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Postcards from the Gods More Next Blog» Create Blog Sign In This site uses cookies from Google to deliver its services, to personalize ads and to analyze traffic. Information about your use of this site is shared with Google. By using this site, you agree to its use of cookies. P O S LEARN MTORE GOTC IT A R D S F R O M T H E G O D S T H U R S D A Y , 1 2 M A B Y L O2 G0 1 A6 R C H I V E Drame Princes – Mladinsko, Ljublana ▼ 2016 (49) [seen 07/05/16] ▼ May (5) Drame Princes – Mladinsko, Ljublana Ristić Kompleks – Mladinsko Theatre, Ljubljana Butnskala – Prešernovem gledališču, Kranj ÜberŠkrip – Mladinsko Theatre, Ljubljana The Stage: Should theatre critics need an ‘intelle... ► April (6) ► March (15) I’m not sure I’ve fully got to grips with what to do with the work of ► February (18) Elfriede Jelinek. Or, rather, I’m totally sure I haven’t. It’s problematic ► January (5) work. We know that. It’s “problematic” even if you’re a fluent German speaker and are fully theatre-literate. I’m not even slightly that. And ► 2015 (193) here, with Prinzessinnendramen: Der Tod und das Mädchen I–V, we ► 2014 (154) have the extra problem that I’m watching English surtitles over a ► 2013 (113) production in Slovenian by the Polish director Michał Borczuch. The five pieces are essentially postdramatic monologues alluding to Snow ► 2012 (95) White, Sleeping Beauty, Ingeborg Bachmann, Jacqueline Onassis, and ► 2011 (48) Sylvia Plath – dense reflections on their mythologies and identities as ► 2010 (51) critiques of Austrian patriarchal capitalism. ► 2009 (70) So it’s heavy going. Which is fine. Indeed, regular readers might ► 2008 (94) assume I’d adore it. But, well, ultimately, one can only disavow one’s ► 2007 (88) in-bred national tendencies so much. That very English desire to know “what’s it for?” “what am I meant to think?” becomes irrepressible sometimes. And this is probably exacerbated by the fact that reading P O P U L A R the dense text in English, which is not even meant – really – to be X – Royal Court, London translatable at all, let alone the fact that the strategies it uses would probably necessitate weeks if not months of study, when they feel like [ seen 11/04/16 ] [ contains spoilers in order to be able they should be second nature. Added to this, is the fact that to talk about meaning ] Borczuch’s staging tends toward the stark, near empty stage, or else My favourite joke in a minimalise live-feed action, or other strategies of distantiation. poem defines Plutocracy as ... Imagine reading a third-generation translation of, I dunno, JH Pyrnne The Seagull – Théâtre Vidy- while women speak in a foreign language, their movements alienated Lausanne from their words’ meanings. That’s where we are here. [ seen 21/04/16 at MITEM III, Nemzeti Színház, Then there’s the fact that [when translated as just meaning] Jelinek Budapest ] It has maybe text is just so relentlessly bleak and abrasive. Which, again, I should become a bit too de rigeur to knock be up for, but there, on that day, at least, it just seemed so overdone. Thomas Ostermeier. As (st... The relentlessness, the miserablism, the endless, endless sarcasm, irony, and not-even-definitely-real attacks on, oh, everything. The only The Patriots – Serbian element that really stuck for me in this production was when they National Theater, Belgrade played Sylvia Plath’s reading of her own poem Daddy (which is in [ seen 14/04/16 at MITEM III, English, tellingly), which, in the context of Jelinek’s prose, and being in Nemzeti Színház, real central Europe, suddenly feels a bit callow evoking Dachau, Budapest ] Jovan Sterija Auschwitz and Belsen like they were fairy tale places like Camelot. Popović’s The Patriots is brilliant. Plath’s drawly, arch delivery doesn’t help much either. Nominally, it deals wit... Mainstream converted by Web2PDFConvert.com I mean, it’s still fascinating. I’m glad I saw it. I’d want to see a [ from 03/02/16 ] When the National performance again of it again. But perhaps in English, next time, and Theatre announced their with live commentary on it. Do I think having staged footnotes would be new season in February, I bad? No. Quite the reverse, I think they’d be excellent. I wonder, in joked that this was the fact, if the ideal UK solution to staging Jelinek is as a symposium or day that I’d officially ... choreographed panel discussion. Tonight I’m Gonna Be The It’s worth stating, however, that Damjana Černe as Jackie has won a New Me – Forest Fringe, national award for her performance, and was indeed strikingly good. Leith [ seen 25/08/15 ] Tonight I’m I really wish I’d liked the whole more, but somehow something didn’t Gonna Be The New Me is click for me. Trust me, I’m as annoyed about this as you are. I don’t brilliant. It’s also going on from Forest Fringe to the Soho from 7th like not liking things and the most articulate reason to hand being that September... they’re too cynical. That doesn’t even sound like me. It sounds like Charles Spencer, FFS. Anyway. Enough. Onwards. P O S T AE ND D BR YE W A T1H 5A : Y3 D9 O N N O C O ML MI EN NK TS S T: O T H I S P O S T Ristić Kompleks – Mladinsko Theatre, Ljubljana [seen 06/05/16] It’s fascinating how much ground can shift between a first and second viewing of a show. The first time I saw The Ristić Complex (at BITEF‘15) I remember watching it *incredibly closely*. Really concentrating on it, working at it; trying to dig out meaning, and interpret “accurately”. In one way, this was something of a fool’s errand; without an incredibly detailed knowledge of Ljubiša Ristić’s body of work – which stretches back to the Yugoslavian sixties or seventies – there’s an iconography at work here that is simply unavailable at its primary level. If you want an easy comparison, imagine watching a piece about, say, David Bowie, in which his life and times are obliquely critiqued but almost all the symbolism is taken from his album covers and videos etc. Simply asking “what does the Pierrot mean?” is the wrong question. On one level, it maybe meant *something* specific in its original context, but without knowing that there even is an original context, you’d have no idea why it had cropped up in the [hypothetical Bowie-]piece. And so it is here. Most of the most striking images are adaptations or bastardisations or references-to scenes from the plays and films he directed, reworked into reflections on his own life and strange political trajectory; from an “art terrorist” director at Mladinsko in Yugoslavia to Milošević’s Minister of Culture during the ex-Yugoslavian civil wars. So, that all sounds quite hopeless, yes? Wrong. Watching again, having had the dramaturgy really fully explained, instead of “getting it” better, I actually just watched in a more relaxed way. Watched it just converted by Web2PDFConvert.com as a piece of theatre, without worrying at all about specifics-of- meaning, or a “proper reading”. And the revelation was, if anything it worked even better just watched as an expression of abstract art. That’s not to say it suddenly felt like some sort of floaty free-for-all (as if anything ever does). But instead, watching trajectories and tendencies of scenes and exchanges rather than details and interpretations made the whole seem far more fluid. You could be impressed by the commitment and physicality of the performers rather than the intellectual rigour of the dramaturgs, for instance. What was also interesting was how the piece *felt* different. Yes, I was sitting in as wildly different a vantage point, in a different building, with a different view (pretty much eye-level some way back in Mladinsko’s main space rather than an almost bird’s-eye-view from the balcony of the BITEF theatre), but that doesn’t even begin to account for it. Perhaps there was the total different in audience too – a smallish crowd of locals, rather than a rammed International Festival première. There was also maybe something more comfortable than confrontational in this performance. The dynamics for watching were probably more friendly across-the-board, and I wonder if that even feed back from the company on stage; like they were presenting Art here and not A Fight. I honestly don’t know. Perhaps they’d be entirely surprised by this assessment, perhaps not at all. The “gender politics” of the casting also felt far less problematic this time round – maybe due in part to being paired with Jelinek’s Drame Princes (five women, one (somewhat perfunctory) bloke). But, yes. While feeling less *intense* – the upside of that concentration that I’d brought to the piece the first time round – this time it struck me almost as this incredibly vivid, moving almost dance- like meditation on cycles of entropy and collapse. Motifs from art repeatedly collapsing into the horrific carnage of civil war. P O S T AE ND D BR YE W A T1H 4A : Y1 D1 O N N O C O ML MI EN NK TS S T: O T H I S P O S T Butnskala – Prešernovem gledališču, Kranj [seen 06/05/16] By way of direct contrast [see previous review], the next piece in the Mladinsko repertoire showcase, was a co-production with the Prešernovem theatre in Kranj.
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