9 September 2004

This is a short, dynamic and varied performance of well-known stories about a little shepherd, in which three city (or village) children play Kekec. (…) The performance uses props (planks, sticks, and ropes) in an exceptionally economical and clever way, skilfully cuts and tailors them into the movement and scene cadres (they are used as rocky mountains, hills, doors, table, dancing equipment, tools, and “weapons”) where places and points of view follow each other quickly, and skilfully, in the manner of film. The latter is enabled by a precise, yet loose enough dramaturgical jigsaw puzzle, that uses movement solutions to create an eloquent and entertaining story (…). All the performers are excellent and it would be unfair to name any single one. A lesson in dance-theatre that the Mladinsko could only wish opened this week!

Rok Vevar


14 September 2004

By significantly reducing the story (…), introducing crisp dialogues written by Draga Potočnjak (who also appears as Brincelj) and a clear outline of dramaturgy (Tomaž Toporišič), Brane Potočan in the role of the director, stage designer, and choreographer presented Kekec through a precisely structured stage miniature filled with a sense for details. Within this miniature, the staging of the body happens through a glossary of playful movements, mixed with elements from martial art where the body, enwrapped in a children’s story, enters the domain of the narration of the movement with a “superstandard” integration of the scenography and thus lives a full stage life. (…) Potočan’s Kekec is hence an exceptional meeting of movement theatre and a Slovenian pop icon, creating a performance for children, set in a meta-child frame, without historical pathos.

Katja Praznik

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