Molière

Glas Istre, 14.4.2007, B. Vincek, Deconstruction and reconstruction, The performance Moliere at the Istrian National Theatre (INK), Pola, Croatia

In a performance mainly conducted in a non-verbal manner, which in some of its segments creates the contours of the surreal through dialogues, the main expression is trandferred through the dance, which in its modern version perhaps best conveys the inner pervasions of the characters even when it is performed by way of improvisation. The plot or the underlying context of this theatre work questions the personality and especially the work of Moliere in an imaginatory and original manner.


Delo (Slovene daily), 26. 9. 2006 Blaž Lukan ...
Moliere by Barbara Novakovič Kolenc is a deconstruction or, better yet, a de- and re-editing of Moliere as an associative impulse and an interpretative area enabling virtually everything - provided, of course, that it is put out of the stylistically-historical framework and understood as a distinctly contemporary provocation. We are thus faced with a relaxed (almost improvised) dance, and a simulation - and, simultaneously, a transgression - of the Moliere-type style, an invention of drama theatre in a Moliere manner, a production of discernable tableaux, which are - again - by means of an at times incontrollable feminine energy being translated into a new, as of yet raw context, which - to be completely accurate - is reliably guarded against destruction, falling over the edge or a breakdown exclusively by a certain not quite rational will. Therefore, it is interesting that, as the latter initiated the (decision for) separation from the Moliere-like canon as such, it is now, through its performance, by the will of the female actors accomplishing the performance, separated from its new succession pattern as well, namely from editing: in comparing the titles of individual scenes in the theatre brochure with the realised material, it is obvious that the realisation went further, that it gained autonomy and produced a new, entirely fresh, liberated, radical but at the same time original Moliere, who cannot possibly remain overlooked ...

Večer (Slovene daily), 26. 9. 2006, Rok Vevar ...
A collage of comical situations from rehearsals and from the life that the actors and dancers have shared with each other, of financial and creative quandaries (they could as well be called symptoms, symptoms of artistic creation within a certain culturally-political and ideological context) represents a turning point in the opus of Barbara Novakovič, entering a distinctly comical element into her delicate weaving of the stage atmosphere and thus reminding us essentially of the fact that our (contemporary) theatre lacks excessive humour, a humour that does not serve exclusively to satisfying the spectator's wish .

Dnevnik (Slovene daily) 26. September 2006, Katja Praznik, .
Novakovič entered the period of magnification of spirit and reason, of standardised comedies of character and verbal humour through body language, using it to weave and co-write an exceedingly witty and conceptually unblemished performance, showcasing the semantics of the performers' corporality as well as the other side of the age of enlightenment LP of verbal braveries, replaced in Novakovič's Moliere by movement . . In addition to the imaginative script, inspired by the classicist master of comedy, the staging is also enrapturing due to its casting decisions, (un)intentionally triggering and creating an interesting commentary which is aligned with the formalistic discussions that are typical of the period obliged to order, which brought along the forging of diverse normative poetics .

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