Sašo & Mojtina Jurcer:
The myth re-envisioned by Inner World Theatre
Directed by: Sašo Jurcer
Performed by: Mojtina Jurcer
“A show of
powerful and exciting images. A challenge to the rules of
the theater, the acrobatic proof of an interpreter who,
with her mastery of gesture and animal expression of her
voice in a ritual without words, as in a malignant dream
makes concrete the last hours of Medea.”
Teatro VASCELLO Season 2012/13, Rome, Italy
The myth of Medea’s revenge – the murder of Jason’ s children she gave birth to – is one of the most tragic stories emanating from early European civilisation. Out of love for Jason, Medea the Hecate betrays her father, sisters and homeland; she kills her brother, disgraces her family name and honour and lives in insecure exile to be ultimately abandoned and deceived by a man to whom she sacrificed and gave everything possible in the domain of human existence.
Sašo and Mojtina Jurcer take the horizon of Medea’s myth as the material for a journey into her mental landscape, and tell a story from the perspective of her demise. When, at her magic table, Medea looks back at the ruins of her life and – for the final time – or who knows how many times – embarks on an impossible journey; wondering about the blind necessity of her fate, she takes another walk through her life to the crossroads where in the geometry of tragedy the elementary force of faith in love ruptures into the force of destruction.
"inner world theatre"
becomes much more interesting than that which is visible on
the outside,« concludes the director Sašo Jurcer, who,
together with the actress Mojtina Jurcer, established the
Inner World Theatre in 2005.
Through a series of original theatre performances and by transposing the boundaries between performance, physical theatre, contemporary dance and modern opera, they reject the mimetic foundations of the western theatre tradition, and on stage ever more intensively pulls down the curtain of a material world by shifting away from the notion of the theatre as the mirror of the world to the theatre as a gesture to the world – from the actor’s body on stage to body as a world.
During research process of “inner world theatre” they developed a theatre system and acting method, which – on the basis of temporal decompression and spatial decomposition – liberates the actor’s body from the physical confines of the outer and – through the bodily calligraphy of inner mental states – connects it to the dramaturgy of manifestations of human inner motion.
Today, the Inner World Theatre is a moving company, which builds and modifies its performances through intense exploration of the nature of theatrical contact in dialogues with audiences of various cultures, from St. Petersburg and Moscow, to Rome, Budapest and Yerevan, as well as from Alexandria, to Chicago and Shanghai. It primarily deals with the development of the universal language of theatre, and, through extensive international activities, gradually transforms into the theatre of the world.
With Medea’s Scream Sašo and Mojtina Jurcer turned from post-dramatic theatre to a pre-dramatic framework and restore it to nearly forgotten ritual pre-modern origin, when a man stands among fellow humans in order to share with them a mystery of his pain. In this act that goes beyond the playing or portraying the character and storytelling they returned once more to the acting of the vertical axes of human existence.
sorceress jealous and murderous mother, silently enters in
a semi naked scene. A large table becomes the stage on
which the tale comes to life. A tale of inarticulate
sounds, rustles amplified by a microphone that makes grave
On the table covered with a sand Medea shaken off inexorable slowly and with impassive face the small limbs of a doll. Movement dense and glance unperturbed accompany the abstraction of infanticide most tragic of theatrical literature.
The actress approaches the little body of the doll without the head to her face and the screen displays the foreground sinister of a sorrowing mother. The video amplifies the action that takes place on stage, selecting details, exaggerating the expressive face of Mojtina Jurcer, investigating in a more intimate look.
Detachment, anger and a strange stupor are alternated the soul of the character and the face of the actress. The slow movements become jerky at times. The cold strategy with which the actress moves three bloodied cups, drawing on the table trajectories that seem to evoke the dynamics of the protagonists of the tragedy, alternating with moments of despair.
The plastic doll limbs, torn with studied calmness, will be buried with violence, discovered with horror and reassembled with the same dreadful tranquility.
The word is banished from the scene. The barbarous Medea does not speak our language. Foreign, distant, different and yet so close with those glances and wheeze, to a reality deeply rooted in underground layers of consciousness.
The spectacle between performance, physical theater and contemporary dance proposes a new intimate reading of the myth, searching for a primordial essentiality that is impossible to put into words and that succeeds to exist on stage thanks to the live sincerity of the actress.
Second day. The festival is gaining momentum. Two "Medeas"
performances played today will inevitably be compared.
"Medeas" are based on different sources: the Yakuts
(Stepanida Borisova) founded upon the text by Heiner
Müller, and Slovenes (Mojtina Jurcer) turned to myth, to
the deep layers of world culture. Even outside these
actresses can create two completely different images.
Context - a familiar audience of Moscow Ginkas’s "Medea",
hack the form of tragedy."
Medea’s Scream" plays at the junction of sound-drama and "theater of cruelty." Not a single word does not say during her mysterious magical manipulation of table, which constitute the main stage design discovery of Slovenian performance, Mojtina Jurcer: only whispers, noises, knocks and sounds of running water and rolling in the sand, cries, the resonances create a unique symphony of this performance experiment. …. Final artist plays on the table; rising vertically from top to bottom passes through the whole world, but then that table - it is also the prototype stage in the European theater culture.
Expressive performance: The goal of Slovenians - to hold the audience into the inner world of Medea. Symbolically important task is contained in the name of the theater "Inner World Theatre" - this is an extremely subjective experience, an attempt to break through the limits of the visible world to the hidden nature of things."
"What is the
core of Mojtina Jurcer's acting virtuosity? It is the
virtuoso technique of talent, i.e. the technique that per
definition cannot be learned and cannot be distributed as
it is absolute and self-sufficient – it is the individual
result based on the 'internal wealth' of the artist and on
the direct rendering of personal expressiveness."
"The church Santa Maria dei Battuti, packed as ever, welcomed and applauded the hard "Medea's Scream," a co-production Slovenian, Croatian and Montenegrin, with the sole protagonist, Mojtina Jurcer, who has explored the tragedy of Euripides, proposed with an acting full of verve and pathos, making the current figure of Medea while renouncing the word as a means of communication. Sašo Jurcer is a director attentive to detail, innovative and scratchy, full of ideas, a show well packaged that never expire in rhetoric and repetition."
"Especially impressive were symbols, physical objects and materialized tragic and agony … representation and only one actress, which articulated the whole tragic of this ancient drama with movements of the body and voices, vocals, screams that caused the hair on skin stand on end. In every voice, every movement there was painfulness, tragic and tragedy that expressed actress Mojtina Jurcer."
"Revenge, which was simultaneously a betrayal of her own being, vibrated through the actress's taut body filled with anger and despair trying to set off on a new self-search via the rituals on the witchcraft table. ... slow meditative movements suddenly turn into a succession of stormy modern-dance elements; the scream slams into the painful reality the distant voices of spiritual levitation; objects on the ritual table symbolise a transcendental journey ..."
RADIO STUDENT Slovenia
"Solo performer Mojtina Jurcer ... expressively conjures up the inner landscape of Medea’s world."
"The Slovenian actress Mojtina Jurcer enters on scene with a bag of jute from which throws a dismembered doll on the table, and gives life to a performance without words expressing the rage and madness, revenge and redemption denied, in a paroxysm/oxymorons game in which the maternal caresses followed obsessive-compulsive disorders (movement of objects which clash on the boards, filling glasses, drowning the doll's head). The proof of an actress is in any case extraordinary: Mojtina Jurcer captures with her eyes and through body movements and ability to convey the agony of heroin noir par excellence, who kills his brother for love and kill her children in revenge for Jason and prevent him from having offspring."