Cricket in the fist
EXCERPTS
Razgledi, Bojana Kunst
"Frolicking with contents,
which determine the presentation of the relationship between the two of
them, results in refined signification of the stage elements and actors.
Through effective visualization and regular succession of images they
finally transform from bearers of ample conteents into plain transition
and pure playfulness."
Slovenec, Irena Ostrouška
"At some instants,
the performance functions rather childishly simple and adulty exacting
at the same time (if only because of the concept to derive the story from
teh strangeness and lostness of the body in space, and within this framework
to contrast two opposing bodies and principles).
Delo, Ženja Leiler
"A Cricket in Fist"
could run for the award introduced by editorial board of a certain magazine
some years ago, since the story to enter that competition was supposed
to be short and at least minimally reproducible. Yet in this case it is
eternal, and thus also multiplicatively abstract: a man and a woman on
the slippery ground of their time-and-again failed relationship.
... Being aware that it has nothing suprisingly new to add to the subject,
it chooses the emotionally expressive, very, very personal and highly
aestheticised theatre poetry. It cleans the story, which it thus wishes
to cnarrate", from unbearable fatality of words, from the coded dictionary
of communication which is the most deceitful and also the most pitiless
explainer of coordinates of the human mental vein system. What is hidden
behing the word, then, is the life itself."
The Scotsman, Christopher Browen
"Not so Muzeum's conceptual theatre
piece, A Cricket in the Fist, though frankly, I wish i had a clu
what the concept was in the first place. Two performers, three wardrobes,
a lot of books (some strapped to their bodies) a flying shirt and four
or five minutes of tableaux vivants later and most of the audience where
non of the wiser either."
Radio Student, Klemen Fele
"Not a thing remains.
Cupboards are empty, a shirt looses its body, and sacrifical bunnies are
offered.
"A Cricket in Fist" is an ambitious project in the positive
meaning of the term.
If the Muzeum is conceived as a multiple relation to the abstract, I can
justly look forward to seeing their future productions."
Slovenske novice, Simon Kardum
"A Cricket in Fist"
approaches - in its phenomenality, at least - historical denotation of
Modernists and Post - Formalists: from Appia and Craig to Kandinsky and
Bauhaus (in 1926, Andor Weininger succeeded with his Abstract Show to
produce "abstract theatre" - of course, he got rid of actors)
Wilson, Glass and Judson Dance Group to Fabre."
Maska, Eda Čufer
"This is a work of immense
sensual power, of new acting sensibility, but also
a response to the mental patterns and psychological cliches of the theatre
of the 80s and 90s.
(...) Parallel to liberation and emancipation of female energies, Muzeum
with its concise visual and emotional scenario also liberates and emancipates
the paradigm of actor.
(...) On the level of form, the perfomance suggestes echoes of Duchamp
(the door, which conceals his work "Etant Donnes", reminds of
the doors of the three cupboards, behind which occur numerous scenes and
narrative curves of the performance), Magritte and Beuys, as wll as of
Serapions Theatre, Studio Hinderik, or the early productions of the Sisters
of Scipion Nasice theatre.
Thus Muzeum presents in this achievement a particular acting and directing
antipode to "machismo" in the name of the avant-garde modernity,
a very typical mental pattern in the theatre of the 80s and 90s, which
can - if it will fail to find ways to the new creative (female) energies
(including, and first of all, the creative energies of the actor) - very
easily turn into something against which it is actually fighting: into
the old, chiche-like, dull and repressive."
