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Salto mortale 15+

Nebojša Pop Tasić

Death sails into a place where it is told that it holds no jurisdiction. Welcome to the City of the Immortal, where eternally spins the dance of six (un)deadly sins, an artificial paradise ruled by happiness and trade, a disco in broad daylight, a stage on which God and time play no role. Bad infinity, bad immortality.

Written especially for this performance, Tasić’s dramatic text unites the late medieval themes of the Dance of Death and the ecstatic St Vitus' dance, not in order to ward off death, but to call it back. Where each day is the same and sins are indistinguishable, where something has to be going on all the time, it seems best to bet on that seventh day and that seventh sin, idleness, melancholy acedia. In the spirit of 'where danger threatens, salvation also grows', there is nothing more appropriate for this task than Omerzu’s puppet bestiary. And we shout out against the gospel of John Donne, "And death shall be again; death, thou shalt live!"

T Dance of Death, St Vitus' dance, ethical categories, existentialism, absurd; puppetry techniques, materials, source material, music 

From Who Dances the Danse Macabre, a puppetry review by Petra Vidali, Večer, 18th May 2012:
"/.../Nebojša Pop Tasić conceives a world where Death has been banished, or rather where she is nothing but a strange little outsider. A world where she is a constant acquaintance from the obituary pages and thus repeatable and not unique; a world where medicine assumed the role of God and Final Judgment. Silvan Omerzu's puppets are always a sublimely exposed mechanism for articulation and movement on the stage, where the puppet is revealed as the natural state and metaphor; having always been skeletons, Death becomes them. There is no fundamental difference between mortals and Death, except when it really comes to pure Death, as is the case here. The roles are also exquisitely distributed, as are the transitions between the acting and animation parts, both within individual roles and in terms of the whole play. The actors are masters of dosage, thrillingly cold narrators staring motionlessly at the audience, and deft animators of the puppets gone wild, when this is required. Take your time (at least) for this Death. It will only take an hour./.../"

From On the Meaning of Existence and Essence, a puppetry review by Špela Standeker, Dnevnik, 18th May 2012:
"/.../While the upper level of the stage hosts a dance, which at times escalates into fevered orgiastic seances, the episodic scenes below on the lower level of the stage appear as light-hearted comic interludes in which Tasić utilized a healthy dose of street humour. On stage, this is also reinforced by the animators, who are throughout dressed as undertakers and as such do not allow to overlook the omnipresence of Death. The performance thereby acquires an air of inevitability – despite the wit and light-heartedness wafting from certain scenes – and the medieval parable, transposed to modern times, subtly raises the eternal questions on the meaning of existence and essence./.../"



Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale  <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>
Salto mortale <em>Photo: Boštjan Lah</em>

Crew and cast

Director and artistic designer Silvan Omerzu

Composer Bojana Šaljić Podešva

Premiere — 10. May 2012

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