no title yet
- Dramaturgy: Tomi Janežič
- Set design: Branko Hojnik
- Music selection: ustvarjalci predstave
- Costume design: Marina Sremac
- Sound design: Silvo Zupančič
- Lighting design: David Cvelbar, Tomi Janežič
- Assistant director: Mirjana Medojević, Daniel Day Škufca
- Set designer assistant: Aleksander Vujović
- Video: Dušan Ojdanič
- Make-up artist: Nathalie Horvat
- Speech advisor: Mateja Dermelj
- Stage manager: Gašper Tesner
Don Juan is one of those literary figures that have gone through most adaptation. For the entire last season, Tomi Janežič and his team also took him as a reference point for their research and laboratory approach. Parallel to that, Simona Semenič was writing a new text, titled as no title yet. Semenič approached Don Juan, this time carrying the quintessential Slovenian name Janez, from the angle of his “seducees” and through the consequences of his acts – which all blend into a whole in a single moment, in a single heartbeat. A moment needed that a body that slips from the bed hits the ground. The text has merged superbly with the material created at the rehearsals, and Janežič mixed it subtly into a rich, layered whole which adds another view to the countless versions of Don Juan and donjuanism, and particularly speaks of our joys, hopes, fears and distress. Here and now.
The text approaches the topics of stereotypical and indisputable Donjuanesque machismo from the aspect of consequences, such as rapes, rejections, the question whether to live or die, draining of life in disappointment, a car crash, feelings of a loser, shattered dreams … All this is, in Semenič’s and Janežič’s theatre, with an excellent ensemble, beautiful, magnificent and magical, elevated to the level of a moment caught, a moment which is transient. All the elements of the performance are imbued with the sense of transiency; they also lead the spectators into it and literally fill them with fresh air.
Janežič’s psychodrama approach in directing and dramaturgy and Semenič’s sharp, multi-layered writing confront us with a unique scattering of everything theatrical. What we have in front of us is a vivisection of a living stage organism that pulses, in its enduring ephemerality, all the way to the capillaries. We take the time in many ways, the perception of the moment is astounding. Confessions, fantasies, traumas inhabit the almost empty scene. The entire human material deconstructs itself in front of us in all its glory and misery. It tackles the thematising of the cliché Donjuanism in all its renditions through the borderline situations of abuse, rape, death, attitude to the transcendent, life defeats, disillusions.
[…] The text is continually interspersed by stories of the actors that oscillate between the intimate and the public, which we follow like we were at a table read. For the felling of a workshop or a lab to be complete, we have the director with a laptop, who intervenes every once in a while, and emphasises the scenes. We have actors with tablets from which they read the text, or phones, even paper. The impression of a process in progress, the incompleteness is constantly present – from the beginning till the end.
[…] A dedicated ensemble, to which nothing human is alien […] literally left their souls onstage. We’ve never seen them from this close and this real, as if we were in an intimate meeting with them, almost.
[…] no title yet is the right title for the indeterminateness, openness of theatre’s ephemerality. A daring, excellent programming gesture of the mostly very different, socially engaged Mladinsko Theatre.
The director connects the text to the material created during the rehearsals, but leaves the structural division noticeable – he intertwines the text with personal narratives. […] Through the spatial revealing of the textual layers, Janežič reinforces numerous temporalities to which actors’ confessions add content accessibility (sexual experience, power abuse, consequences of Don Juan’s/Janez’s machismo). The entire cast, to mention only Anja Novak, Stane Tomažin, Nataša Keser, Blaž Šef, Boris Kos, with their individually touching, performatively responsible acting loyal to the collective, build an emotional, painful, humorous and aesthetically perfected theatre organism; Janežič himself enters into the play, he paces and sharpens it. As it doesn’t submit to a rigid structure, the event will next time be revived differently, but that won’t diminish its vitality. Free from the fixation of meaning afforded by the temporal openness (and a decision to spend a day in theatre), it is through its duration that no title yet tests a different way of imagination and seeing – a different sensitivity, which in the emergence of the community, in itself, in the day, in the moment, in all these temporalities and identities, may recognise a miracle.
- Festival TESZT, Timișoara, Romania, 19 May 2019
- Week of Slovenian Drama, Kranj, Slovenia, 7 April 2019 (performed in Ljubljana)
- Šeligo Award for best production at the 49th Week of Slovenian Drama (2019)
- Audience Award at the 49th Week of Slovenian Drama (2019)
Uroš Kaurin, Žarko Prinčič, Tjaša Črnigoj, Tin Grabnar, Maruša Kink, Katja Legin, Simona Semenič, Kristina Lelovac, Peter Sarjanović, Radio Trst A, Irena Preda, Matjaž Jankovič, Matjaž Bric, mag. Lucija Mak Uhan, Branislava Djurica, GET inženiring, d. o. o.