FOTO - PERFORMANCE

FOTO - MAKING OF

La Luna

La Luna predstavlja skupino ljudi, ki bežijo pred kruto preteklostjo in negotovo prihodnostjo. To so begunci sveta, nomadi, ljudje brez doma, ki bežijo pred samimi sabo in hkrati iščejo svoj pravi jaz. Izražajo večno hrepenenje človeka, da bi si našel dom, prostor pod soncem, kjer bo lahko zaživel polno življenje. In čeprav je La Luna izrazito poetična predstava, je njeno sporočilo vendarle zelo aktualno. V Evropi, razdeljeni na vzhod in zahod, na staro in novo Evropo, in v današnjem globaliziranem svetu smo vsi begunci. Bodisi vojni, socialni, ekonomski ali kulturni. Vsi se borimo za preživetje in iščemo prostor v novem svetu, ki se poraja in spreminja hitreje, kot pa ga še lahko dohajamo.

Witold Izdebski v svoji režijski poetiki črpa iz bogate tradicije poljskega gledališča, predvsem iz tistega toka, ki je izvorno usmeritev revnega gledališča Jerzyja Grotowskega nadgradil v smeri Wilsonovskega vizualnega gledališča. Ta pristop opušča linearno narativnost dramskega gledališča in s tem racionalno dojemanje le-tega s strani gledalca, namesto tega pa skuša s sugestivnimi podobami in glasbo delovati neposredno na človeško iracionalno, nezavedno plat. Predstave Teatra Cogitatur tako najpogosteje sestavlja serija slik ali tablojev, nabitih z arhetipsko simboliko, ki gledalcu ne nudijo enoznačne, sklenjene zgodbe ali pomena, temveč ga prek asociacij vodijo k temu, da si sam poišče dokončni smisel videnega. Po formi tako nekoliko spominjajo na srednjeveške pasijone ali ekspresionistične drame. Natančna, ekspresivna igra, močni svetlobni učinki, spretnost in individualnost stiliziranih, nenehno prelivajočih se odrskih slik in hipnotična repetitivnost tvorijo strukturo, ki je v bistvu bliže liriki kot dramatiki. Vse skupaj daje vtis sanjskega sveta, v katerem se resničnost meša s fantazijo, konkretno z metafizičnim.

La Luna je v tem pogledu inovacija, saj prikazuje bolj sklenjeno dogajanje, obenem pa se odreka tehničnim zmožnostim gledališkega odra in se razvija v smeri ambientalnega gledališča. Čarobna arhitektura toskanskega gradu Castello di Cennina, polnega avtentičnih starinskih predmetov, ki so služili kot rekviziti, se je izkazala za zelo inspirativno lokacijo. Svetlobne efekte je nadomestilo bolj prvinsko poigravanje z naravno svetlobo, temo, ognjem in zrcali, umetelno glasbo je zamenjalo petje v živo, ločnico med odrom in avditorijem pa neposreden stik med nastopajočimi in gledalci. Tako so arhetipski elementi vode, ognja, zemlje in lesa prišli še bolj do izraza, prav tako pa tudi nastopajoči, ki se bolj kot s pomočjo besed izražajo s petjem, gibom in plesom.

V sodelovanju SENZORIUMA s teatrom Cogitatur iz Poljske najdemo podobna izhodišča in različne pristope v izvedbi. Pri samem raziskovanju materialov za predstavo pa se oba gledališka izraza sprehajata po kolektivnem nezavednem in arhetipsko simbolnih vizualnih podobah, ki na gledalca učinkujejo na nezavednem nivoju. Tako SENZORIUM s pomočjo poljskega režiserja ustvarja senzorialne podobe, ki iščejo podobne učinke na gledalca, vendar na vizualni način in brez direktne senzorialne interakcije s publiko, kot smo je vajeni v Senzoriumu.

Produkcija SENZORIUM (SI)
Koprodukcija: COGITATUR THEATRE (PL)
Izvršni producent: CENNINA TEATRO (IT)
Scenografija in režija: Witold Izdebski
Glasba: Tomasz Kalwak
Izvršni producent premiera / Teatro Cennina: Oswaldo Righi

Premierna zasedba v Italiji:
Barbara Pia Jenič (SI), Manca Dorrer (SI), Gosia Polczynska (PL), Jaka Andrej Vojevec (SI)

Projekt je nastal ob podpori Ministrstva za kulturo RS, Gledališča Senzorium, Gledališča Cogitatur in Teatra Cennina.

Posebne zahvale: Amelia Kraigher, Peter in Wanda Kyek, Oswaldo Righi, Marina...

La Luna

La Luna presents a group of people running away from their terrible past and an uncertain future. They are fugitives of the world, homeless nomads trying to escape from themselves and at the same time looking for their true self. They represent the eternal longing of man to find his place in the world, a place where one could live one's life to the full. And although La Luna is a very poetical performance, its message is nevertheless quite political. In a Europe divided into the east and the west, the old Europe and the new one, and in today's globalised world we are all refugees. Be it due to war or to the social, economical or cultural situation. We all struggle to survive and find our place in this new world, which is changing so rapidly that we are virtually unable to follow it.

In his theatre work Witold Izdebski follows the rich tradition of Polish theatre, especially the line upgrading the original approach of Grotowski's poor theatre with the elements of Wilsonian visual theatre. This approach rejects the linear narration and rational perception by the spectator of classical drama theatre and substitutes it with suggestive music and images which intend to directly affect our unconscious, irrational side. Performances of the Teatr Cogitatur are thus mostly composed of a series of archetypical and symbolic images (tableaus). These do not present a coherent, unambiguous story or meaning, but rather invite the spectator to reach his own interpretation and meaning via associations. Thus they recall in their form the medieval pageants or expressionistic plays. Exact and expressive acting, strong light effects, the skill and individuality of the stylized and constantly changing stage pictures and their hypnotic repetition combine into a structure which is in its essence closer to lyrical poetry than to drama. The whole leaves an impression of a dreamlike world, one in which reality and fantasy, the concrete and the metaphysical are indistinguishable.

In this perspective La Luna is in a way an innovation as it presents a more coherent story, at the same time giving up the technical possibilities of a theatre stage and going into the direction of environmental theatre. The magical ambient of the Tuscany castle Castello di Cennina full of authentic antiquities used as props proved to be most inspiring surroundings. Light effects give way to more primeval interplay of natural light, darkness, fire and mirrors, elaborate music give way to live singing and the distinction between the stage and the audience give way to a more direct contact between the performers and the spectators. Thus the archetypical elements of water, fire, earth and wood are able to leave a deeper impression as well as the performers, who express themselves through singing, dancing and movement, rather than using words.

The cooperation of SENZORIUM with Teatr Cogitatur from Poland demonstrates similar starting points and diverse approaches in their development. But as far as the research of performance material is concerned, both tread the edge of the collective unconscious and use archetypical symbolic images which affect the spectator at the subconscious level. Thus SENZORIUM, aided by the Polish director, creates sensorial images aiming to affect the spectator in a similar, albeit strictly visual way, without the direct sensorial interaction with the audience typical of Senzorium.

Production: SENZORIUM (SI)
Coproduction: COGITATUR THEATRE (PL)
Executive producer: CENNINA TEATRO (IT)

Set design and direction: Witold Izdebski
Music: Tomasz Kalwak
Esecutive producer for the premiere: Oswaldo Righi – Cennina Teatro

Performing: Jaka Andrej Vojevec (SI), Gosia Polczynska (PL), Manca Dorrer (SI), Barbara Pia Jenič (SI)

The project was financially supported by Ministry of culture of Slovenia, Senzorium Theatre, Theatre Cogitatur and Teatro Cennina.

Special thanks to: Amelia Kraigher, Peter and Wanda Kyek, Oswaldo Righi, Marina...