Radio Slovenija

16 April 2007

Charles Baudelaire wrote: “… be drunk, be continually drunk! On wine, on poetry, or on virtue as you wish.” And what would this poet, who attempted to escape from the banality of the world have to say a century and a half later in the time of the Internet where you can find everything, from all sorts of perversions to cooking recipes, in the time of reality shows, piles of idiotic entertainments and all kind of drugs on every corner, or, as is the obvious question of the creators of Love to Death, what can theatre bring to facilitate this drunkenness, or to sober up quickly. The performance suggests a real restaurant. It fills the spectator’s nose with enchanting smells of food, her mouth with selected tastes and lifts the spirits with wine; it excites the imagination with a menu and to top the pleasure it adds the poetry by Verlaine, Rimbaud, Baudelaire, Wilde, Schuler, Benn, Trakl, Heim, Poe, García Lorca, and Bataille set to music and served, just like the food by actors, the apprentices. And the spectators, fascinated, shocked, pampered to the point where they can practically no longer follow the whole event, astonished by the singing-acting-cooking excellence, are getting drunk until jolted from the stupor by the fact about the presence of the bacteria in our food and finally by the facts, and in the final consequence the definite statistics about the nuclear bomb. This is roughly where we all are, that’s what the performance is trying to tell us, between the aesthetics and the most beautiful feeling; but even more so in a state of forever staring into the eyes of death, which will not be averted by any amount of healthful things we might be doing. But in the meantime, there are a lot of things that can distract us, for example theatre, for example the performance Love to Death.

Tadeja Krečič

Delo – Sobotna priloga

26 May 2007

A grand feast or Love to Death

Love to Death is an unusual, original and mature performance by the Mladinsko Theatre, conceived and directed by Matjaž Pograjc; as all genuine art it raises many unpleasant questions. The question I find relevant after seeing the performance is: haven’t Buñuel and Ferreri, each in his own way by depicting a fall of a certain class, already warned that humanity is most in danger when its greed has been completely satisfied?

Jelka Stergel

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