13 December 2012

De Brea paints an uncompromising, unadorned picture of the debauched life of the Italian bourgeoisie from the turn of the 19th century, of the things hidden behind the walls of the rich mansions and homes, of the things that are hidden to the eyes of the ordinary folks.

The ascetically formed set, where some precisely placed chairs and cubes upholstered with black cloth with pretty, richly embellished glasses, tea and coffee cups, a telephone and a pile of other everyday objects unobtrusively indicate different interiors: Hermil’s home, his mother’s castle, theatre, the home of Hermil’s mistress, suppoorted with the sensual music tapestry, is an invaluable theatre polygon for the actresses and the actor who matter-of-factly and deftly deal with the material given.

Thanks to the five actors […] the piece is a homogenous whole and a precisely drawn portfolio of the emotions, relationships and complex character traits of individuals.

Igor Đukić


19 December 2012

De Brea approaches Visconti’s last film (finished after the director’s death in 1976 and based on the 1892 novel of the same name, L'innocente, by Gabriele D’Annunzio) by searching or using theatre procedures that are close to those in cinema, but not by simply emulating them. The main role here is played by the soundscape (Fi produkcija) which the director uses to introduce the difference in spaces which the film includes – interiors and exteriors, the voices of persons and other sounds to evoke atmospheres in the perception of the spectator, for example, the salon (the space is filled with voices while the director’s scenography is reduced to only a few elements). […] If this involves the risk of deviation from (the differences, no matter how small from the recorded and live dialogues can be distracting), the soundscape turns out to be a fundamentally strong performance component.
The acting itself is adjusted to the staging built on sound, and it focuses on the essential traits while distancing itself from the imbuement with emotions, and this further consolidates the dialogue with the film. Retaining the film as a whole at times seems too persistent, despite the expressiveness of the sound image; but the latter is definitely a quality that decisively contributes to the unusual staging of the film material.

Ana Perne

Radio Slovenia

13 December 2012

The story could easily, and perhaps more effectively, take place is a place cleansed of the unnecessary visual noise. Particularly because of the role given to the sound in the concept of the performance. This sound is, together with the perfected acting, one of the pillars of the staging. The sound in the performance thus takes several functions. As a conveyer of stage design solutions it contributes to good rhythm of the performance, as an editing mean and a principle of creating parallel stories it creates a special performative tension, while at the same time taking on a performing task.

Saška Rakef

Diego de Brea marks the performance L’Innocente (Jealousy), which opened at the Mladinsko on 12 December 2012, with a syncretic composition. It is special particularly because the recording brings the entire sound part of the performance, not only individual excerpts or addenda that would interfere with the play. Such approach of course demands certain changes in the very dynamics. The ensemble, consisting of Uroš Maček, Romana Šalehar, Matej Recer, Draga Potočnjak and Olga Grad has thus from the very beginning been placed or positioned into a sound happening defined in advance, which dictates the acting style.

The actors must also be responsive to the recorded lines of characters who never appear on stage. I find the success of this particular element importantly tied to the simplicity, almost bareness of the set, depleted just enough that between the imaginary sketching of the space the absent characters are sketched as well. Mock pouring of drinks into glasses also falls into the context of this, for example – an action that in a different, more classic drama situation could potentially come across as a flaw or a weakness.

The performance is, to a certain extent, undoubtedly constructed in several layers, but sifting between layers is not prevented. Quite the opposite; this emphasised syncretism is what makes the connections between the three individually expressive levels of the performance, the set the acting and the sound, so much more perceptible and relevant.

Gaja Jezernik

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