The Dead Man comes for his Sweatheart
Crew
DIRECTOR JERNEJ LORENCI
ASSISTANT DIRECTOR AND CHOREOGRAPHER GREGOR LUŠTEK
COMPOSER BRANKO ROŽMAN
DRAMATURG MARINKA POŠTRAK
STAGE DESIGNER BRANKO HOJNIK
COSTUME DESIGNER BELINDA RADULOVIĆ
LANGUAGE CONSULTANT MAJA CERAR
LIGHTING DESIGNER DRAGO CERKOVNIK
MAKE-UP ARTIST MATEJ PAJNTAR
Cast
FIRST MITZI ANA URBANC (AS GUEST)
SECOND MITZI VESNA PERNARČIČ
ANZEL MIHA RODMAN
MILLER ALJOŠA TERNOVŠEK
MOTHER DARJA REICHMAN
ST THADDEUS BORUT VESELKO
MILLER'S DEAD MOTHER VESNA JEVNIKAR
JUDITA JUDITA POLAK (AS GUEST)
CIRIL CIRIL ROBLEK (AS GUEST)
About the performance
Original title: Mrtvev pride po ljubico
PREMIÈRE
27 MARCH 2014 AT THE PREŠERN THEATRE KRANJ,
16 APRIL 2014 AT PTUJ CITY THEATRE
THE PERFORMANCE IS 1 HOUR AND 45 MINUTES LONG AND HAS NO INTERVAL
"You can\'t be a bit yourself, a bit someone else. You can't be a bit his, a bit of someone else\'s. The heart must remain whole. Have you understood?"
A number of performances that we encounter at the Week of Slovenian Drama are inspired by Slovenian history, this year’s pick in particular. On the other hand, the performances stage intimate, lyrical moments
from the timeless, from outside of this world. This performance by the festival’s hosting theatre reaches way back, into the time before history, the time of myths and, at the same time, opens a window into the eternal question of love and death. Through the poetic interpretation of a folk tale is reborn in a performance that with all the theatre powers retains the original poetry of the tale, its dark and sweet echo of yore.
JernejLorenci’s directing allots an important place to Branko Rožman’s music. It becomes the vessel for the dramatic charge and uses folk-based tunes to cleverly keep alive the yarn that has been spun since before history was recorded. With the story of a dead lover and an emptied life it speaks, like a myth, about what drives us, how we understand the world, and what we combat inside our souls.
"With a strong characterisation of the protagonists, this staging offers the spectator an almost concert drama with minimalist movement interventions that are poured into clean and perfected theatre scenes;
it takes the spectator on the path of bare theatre, the core and essence are merged in the actor. To this is added music, that is, singing accompanied by accordions. Here as well, the surplus emerges in the moment when the music itself takes over the role of the dramatic act and we witness a dialogue between instruments. Everything is clear, precise, with meaning purified."
(Petra Tanko, Radio Slovenija)
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