Ballet of Slovene National Theatre Maribor
XV DANCE OPEN International Ballet Festival
April 23, 2016, 19:00. Alexandrinsky Theatre
The viewer has no other choice but enjoy a crystal clear dramaturgic surmise.
I needed to get to the bottom line of every statement, to feel it, pass it through my mind and then through my body.
Like it or not, but every epoch has its super heroes who are analyzed, redefined and explained by each subsequent generation. Oedipus, Don Quixote, Don Juan, Faust ... In the second half of the XIX century talented Henrik Ibsen created restless, seeking not just his way, but himself in his dreams and half-mystical reality Peer Gynt.
Edvard Grieg, while listening to Ibsen's poetry, created the most melodious and famous of his overtures. Today the Song of Solveig is much more famous than the poem that inspired her. There was other music and there were other performances, some of them in ballet. But even today, in one and a half century, the ambiguity of Peer Gynt, that is rooted either to folklore, or the unconscious, inspires many artists.
In 2015 Edward Clug, the choreographer of Slovene National Theatre Maribor, starts a dialogue with Ibsen and Grieg. It is not an easy dialogue as Clug is a man of a different epoch and different background…
But then, do his views really differ that much? Just like Peer Gynt, we all live on the joint of various mental epochs today. And many of us believe that they were born for great things – “one just needs to understand where to start from”.
And it is equally important today for all of us to make the choice between the commandment “be yourself” and the credo of the trolls “be pleased with yourself”. But what if you do not find your place in life and the Button-molder will send your soul to the waste…
Cultural codes change, links break, threads get thinner, but… love still saves. And one still needs faithful Solveig…
Edward Clug’s choreography version of the Scandinavian folklore figure is integrated in the fabric of a modern ballet tale seasoned with the bold self- irony of the artist where the line between surrealism and the theatre of absurd is erased.
Edward Clug, who has aesthetically “elevated” the plot to a yet unseen level of complexity and coherence of all stage elements, as well as to an unsurpassable energetic performance.
It is a top-level performance, which deserves to be seen of many international stages.
The absurd and self-irony are splashing out.
Choreography: Edward Clug
Conductor: Simon Robinson
Piano solo: Maja Gombač
Costume designer: Leo Kulaš
Set designer: Marko Japelj
Sculptures: Ivo Nemec, Milena Greifoner
Assistant to choreographer: Matjaž Marin, Miloš Isailović
Peer Gynt: Denis Matvienko
Solveig: Evgenija Koškina
Death: Gaj Žmavc
Åse, Peer's mother: Tanja Baronik
Deer: Sytze Jan Luske
Ingrid, the bride: Tijuana Križman Hudernik
Aslak, the blacksmith: Sergiu Moga
Woman in green: Tetiana Svetlična
Mads Moen, the groom: Matjaž Marin
Anitra, daughter of a Bedouin's chief: Asami Nakashima
Little Helga: Alena Medič
Begriffenfeldt, a doctor: Sergiu Moga
Four lunatics: Tetiana Svetlična, Mirjana Šrot, Matjaž Marin, Tiberiu Marta
Three dairymaids: Klavdija Stanišič, Blaga Stojčeva, Hristina Stojčeva
Troll chief: Vadim Kurgajev