Spomenik G: Janez Janša, Dušan Jovanović / izsek 3

Spomenik G: Janez Janša, Dušan Jovanović / izsek 3
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Predstava Spomenik G je ena od kultnih predstav slovenske gledališke neoavantgarde. Prvikrat se je na slovenskem odru zgodila predstava, ki je na radikalen način zanikala tekst kot literaturo in ga spet ustvarila kot gledališče«, je zapisal v oceni Veno Taufer, in presodil, da je bila »igralski avtor režiserjeve teatrske vizije Jožica Avbelj«.
Janez Janša je po uspešni in odmevni rekonstrukciji kultne predstave Pupilija, papa Pupilo pa Pupilčki (posebna nagrada festivala BITEF v Beogradu, mednarodna gostovanja še na Dunaju, v Bruslju, Bukarešti in Čedadu), rekonstruiral tudi Spomenik G, na povsem drugačen način. Dušan Jovanović je z Jožico Avbelj obnovil originalno predstavo, hkrati pa na odru poteka rekonstrukcija pod režijo Janeza Janše s plesalko mlajše generacije, Tejo Reba.

Režiserja: Janez Janša, Dušan Jovanović
Nastopajoči: Jožica Avbelj, Matjaž Jarc, Boštjan Narat, Teja Reba
Scenografija: Janez Janša
Lučno oblikovanje: Andrej Koležnik.
Dramaturg in asiststent režije: Samo Gosarič
Glasba: Matjaž Jarc
Producentka: Jedrt Jež Furlan
Predstava je nastala v koprodukciji Maske Ljubljana in MGL.

Spomenik G je del mednarodnega projekta What to Affirm? What to Perform?, v katerem Maska sodeluje s Centrom za dramsko umetnost iz Zagreba, Nacionalnim centrom za ples iz Bukarešte ter dunajskim Tanzquartierjem. Projekt financirata fundaciji Allianz in European Cultural Foundation.)

"I approached Štihs Monument very seriously, but I had great issues with its traditional structure and its commitment. /.../ I wanted the things contained in the text to come out physically and not verbally. /.../ Out of the seventy pages of text, nine sentences remained, one poem and some shouts. Through the dialectics of twelve poses, Avbelj enacted the whole content of Štihs piece."
(Dušan Jovanović, source: Tomaž Toporišič: Between Seduction and Suspicion, Maska, 2004)

Monument G is one of the cult performances of Slovenian neo-avantgarde theatre. Based on a play by Bojan Štih, it was directed by Dušan Jovanović and represents a break in the understanding of theatre language. Veno Taufer, poet and theatre critic, characterised the performance as an experience of total theatre. In it, the rhythmical sound layer blends with the expressiveness of movement, the actresss voice and gutturally articulated sound. For the first time in Slovenian theatre, a performance was staged that in a radical way negated the text as literature and again created it as theatre, he wrote in a review, adding that the acting author of the directors theatre vision was Jožica Avbelj. In the explanation of the Borštnik Ring Award conferred upon Jožica Avbelj in 2001, the expert jury wrote: The directors creation of total theatre was based on releasing the actors entire expressive potential. It gave Slovenian theatre an actress who spoke out with her body, with a rhythmic trembling and undulating of a liberated and artistically moulded expressiveness of a human being as a psychophysical being. This language was theatrically fresh, powerful. With it, Jožica Avbelj won an award at the Sarajevo Festival of Small and Experimental Stage and her first Borštnik diploma and award. She confidently established herself as a contemporary actress with her unique expressive style: her acting is always intense, founded in a sensible connection of language, movement and voices, it sensitively delineates a moving fragility and vulnerability of the portrayed characters, colouring them with sensuousness.
After his successful and talked-about reconstruction of the cult performance Pupilija, papa Pupilo pa Pupilčki (special award at the BITEF festival in Belgrade, international appearances also in Vienna, Brussels, Bucharest and Čedad), Janez Janša has reconstructed also Monument G, but in a completely different way. Dušan Jovanović is restageing the original performance together with Jožica Avbelj, while, at the same time, the reconstruction directed by Janez Janša has also taken place on stage, with a dancer of the younger generation, Teja Reba.
Reviews of the original performance

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