Maruša Kink, Gregor Strniša: FROGS (SI)

Lazar (to Devil): There is no soul. Have you  s e e n  the soul?
(Gregor Strniša: The Frogs)

“If the eye were an animal, sight would be its soul.”
(Aristoteles: On the Soul)
What happens, when two people who have been playing since forever, stop and look into each other’s eyes – calmly, and for real? When they admit to each other that this is all that really is? That all the rest is … nothing, a game, a fantasy? That the most important thing – and by far the hardest, at the same time – is to simply be yourself, to be here. And to be together. To look into each other’s eyes, and to keep eyes locked on each other. That they are constantly inventing new worlds and new ways to get together, even if just a tiny bit. To drop the masks. That the best, the most frightening, the most powerful feeling is to stand in front of another person the way you are. Only you. And to be together.

What is a soul? Where is it? Is it?

The devil is in the details.

A concert performance, a part of the two year long theatre explorations of Strniša’s FROGS by Maruša Kink.

Poems and Texts: Gregor Strniša and team
Director: Maruša Kink
Performers: Maruša Majer, Nika Rozman, Nejc Cijan Garlatti, Stane Tomazin, Nataša Keser, Matija Vastl
Live Music: The Frogs – Jure Maček (percussion), Maša Budič (flute), Blaž Podobnik (piano), Danijel Bogataj (violine, guitar)
Tech Team: Igor Remeta, Duško Pušica, Andrej Petrovčič
Set Design: Tina Bonča
Costume Design: Tina Bonča
Producers: Mija Špiler, Mojca Jug, Tajša Perović, Alma R. Selimović
Production: Bunker, Ljubljana
Coproduction: Zavod Margareta Schwarzwald
Photo: Tanja Radež

The performance is in Slovenian.

Matija Ferlin: Staging a Play: ANTIGONE (HR)

In his performance, Staging a Play: Antigone, choreographer and performer Matija Ferlin continues with his reflection on the concept of solo performances, and on the expanded concept of his Staging a Play series. By choosing Antigone, Ferlin decides to adopt the approach of complete reduction of the stage. He wants to reduce the character heterogeneity of the play in its functions to a single performing body, while at the same time preserving the entire narrative and logic of dramatic situations. By assuming the roles of all protagonists and their relationships, Ferlin exposes his performing tools – his body, movement, and speech – to a series of situations on the limit of performing possibilities.

The author uses stage as a place to search for the nonexistent, all powerful, ideal performing body, which builds and destroys, creates and terminates at the same time. In this mono performance, the director and performer Matija Ferlin enters the deconstruction of the theatre conventions in his performing habitus, with the desire to create a choreographic whole of an extremely delicate physicality in juxtaposition to a spoken word.
Choreography and performance: Matija Ferlin
Dramaturgy: Goran Ferčec
Set Design: Mauricio Ferlin
Music: Luka Prinčič
Lighting Design and Technical Direction: Saša Fistrić
Costume Design: Matija Ferlin
Graphic Design: Tina Ivezić, Matija Ferlin
Translations: Urban Belina
Production: Emanat, Matija Ferlin
Co-production: Mediteranski plesni center, Svetvinčenat
Photo: Nada Žgank
70 minutes

The performance is in English with Slovene translation.

Narodni Dom Maribor as part of “Nagib on Stage”, season of contemporary performing arts, and Drugajanje Festival.

Festival Drugajanje 2017

Since 2002 Bunker is organizing Drugajanje festival in Maribor in partnership with ll. gimnazija Maribor and many local partners, among which Nagib na oder, Narodni dom Maribor, Vetrinjski dvor, GT22 and Salon uporabnih umetnosti. This year Drugajanje will have its’ 16th edition, which will take place from 27th – 30th November. (more…)

Drugajanje Festival 2016

The political crises of contemporary day are deafening and no longer confined to the borders of nations or regions. After all, Maribor, too, is but a few dozen kilometers removed from barbed wire, and its students well aware of the uncertainties of the future, in part caused by the exhausted nature of our current political order. Which, then, are the terrains of resistance, struggle, or at least genuine understanding of our present situation and trajectory? (more…)