Marina Gržinić: Destruction
“In this theater work, an array of characters joined together form a malfunctioning “gang” of identities. They slip out of the conventional with a terminal positioning of their status as actors. At the root is a mis-recognition of identity: monologues mixed with surreptitious glances to the audience. They directly address the audience and provoke them also in a humorous way, creating interactions, but the outcome is complete panic, no memory at all! The forces at work here are those between the audience and the theater: these actors suggest a societal and cultural transformation occurring outside modernist theater discourse.” (Toward a new performativity and processuality, Maska Ljubljana, XVIII/2-3 (80-81), spring-summer 2003)
Primož Jesenko: The Gallery Anti-path
An unpublished essay on Starting Point: Anger, Ljubljana 2003
Blaž Lukan: Who plays my role? (Delo Ljubljana, 29. November 2002)
“The series of questions, reaching into the ontology of theatre and existence, is set out with theatrical articulation, clarity and unequivocalness. Except for the final scene (and perhaps the subtitle of the whole production – Starting point: Anger – which was used by the authors as an origin, but the realization then exceeded it) the production is distinguished by an identifiable outline, a clear point of view, the right amplitude of distanced humor at its own expense, a well considered balance between the rehearsed and the spontaneous, masterful timing and a friendly rapport with the audience.”
Gregor Butala: Sozvočje izpeljav (Dnevnik Ljubljana, 2. December 2002)
“These mini-performances can stand on their own as well, not linked together by conceptual starting point or similarity of form; being installed in six neighbouring rooms, they paradoxically constitute the sense of integration, in spite of their seeming seclusion. The view sometimes catches more than one room and at once the sounds from other rooms blend, while the final repetition provides the interweaving, with performers changing their places along with their roles.”
Klemen Fele: Via negativa in Modern gallery (Finance Ljubljana)
“Exchanging the theatrical stage for an art gallery enlarges the customary theatrical code. It is about basic questions of the actor, being gradually exposed to the threat of its own character swallowing him up. And since the performers are presenting their own selves, it seems as if they escaped this danger. The objects used to put up their separate stories, are like traces bringing us back to the primal theatrical situation, to ritual. At the same time, the audience is offered a sense of freedom and the possibility of choice. For these points alone the production is unusual and undoubtedly worth seeing.”