Another Cepheus Review

Two more reviews for Cepheus have now been translated from the original Croatian (with thanks to Natasha Stanic). The production tours the Uk in May 2011, dates currently on sale:-

Rich Mix, London 13 May 2011
The Lowry, Salford 18 May 2011

More on sale dates venues to follow

Kim Cuculić in “Novi list” writes:-

AN HISTORIC EPISODE THAT INVOKES PRESENT
An event from Croatian history provokes a question as to whether resistance is possible at all today and asks where are those revolutionary forces in society that could oppose the terror of those who hold power

The performance “Cepheus” is imagined as a kind of a sound card, a cross between a concert and the Brechtian twist. The sound space of the stage is framed by a steel floorplan that matches the sketch of Cesarec’s cell in the King’s prison in Mitrovica. And a non-sound space reveals the secret student’s revolution on the territory of a summerhouse set in the wine yard in Stenevac known as the “Stenevac Republic.”


Double people / People’s doubles

The performance space has been framed by unusual constructions made of steel that serve as musical instruments as well as props. Besides using these unconventional instruments, an unexpected musical background has been created by classical instruments such as a violin and a piano. Solos by Damir Bartol Indoš that invoke the energy and rebelliousness of punk have been inserted into what sounds a bit like a cacophony.

By using the steel floorplan, projections of advertisements of that specific time and the map of Zagreb, as well as hanging editions of youth magazine “Wave” from 1911, Damir Bartol Indoš and Tanja Vrvilo are deconstructing one moment in time of this particular era, and establishing its link with the present. By doing this they are matching the idea of Louis August Blanqui’s doubles and the repetitiveness of events. In the verbal part of the show the source texts are by Josip Horvat, August Cesarec, Janko Polić Kamov, Vladimir Cerina, Miroslav Krleza, Anton Negri, Guy Debord etc… In the show Vilim Matula plays the role of collocutor. Besides Indoš and Vrvilo other performers are Nikolina Majdak, Adriana Josipovic, Kate Marusic, Damir Prica Kafka i Miro Manojlovic. Artistic cooperation on the project – Branko Matan.

Nataša Govedić writes in Zarez
Commemorative or collective body

Cepheus focuses around commemorative solidarity. How to remember those that have passed away ? And even harder; how to remember our revolutionary ancestors? Luka Jukić, who in 1912 attempted an assassination on Slavko Cuvaj, Croatian Duke and King’s governor in Croatia, a satrap whose political achievements Miroslav Krleža describes in the following words “bloodsucker and tyrant of his own people”? How to remember killed authors such as August Cesarec, or his brother in arms Janko Polić Kamov? And all those high school and university pre-revolutionaries (a reprint of Val magazine is hung up in the actual performance)?

Personally I find the idea of young intellectuals gathering around a particular critical program far more important than romanticizing the position of an assassin. I don’t see the reason for transforming terrorists into mythical icons of true resistance nor do I see the reason for their stigmatization in terms of their morals and then their further political persecution. Cepheus brings back the innocence of the revolutionary committees without judgment and that’s why it’s a good show.

Remembrance of the Living

Damir Bartol Indoš and Tanja Vrvilo are at the center of Cepheus but an equally important part is played by a female chorus made of a group of capable young forces – Nikolina Majdak, Adriana Josipović and Kate Marušić. All of the performers contribute to a special sort of performer’s singularity that is created on the stage, each of the performers providing a personal guarantee for each and every line spoken. In terms of interpretation, a mad Indoš, a gloomy Matula and a provoking Vrvilo are the leaders here. The way in which each of them are “soaked” in the individual stage vocabulary and musical expression, affirms the community of radical differences – a collective body whose every movement is witnessing a performer’s personal struggle and inner tensions.
Nataš

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