Delo – Pogledi

9 October 2013

[T]his time The Maids is exceptionally loyal to its script and most convincing in this loyalty. […]
In Möderndorfer’s own words, a smart director tackles Shakespeare’s Hamlet when he has an actor strong enough available to carry the title role – something similar happens with Genet’s The Maids; a drama so strongly based on the acting of two (and only in a couple of scenes three) characters is designated for failure without the actors’ chemistry, no matter how good the directing. The director got lucky in this case, too: both Daša Dobršek and Janja Majzelj convincingly show the exhaustion and emptiness of their characters. Without relying on overly emotional inserts, while as a contrast to them, Olga Kacjan uses exaggerated pathos to achieve the repulsiveness of her character, which in turn makes the disgust of the murder plotters more accessible for the audience.

Matic Kocijančič

Radio Študent

23 September 2013

Although Genet himself claims that he’s not interested in social issues and that theatre should not busy itself with social and moral questions, the creators of the performance made use of the social charge that the play The Maids definitely has. They allowed themselves a direction of interpretation that informs the spectator that “we’re all inside” – if I borrow the well-known phrase from [Drago Jančar’s] The Great Brilliant Waltz. We’re all inside. The social system is so uniform, so permeated with the logic of masters and servants that true rebellion may have became impossible. Or, in other words, it will remain impossible as long as we accept the authorities of the masters and remain in the discourse and dispositions of the eternal class struggle which solves nothing and changes nothing, but simply changes the roles of the masters while the system remains the same.

Tjaša Mislej

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