Pogledi

23 January 2013
Happiness without a Leash


In accordance with “intimacies”, the common denominator of this season of the Mladinsko, Uršula Cetinski has succeeded, with the subtle style of interviewing, in eliciting attractive, entertaining and often emotional croquis of life stories, which veer from the planned path just enough to retain the vivacity of individual characters, and at the same time the dramaturg can steer them back to the reflection of the central theme in key moments. […] Portraits doesn't follow the quick dance steps of entertainment shows, but oscillates somewhere between the wedding waltz of TV’s Midnight Club and the funeral march of its Evening Guest. This directorial decision has its advantages. It gives the actors enormous manoeuvrability that they mostly use to their full advantage. […]

Vito Taufer, Uršula Cetinski and Kim Komljanec (language) have managed, without unnecessary moralising, to brilliantly present different understandings of happiness in our society […]. The documentary note proved to be extremely fortunate in this case.

Matic Kocijančič



Delo

19 January 2013
The Best Drama is Life Itself


In the three-part project Portraits, the director Vito Taufer and the dramaturg (the original interviewer) Uršula Cetinski reach to the type of documentarity that uses an intermediary (actor) to achieve the optimal effect, and this a meticulously studied departure from the original. Using the psychological trick of not putting the actual interviewees on stage, but only their (absolutely) true statements, they relieve us from the spasm of the direct transfer of the crude life to the stage, and at the same time strategically laden the spectator’s perception with the net of fictive and only within this net cut through with the unthinkable drama.

[…] The central motive of questioning happiness – a dee-jay (Uroš Kaurin) enlightens us with current statistical data about it – often, true to its elusive character, evades the charted path within the conversations; as a seemingly grateful and simple opener for a chat (“What makes you happy?”), this cue later often intrudes, uncontrolled, into the most vulnerable and hidden private nuances of the guests. And this is the key quality of Portraits, a performance which not only brilliantly captures the right balance between the modern spectacle, revealing intimacy and sophisticated simulation and their transfer into the language of theatre, but also uncompromisingly dissects modern social classes.

Zala Dobovšek

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