Awards
Velika nagrada Festivala Borštnikovo srečanje za najboljšo uprizoritev
The Grand Prix for the Best performance of the Maribor Theatre Festival
Aleksander Nikolajevič Ostrovski: Nevihta v režiji Jerneja Lorencija in izvedbi Mestnega gledališča ljubljanskega
Alexander Nikolayevich Ostrovsky: The Storm, directed by Jernej Lorenci and performed by the Ljubljana City Theatre
Sodobni duh, ki prežema uprizoritev Nevihta, je posledica več dejavnikov. Soočeni smo s svežino novega prevoda, pretočnostjo ansambelske sinergije, izpiljeno večplastno govorno podobo in režijsko mislijo, ki suvereno poseže v srž izvirnega časa – v Rusijo 19. stoletja, sočasno pa z njo plodno komunicira skozi novodobne pristope, tako na nivoju igralskih principov kot tudi tehnoloških aparatur. Ključni adut uprizoritve je v ujemu izvedbenega ravnovesja, ki se od izvirne zgodbe inteligentno distancira, a obenem izkazuje do nje izjemno spoštovanje in odločno refleksijo. Temelj dogajalne pretočnosti izhaja iz izjemne ansambelske povezanosti, ki vseskozi nadzorovano ostaja na tanki liniji med samoironijo, popolnim stapljanjem z vlogo in zmožnostjo vpogleda v dane situacije s (streznjenim) korakom vstran. Nevihta se kaže kot svojevrsten izvajalski produkt, ki ga poganja senzibilnost vzpostavljanja odnosov med glasbo in situacijami, suspenzi in prekinitvami, besedami in molkom, zgodovino in sedanjostjo. Osrednji obravnavani fenomen – ljubezen – pa se skozi nekonvencionalne prijeme uspe izluščiti v vsej svoji nežnosti, surovosti in večnosti.
The contemporary spirit that permeates the production of The Storm is the consequence of several factors. We are offered the freshness of the new translation, the fluidity of ensemble synergy, the refined multi-layered verbal dimension, and the director’s thought that sovereignly penetrates into the core of the original époque – the 19th-century Russia – at once productively communicating with it through contemporary approaches, both on the level of acting principles and technology. The key trump of the production lies in finding an extraordinary performative balance that distances itself with intelligence from the original story, at once demonstrating extreme respect for it and resolutely deliberating upon it. The foundation of the fluidity of action stems out of the exceptional and constantly controlled ensemble cohesion that dwells on the thin line between self-irony, absolute merging with the role, and the ability of insight into given situations by making a (sobering) step aside. The Storm proves to be a unique performative product propelled by the sensitivity of established relations between music and situations, suspense and interruptions, words and silence, history and the present. Through unconventional methods, the central phenomenon – love – reveals itself in all its tenderness, cruelty, and eternity.
Barbara Čeferin
Nagrade