Radio Slovenija

18 June 2014

Because of the careful construction of dialogues, relationships and characters, the play draws the spectator into a powerful emotional state, which saves her or him from alienation when the actors step out of their roles and share their own attitudes towards organ transplantation and other forms of the intrusion of the real. In this, the performance justifies its theatricality, with the particular appearance of the archaeologist of the heart interpreted by Ivan Peternelj, its form tilts towards the poetic, which is closer to the notion of the heart as an organ of love. Because of its structure of cadres and atmosphere, evoked by the live music of the soprano Irena Preda and pianist Polona Janežič, as well as the bare realistic method, it flirts with film narration, while it is in the moments of alienation that have the key to the probability, because we all know that it is impossible to have death onstage. And only the best can be said about the set by Damir Leventić and costumes by Elena Fajt, which blend the poles of facts and poiesis.

Petra Tanko



Dnevnik

23 June 2014

By choosing the title The Heart in Hand, a phrase that in its expressive use denotes expressing emotions, Mare Bulc already tackles one of the facets of the project he prepared as the author of the concept and the director at the Mladinsko Theatre. The project taps strongly into the emotional level, but at the same time the title includes the essential element of the field the project thematises: the heart as the central human organ, within the framework of medical progress, when the transplantation procedure enables a new life. […]

If the build up on the emotional level is perceptible – greatly aided by live music by musicians Polona Janežič and Irena Preda – the multitude of opinions develops a reflexive level as well. Different personal views on transplantation, but also (cultural) differences in the perception of the heart in relation to the basic narration – full of different aspects (accepting disease, last will, etc.) – invite the spectator to the reflection about the issue, without simply supporting a single solution, yet with an emphasis on the positive ending, new life, which is brought to the climax in the final monologue about a personal experience of a recipient, the actress Alida Bevk. The Heart in Hand [...] thus addresses audience in different ways and is not without response.

Ana Perne


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