Radio Slovenija

30 September 2012

If Moon on the Road was meant to create a mythical landscape on stage, one in which everyday objects, such as plain white flour, a marble, a red umbrella will magically come to life, its creators definitely managed to do that. The praise for that goes to the exceptional physical presence of the performers Ravil and Nataša Sultanov, who don’t vie for the attention of the audience merely by their virtuoso circus skills. […] The stage poetry is underscored by the minimalist play of light, in a non-illustrative way, by going beyond the mere function of lighting the actors and the space, it co-creates the rhythm and atmosphere of the performance, which is – maybe even more than the referential chosen music […] determined by the floury magical silences which make it seem as if the dramaturgy of the performance poured out of the heart of a clown. An unpredictable, playful one, at moments illogical, yet so elementary, natural, life-like.

Saška Rakef




Dnevnik

5 October 2012

As presented by the performers, clowns are skilled in many circus tricks, yet it’s not these tricks that dominate the acts, because it’s not the mere skill that’s in the forefront, but the meeting itself; not the juggling of soap bubbles, but the retaining and catching of just one. So that from a series of little scenes the meeting can be completed in the fullness of a multitude of bubbles.

The nonverbal Moon on the Road develops its poetry on the basis of smaller and larger meetings, by using different elements that lull the performance into a surrealist atmosphere, with nostalgic tones. Along with the use of “clown” music by Nino Rota, the revolving set by Sandi Mikluž and the colourful visual design by Barbara Stupica, it is fuelled by a passionate performance of two actors, and enlivened by their at times downright surprising or simply comical tricks. It is not only the younger members of the audience who respond to them – just as the poetic concept with its symbolic and other meaning may not only speak to adults.

Ana Perne

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