Marko Mandić i Bojan Jablanovec | Via Negativa (SLO) | MandićCirkus
Festival Perforacije 2023
1.7.2023. | 21:00
Kazalište Kerempuh
Ulaznice: 8€ (6€ s popustom za studente i umirovljenike)
Deset godina nakon MandićMachine, Marko Mandić kanalizira svojim tijelom sve što je stvorio od početka svoje kazališne karijere: 91 glumačku kreaciju u razdoblju 1996. – 2021. MandićCirkus nije nastavak MandićMachinea – Cirkus je posljedica Mandića kao stroja za proizvodnju emocija.
“Povijest: vrag u nama, u meni, u tebi.”
(Peter Handke: Storm Still; MandićCircus, role no. 63)
Ako je MandićMachine (2011.) bila parada njegovih glumačkih kreacija (37 u razdoblju 1996.-2010.), MandićCirkus ne želi biti produžetak takvog živog muzeja kazališne i scenske estetike. Iako Cirkus slijedi konceptualno polazište predstave MandićMachine (glumac kao stroj za proizvodnju emocija, glumac kao medij identifikacije, glumac kao tijelo fascinacije), MandićCirkus nije nastavak glumačkih citata – Cirkus je posljedica Mandića kao stroja. MandićCirkus je subjektivizirana povijest koja je opterećena i natopljena sjećanjem i svijesti glumca i izvođača koji misli tijelom i prisutnošću, koji manipulira emocijom i fascinacijom, a na životu ga održava opsjednutost kazalištem. Mandić u Cirkusu brutalno sukobljava glumca i izvođača, umjetnika i egocentrika, egzibicionista i voajera, božanstvenog i banalnog, patologiju ambicije i bijedu uspjeha… Podjednako je neumoljiv prema sebi kao i prema gledatelju – uspostavlja i omogućuje faustovski kazališni konsenzus koji pritom internalizira, mitizira i subjektivizira dominantnu ideologiju, bez obzira kritizira li je ili afirmira. Ta shizofrena omča, koja se steže oko vrata pojedinca u ime društva, inkluzivnosti, političke korektnosti itd., dolazi i od solista Mandića.
U Cirkusu egomanske subjektivizacije, Marko selektivno prisvaja sve što je ikada rekao na pozornici u predstavama – bez obzira tko je, kada i zašto to napisao. Sve što je ikada rekao, izveo, svirao, vrištao, recitirao, pjevao, oznojio, internalizirao ili izbacio – sve je to formiralo njegov jedinstveni habitus i sve to izbija na spektakularnu površinu Cirkusa. Jedina objektivna činjenica koja ostaje koncepcijski temelj projekta je Mandićeva biografija koja uključuje 91 glumačko ostvarenje u razdoblju 1996.-2021. MandićCircus strogo prati kronologiju svog nastanka.
Izvodi: Marko Mandić | Koncept i režija: Bojan Jablanovec | Scenografija: Matej Stupica | Glazba: Samo Kutin | Video: Matej Stupica, Stella Ivšek, Jure Lavrin | Zvuk: Eduardo Raon | Dizajn svjetla: Bojan Jablanovec, Mojca Sarjaš | Producent: Špela Trošt | PR: Sara Horžen | Prijevod na hrvatski: Vanda Gajšak Đokić
Marko Mandić debitirao je u Drami Ljubljana 1996. godine u predstavi Indijanac želi Bronx Izraela Horowitza u režiji Mateje Koležnik. Usavršavao se glumom na Lee Strasberg Theatre and Film Institute, i u Herbert Bergof Studio u New Yorku s Utom Hagen. Od 1998. član je stalnog ansambla SNT Drama Ljubljana u kojem je ostvario većinu svojih najboljih uloga. Dobitnik je brojnih nagrada i priznanja, uključujući nagradu Prešernova fonda, nekoliko Borštnikovih nagrada i nagradu European Shooting Stars na Međunarodnom filmskom festivalu u Berlinu. Velik dio svoje karijere povezan je s redateljima Ivicom Buljanom i Bojanom Jablanovcem te nezavisnom kompanijom za suvremenu izvedbenu umjetnost Via Negativa. Scenska gluma za njega je istraživanje nepoznatog koje u raznim poetikama isporučuje kao da je stiglo iz svemira i u pravilu ga prezentira publici u majstorskom scenskom prikazu. Istražuje i svoj dubinski scenski izraz u filmovima; odnedavno u međunarodnim (ko)produkcijama. Međunarodna arena otvorila mu se i u kazalištu jer je surađivao sa svjetski poznatim redateljima poput Evgenija Titova, Antúa Romera Nunesa i Jana Fabrea.
ENG.
Ten years after Machine, Mandić re-runs through his body everything he has created since the beginning of his theatrical career: 91 acting creations in the period 1996 – 2021. But the Circus is not a continuation of the Machine – Circus is a consequence of Mandić as a machine for production of emotions.
“History: the devil in us, in me, in you.«
(Peter Handke: Storm Still; MandićCircus, role no. 63)
If the original Mandić Machine (2011), was a parade of his acting creations (37 in the period 1996-2010), MandićCircus does not want to be an extension of this living museum of theater and staging aesthetics. Although Circus follows the conceptual starting point of the Machine (actor as a machine for producing emotions, actor as a medium of identification, actor as a body of fascination), MandićCircus is not a continuation of acting quotes – Circus is a consequence of Mandić as a machine.
MandićCircus is a subjectivized history as loaded and soaked in the memory and consciousness of an actor and performer who thinks with body and presence, who manipulates the emotion and fascination, and who is kept alive by his obsession with theater. Mandić in Circus brutally confronts the actor and performer, the artist and egocentric, the exhibitionist and voyeur, the divine and the banal, the pathology of ambition and the misery of success… He is as unforgiving to himself as to his viewer – both establish and enable a Faustian theatrical consensus that internalizes, mythizes and subjectivizes the dominant ideology, regardless of whether it criticizes or affirms. This schizophrenic loop, which is tightened around the neck of an individual in the name of society, inclusiveness, political correctness, etc., squirting out of soloist Mandic as well.
In the Circus of egomaniac subjectivization, Marko selectively appropriates everything he has ever said on stage and in performances – regardless of who, when and why wrote it. Everything he has ever said, performed, played, screamed, recited, chanted, sweated, internalized or extracted – all this has formed his unique habitus, and all this erupts on the spectacular surface of the Circus. The only objective fact that remains the conceptual foundation of the project is Mandić’s biography, which includes 91 acting creations in the period 1996-2021. MandićCircus strictly follows the chronology of their creation.
Concept and direction: Bojan Jablanovec | Stage design: Matej Stupica | Music: Samo Kutin | Video: Matej Stupica, Stella Ivšek, Jure Lavrin
Sound design: Eduardo Raon | Light design: Bojan Jablanovec, Mojca Sarjaš | Stage workers SNG Drama Ljubljana: Robi Laznik, David Potočnik, Viktor Čuk, Marko Kržič, Tomislav Samardžija, Aleš Anžič | Prompter: Gaja Pöschl | Producer: Špela Trošt | Public relations: Sara Horžen | Translation to Croatian: Vanda Gajšak Đokić
Marko Mandić made his debut at the Drama Ljubljana in 1996 in the production of The Indian Wants the Bronx by Israel Horowitz, directed by Mateja Koležnik. He pursued further training in acting at the Lee Strasberg Theatre and Film Institute and at the Herbert Bergof Studio in New York with Uta Hagen. He has been a member of the SNT Drama Ljubljana resident ensemble since 1998 where he has created most of his best roles. He is a leading man and a recipient of numerous awards and accolades, including the Prešeren Fund Award, several Borštnik Awards and the European Shooting Stars Award at the Berlin International Film Festival. A substantial part of his career is associated with directors Ivica Buljan and Bojan Jablanovec as well as with the independent contemporary performing arts company Via Negativa. For him, stage acting equals exploring the unknown that he delivers in various poetics as if it came from outer space and, as a rule, he presents it to the audience in masterful stage portrayal. He also explores his in-depth stage expression in films; recently in international (co)productions. The international arena has opened for him in theatre as well, since he has collaborated with world-renowned directors, such as Evgeny Titov, Antú Romero Nunes and Jan Fabre.
