Dnevnik
18 November 2010


… director Marko Mlačnik and his co-workers decided on a performance space that the audience gets to surround, and thus enter into. It’s all about entering into an interior, so equipped that it already indicates the individual elements of the whole; the oval stage construction by Barbara Kapelj Osredkar, sunk in the centre, is a place of some kind of penultimate existence from which (with the support of simple, but meaningful parts, for example, the crossed open surface) past images grow. […] The intimate construction is carried out on many levels: Mlačnik (in cooperation with the dramaturg Uršula Cetinski) quietens the text down, so to speak, when he positions it into the concept of the whole, at times he varies it linguistically and uses fragments of Russian to call upon the “origin” of the story; together with the choreographer Mateja Rebolj he imprints short movement sequences (always with the sense of integration, and not just an extension to the text), while by using other components, for example the music by Bojana Šaljić Podešva, he strives to create the atmosphere of the entire picture. But among all the construction pieces, the central one goes to the actor – Primož Bezjak, who, as the text stipulates, doesn’t simply embody Nijinsky, but through him presents some of his “life” companions. These are the germane parts of the story that in Bezjak’s interpretation is written by other parts as well, separating individual life situations and thus emphasising the levels of developments and tests, confronting the force of gravity and the zeal that his own artistic force gives him.

Ana Perne



TV Slovenija 1
Osmi dan
12 November 2010


Nijinsky's Last Dance by the American playwright Norman Allen staged on the premises of Stara Pošta, performed by the Mladinsko Theatre is an unpretentious, candid and educative monodrama about the life and work of a great dancer and his modern understanding of dance art. […] The convincing interpretation by Primož Bezjak, who is, just like the director Marko Mlačnik, an actor with a highly sophisticated sense ov movement, paints a subtle picture of the life of an enigmatic dancer who moved the boundaries of what is considered ballet. And then, when stricken so early with a tragic mental illness, he disappeared from public life.

Marjana Ravnjak





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