Radio Slovenija

Dogodki in odmevi
16 March 2014

Can I demand your resignation if yesterday I asked you to sell me tires without issuing me a receipt? Should I spend Friday night playing with my child or fighting for my child? In my free time, should I run, cook, clean, socialise, read, or should I protest in front of the parliament? What is my role in society? Director Jure Novak and the actors of the Mladinsko reflect the question of personal political through a dialogue with the free thinkers of the ancient and modern world. From Socrates to Slavoj Žižek. How to read them, understand them, respond to them? In the search for the political in theatre, this staging plays with theatre conventions, with the border between the stage and the auditorium, between Matej the actor and the role of Matej, the actor, between theatre and life.

Saška Rakef


17 March 2014

The performance Socrates, Slavoj and the Sophists is quite closely entangled with the epithet uncatchable, because through its fragmented structure and with the emphasis on the meta-narration of the theatre it tackles an almost impossible project: how to deal with today’s world and politics where form is more important than principles and contents, using philosophy and how to think rebellion in the first place. […]
The members of the ensemble occasionally enter loose roles, but at all times retain their own stage identity, their own names and also the space for their own convictions, insecurity and prejudice, all accompanied by the uncompromising music duo Incurabili who, as the only two fixed members of the ensemble link scenes together and complete the role of the chorus. It is in the parts where the actors allow their own considerations to come up that they come across as the most honest, and consequently less easy on the audience, because not only is the distance between the ensemble and the audience is smaller, the distance between the role and the actor shrinks as well, which opens the space to questions about one’s responsibility […]
Jure Novak has been courageously tackling the events from the last couple of years, without excuses or dreamy idealism, and the comedic form even intensifies the postmodern anxiety and inability.

Deja Crnović

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