Radio Študent

24 June 2013

Even though that doesn’t make us any less pathetic in real life, the theatre triptych Love in Letters as a whole, as well as each individual performance in its own unpretentious way, is a literary-theatre triple gem, and seeing it enriches us. And maybe it is this kind of art that triggers our first reflex to get out of misery, an impetus to strive for something better.

Matjaž Zorec



Air Beletrina

26 June 2013

Love in Letters can be understood as a thesis, antithesis and synthesis. In Letters to Nora, Damjana Černe researched Joyce’s relationship to Nora, and Nora’s to him (as well as letters), and with the help of added theatre elements occasionally lightened the spectator’s attention. In Letters to Théo, Ivan Peternelj and Robert Prebil dedicated themselves to a complicated spiritual world of the great painter and during the emphatically introvert performance required spectator’s intense concentration, because this was the only possible way to express – along with the simultaneous presentation of the reproductions of the painter’s works, which, particularly at the end, rounds to a painful tragic – the beauty of Vincent’s letters. Ivan Rupnik focused exclusively on the writer’s relationship to his distant love in Letters to Joža – with Lucija Grm as the omniscient narrator who simultaneously explained the circumstances – and with a lively, colourful, bitter, humorous and imagination inciting interpretation, he conjured the most convincing presentation that brought together the slight dispersion of the first evening and the singular focus of the second. This is another reason why Love in Letters with its innovative approach calls for a continuous (theatre) revival of this beautiful, ticklish, controversial and interpretatively always rich form.

Jasna Vombek

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