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Slovene National Theatre Maribor
Wind in the Pines <em>Photo: Damjan Švarc</em>
Photo: Damjan Švarc

Wind in the Pines

Director: Jernej Lorenci
Premiere: 13 March 2009, Small Stage

Noh plays have inspired several European and American theatre masters. Jernej Lorenci, one of the most recognised young directors and Assistant Professor of Theatre Direction at the Academy of Theatre, Radio, Film and Television, is known for his insightful and unconventional theatre aesthetics. With an excellent team of actors, he has undoubtedly laid the foundation for further exploration of Noh plays and the role they play in theatre world history. The long tradition of Noh plays is characterized by the theatrical whole, the ideal of perfect repetition, the balance of outer and inner worlds, preciseness and perfection, austerity and dedication. Noh plays are far from being archaic and old-fashioned recreations of the 14th and 15th centuries when Zeami and Kan’ami founded the Noh theatre. With their archetypical and panhuman situations where individuals fight the transient and passing nature of the human condition, move transgress the invisible boundaries between dreams, illusions and reality of everyday life, they have never stopped addressing audiences around the world. In his article "Dramaturgija gledališča no” ("The Dramaturgy of Noh Theatre”) Jure Gantar writes that "Zeami Motokiyo was not only the most important Japanese classical playwright but also the first Japanese dramaturge. His fundamental theoretical work entitled Fûshikaden or Kadensho is the oldest description of Noh theatre and one of the most consistent and original philosophical texts on Asian aesthetics. Most of his essays on theatre were written at the beginning of the 15th century at the peak of his acting and writing career and a few decades before he was exiled to the island of Sado. To educate the future enthusiasts of Noh plays, he compiled the essays in a cryptic and highly metaphorical reference book”. In his analysis "Dramaturški dnevnik” ("The Dramaturgy Diary”) the dramaturge Nebojša Pop Tasić writes that "for Noh plays distance or – to put it in Brechtian theatre jargon – Verfremdungseffekt is characteristic. The actor is the narrator and the interpreter of his character at the same time. Occasionally his voice even becomes one with the choir. Supporting characters or actors succour the main character in his expression. Narration and acting are stylized and portray the story as a bygone experience. Even feelings are ‘reshaped’ into the realization of the transient nature of everything and are therefore artificial. It is in this artistic skill that the beauty or ‘flower’ of Noh plays lies in. The viewer or the reader gets the impression that any attempt of realistic portrayal would end in banality, roughness and ugliness. Even the melancholy, which pours from the texts, is deceptive as if the divine smile was anticipated behind the veil of melancholy”. Noh plays (Hachinoki, Kantan, Kumasaka, Sekidera Komachi) and kyôgen (Busu) joined under the title Wind in the Pines, which are published in the middle section of the theatre programme, were translated from Old Japanese by Dr Barbara Rovan.

Photo gallery

Wind in the Pines <em>Photo: Damjan Švarc</em>

Photo: Damjan Švarc

Wind in the Pines <em>Photo: Damjan Švarc</em>

Photo: Damjan Švarc

Wind in the Pines <em>Photo: Damjan Švarc</em>

Photo: Damjan Švarc

Wind in the Pines <em>Photo: Damjan Švarc</em>

Photo: Damjan Švarc

Wind in the Pines <em>Photo: Damjan Švarc</em>

Photo: Damjan Švarc


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