear as a drama of honour and dignity – two categories almost alien to the times we live in – and with its aesthetic of the empty space it effectively communicates with the modern spectator.

Marjana Ravnjak

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