Newsletter

We send out a newsletter every month. If you would like to receive information on forthcoming performances and activities please send us your e-mail address.

OD TUKAJ NEDAJ BOG KEJ SPREMINJAT 🙂

Contact

VIA NEGATIVA

Contemporary performing arts association
info@vntheatre.com

artistic director
Bojan Jablanovec
bojan@vntheatre.com
phone: +386 41 389 284

managing director
Špela Trošt
spela@vntheatre.com
phone: +386 51 360 735

public relations
Sara Horžen
horzensara@gmail.com
phone: +386 41 590 872

Address
Via Negativa
Na Peči 12
1000 Ljubljana
Slovenia


Registration number: 1677314
VAT / TAX number: SI71858253
Bank: Abanka Vipa d.d. Ljubljana
IBAN: SI 56 051008010573865
SWIFT: ABANSI2X

Actor as a machine
for production of emotions.

info

press


MANDIĆMACHINE

Solo performance by Marko Mandić

Performance MandićMachine is a compilation of dramatic roles created by Marko Mandić in the period 1996 – 2010. In about one hour Marko runs over his body 37 roles in order to stage the core of an actor, which is impossible to reduce to the role. Actor as a machine for production of emotions, actor as a medium of identification, actor as a body of fascination… Presented dramatic characters retain their physical characteristics, the original texts, stage speech, typical situations and, where possible, including original costumes, props and musical equipment. Compilation does not follow the chronology of their creation. MandićMachine is a final part of the Mandić trilogy (Extract Mandić, Viva Mandić, MandićMachine)

CREDITS

Conceived and devised by Marko Mandić and Bojan Jablanovec
Performed by Marko Mandić
Direction and set: Bojan Jablanovec
Light and stage: Igor Remeta
Costumes, props and music used in MandićMachine originate from performances, where possible, in which Marko originally created his roles
Producer: Špela Trošt

Production: Via Negativa, 2011, with the support by Ministry of Culture of RS and the City of Ljubljana.
Co-production: SNG Drama Ljubljana
Premiere: 25 JUN 2012, The Old Power Station Ljubljana
Duration: 75 min

AWARDS

Slovenian Association of Theater Critics Award for the best performance of 2010/2011 season. “Stunning psycho-physical expression…” (From the award argumentation)

Satyr award for the acting at the 7 Slovenian Chamber Theatre Festival 2012 in Ptuj. “Marko Mandić is provocative, intense and relentless … he does not allow any mediocrity or lukewarmness.” (From the award argumentation)

INFANT Festival Novi Sad 2012. “The prize for the most original exploration into one of the segments of theatrical language … without a fear of disclosure, poses the question of what is left when the actor takes off the skin of his last role? Substance or nothingness?” (From the jury announcement)


THE LIST OF ROLES
presented in MandićMachine in the order of appearance

JASON
Heiner Müller: MEDEA MATERIAL
Directed by Ivica Buljan
Produced by Mini teater Ljubljana & Cankarjev dom Ljubljana, 2003

LUCAS
Howard Barker: URSULA
Directed by Janez Pipan
Produced by SNG Drama Ljubljana, 2000

TINKER
Sarah Kane: CLEANSED
Directed by Jernej Lorenci
Produced by SNG Drama Ljubljana, 2001

TODD
Caryl Churchill: FAR AWAY
Directed by Meta Hočevar
Produced by SNG Drama Ljubljana, 2002

CHRISTIAN
Thomas Vinterberg, Mogens Rukov, Bo hr. Hansen: THE CELEBRATION
Directed by Mateja Koležnik
Produced by SNG Drama Ljubljana, 2001

PIG
Enda Walsh: DISCO PIGS
Directed by Ivana Djilas
Produced by Gledališče Glej Ljubljana, 2002

MESSENGER
Sophocles: ANTIGONE
Directed by Jernej Lorenci
Produced by Academy for Theater Ljubljana & Dead Theater Ljubljana, 1996

BOB
Hanif Kureishi: OUTSKIRTS
Directed by Matjaž Latin
Produced by SNG Drama Ljubljana, 2002

FIANCE
Bernard-Marie Koltès: THE MARCH / SONG OF SONGS
Directed by Ivica Buljan
Produced by Mini teater Ljubljana & HNK Ivana pl. Zajca Rijeka, 2005

TREPLEV
Anton Pavlovich Chekhov: THE SEA GULL
Directed by NIkita Milivojević
Produced by SNG Drama Ljubljana, 2003

POLYBUS
Ivo Svetina: OEDIPUS IN CORINTH
Directed by Ivica Buljan
Produced by SNG Drama Ljubljana, 2006

HIPPOLYTUS
Jean Racine: Phaedra
Directed by François-Michel Pesenti
Produced by SNG Drama Ljubljana, 2004

ČRIMEKUNDAN
Tibetan Mystery: ČRIMEKUNDAN OR IMMACULATE
Directed by Jernej Lorenci
Produced by SNG Drama Ljubljana, 2005

ORESTES
Euripides: IPHIGENIA
Directed by Meta Hočevar
Produced by SNG Drama Ljubljana, 1998

FRIDRIK WETTER, COUNT VOM STRAHL
Heinrich von Kleist: ORDEAL BY FIRE
Directed by François-Michel Pesenti
Produced by SNG Drama Ljubljana, 2007

OSVALD
Henrik Ibsen: GHOSTS
Directed by Eduard Miler
Produced by SNG Drama Ljubljana, 2007

…,- THE ONE WHO ATE HIS NAME
Žanina Mirčevska: THE GORGE
Directed by Andreja Kovač
Produced by SNG Drama Ljubljana, 2009

TOMAŽ KOS
Irvine Welsh: TRAINSPOTTING
Directed by Ernst M. Binder
Produced by SNG Drama Ljubljana, 1999

ALEŠ M.
Matjaž Zupančič: VLADIMIR
Directed by Matjaž Zupančič
Produced by SNG Drama Ljubljana, 1999

SERPUHOVSKOY
Leo Tolstoy: ANNA KARENINA
Directed by Dušan Jovanović
Produced by SNG Drama Ljubljana, 2006

PETER
S. Horvat, Andreja Kopač, Eva Nina Lampič: A PASSAGE TO JAJCE
Directed by Sebastijan Horvat
Produced by SNG Drama Ljubljana, 2009

FREDER
Ferdinand Bruckner: PAINS OF YOUTH
Directed by Mateja Koležnik
Produced by SNG Drama Ljubljana, 2006

VOLKER
Martin Sperr: JAGDSZENEN AUS NIEDERBAYERN
Directed by Ivica Buljan
Produced by Prešeren Theater Kranj & ART Centre Kranj, 2010

KOSTIA
Janusz Głowacki: THE FOURTH SISTER
Directed by Slobodan Unkovski
Produced by SNG Drama Ljubljana, 2002

AL
Bernard-Marie Koltès: SALLINGER
Directed by Ivica Buljan
Produced by Théâtre National de Bretagne Rennes & Mini teater Ljubljana, 2009

MACBETH
Heiner Müller: MACBETH AFTER SHAKESPEARE
Directed by Ivica Buljan
Produced by Mini teater Ljubljana & Cankarjev dom Ljubljana, 2009

ROBERTO ZUCCO
Bernard-Marie Koltès: ROBERTO ZUCCO
Directed by Philippe Calvario
Produced by SNG Drama Ljubljana, 2009

INVESTIGATOR
Fyodor M. Dostoevsky: THE BROTHERS KARAMAZOV
Directed by Mile Korun
Produced by SNG Drama Ljubljana, 2004

DE FLORES
Thomas Middleton, William Rowley: The CHANGELING
Directed by Lindy Davies
Produced by SNG Drama Ljubljana, 2009

LOUIS
Jean-Luc Lagarce: IT’S ONLY THE END OF THE WORD
Directed by Philippe Calvario
Produced by SNG Drama Ljubljana, 2008

DR. STRNEN
Ivan Cankar: ROMANTIC SOULS
Directed by Sebastijan Horvat
Produced by SNG Drama Ljubljana, 2007

APOLLO
Boris A. Novak: CASSANDRA
Directed by Dušan Jovanović
Produced by SNG Drama Ljubljana, 2001

ANDRIJA
Biljana Srbljanović: FAMILY STORIES
Directed by Matjaž Latin
Produced by SNG Drama Ljubljana, 2000

IBN TAHIR
Vladimir Bartol: ALAMUT
Directed by Sebastijan Horvat
Produced by SNG Drama Ljubljana & Salzburger Festspiele, 2005

ADAM
Neil LaBute: THE SHAPE OF THINGS
Directed by Mateja Koležnik
Produced by SNG Drama Ljubljana, 2003

PLATONOV
Anton Pavlovich Chekhov: PLATONOV
Directed by Vito Taufer
Produced by SNG Drama Ljubljana, 2010

 


In extreme or nothing
Delo Ljubljana, 1 July 2011, Zala Dobovšek

Marko Mandić is an actor of extremes, fanatically devoted to the principle of “all or nothing”, never half-hearted, or affording himself any leeway, also by way of transposing the function of the body to a merely symbolic level. His performative statement is always absolute, pure, psycho-physically all-encompassing, and compact.

Already in the two earlier performances of Viva Mandić and Mandić Extract (within the Via nova series), Mandić’s body became an embodied phenomenon of surpassing its own potentials always totally devoted to the moment on the stage and condensed into a vortex of a performative surplus. His carefully thought-through promotion of an actor’s narcissism and vanity – with which his titles already ‘provoke’ – is highly distanced, lucid, calculated and sober. Even as a metaphor it is no less truth conducive.

And precisely herein lies the fascinating aspect of Mandić’s elusive “double presence”, conveyed as a seamless integrity that operates at once without inhibitions or prejudices, giving itself entirely in the form of a private self, while at the same time being thoroughly steeped in the process of creating fiction and deeply committed to the realization of directorial ambitions. In Mandićmachine, verbal dexterity is captured in the fluid destruction of the individual extracts from his acting opus that has been rendered already automatic.

In collaboration with the director Bojan Jablanovec, Mandić has brought back to life just under forty characters or rather parts, sequencing them into a multilayered performance – a back-and-forth shifting between the principle of engaging the audience in jest, then soul-searching contemplation, followed by compulsory coquetry and back again to engaged reanimation of past interpretations – transforming these fragments of performances played in the Slovene National Theatre Drama in Ljubljana, the Mini Theatre, Glej Theatre and at the Academy of performing arts (AGRFT) into an exclusive enactment of one’s so-called personal history – ‘live’.

This is a particular model of theatrical memory, the enactment of which does not depend lazily on the technological support; rather its key value and authenticity are derived from the performer’s immediate presence and his revitalization of the “mental pantry”; a memory, which Mandić chops up retrospectively , always in a focused and imaginative manner. While systematically switching roles of soldiers, lovers, angry young men, mythological beings, men of genius and social misfits, he originally changes his custume and takes care of the stage machinery. Logically and intuitively he manages to connect the characters, weaving between them subtle communication, perhaps even unsuspected similarity; this precisely is what enables him to disclose an attractive invisible “higher order” to the puzzle of theatre fiction that can, when the moment passes, live on its own. However conceptually impersonal, intellectualized, and charged with the contemporary context of being an actor, ultimately we feel that Mandić’s intelligence, his first-rate skill as a performer, and his overwhelming commitment, stand on their own. With or without the title.


The actor and his presence
Primož Jesenko, Eurozine, 28 August 2012


MandićMachine
SiOL.net, 27 June 2011

The performance of the theatre extremist Marko Mandić and Via Negativa is once again proof that Mandić’s body is not merely a medium for playing the parts of others. Over the recent years Marko Mandić has become one of the most recognizable faces of Ljubljana’s Drama; no great performance is imaginable without him. Initially he brought attention to himself with the parts he played for the Small stage (Mala drama), but his explosive energy was no less visible on the big stage. That Mandić is an acting machine in the most positive sense of the term is borne out also by his engagements outside the institution, amongst which there is his collaboration with Via Negativa. Last summer, for example, their performance at the Museum of Contemporary Arts in Zagreb, in which Mandić masturbated onto a piece of cardboard, took the Croatian public somewhat aback, while the regulars of Mandić’s performances have grown accustomed to such moves.

The last in the series of his performance trilogy is Mandićmachine, directed by Bojan Jablanovec, and a kind of overview of parts Mandić created between 1998 and 2010. Thirty-eight parts, which we had occasion to see in the past, mostly in Drama and the Mini Theatre, are strung together into a performance, in which Mandić once again proves himself to be an inexhaustible spring of energy, a master of transformation and, as he was once described by the committee members at the Borštnik meeting – a theatre extremist.

On the stage of the Old Power Station, Mandić once again rose up to some of theatre’s greatest characters and some lesser known ones, aided by a striking costume and the audience, which he communicated with throughout, inviting them on stage, sending them out from the auditorium, getting them to change seats or involve them in some other way. From playing Oswald of Ibsen’s Ghosts, via Renton or rather Tomaž Kos of Trainspotting, to Bob of Hanif Kureishi’s Outskirts and Al from the performance Sallinger staged two years ago at the Mini Theatre, Mandić seeks the core of the actor that transcends the part. In this he is merciless, sucking out the essence from the role. He hardly stops to pause at transitions, which makes the performance seem less an overview of the various roles than an uncontrolled source of Mandić’s creative energies as an actor. Mandićmachine captivated the audience throughout, engaging them without fail, and deservedly earned a standing ovation at the end.


Interview with Marko Mandić
Perforations, September 2011, Dina J.

Your performance MandićMachine presents a man who, like a machine produces emotions. Tell us what procedures do you use to familiarize the audience with the emotions?
I use the body. It’s a machine that produces the thought, the movement, the voice, and the different people. So these people due to their inner extremes are forced to show emotion. They are created by combining various breathings, different volumes of voice, from silence to scream, and the contractions and relaxations of different parts of the body. We use the light, music, microphone, and even the fog, i.e. even some theatrical tricks. I appeal directly to the audience, the role of partners in the plays take individuals in the auditorium. They do not need to play, I only address them, I do everything, it’s sufficient that they are there, with me, as all the audience, ready to cross over into the emotional vortex of each new role portrayed.

Could you mention a couple of more dear to you from the stake of 37 to perform on stage?
I can not. Exactly because of it is a show. All are the one and one is all. Some have failed, just did not fit, did not flourish as one would like, perhaps not my favorite, but it is a step on the way to the other, maybe the fifth, seventh, without it, it would not come to the most impressive one. Some roles, even failures, are in our lives so that we collect with them the ideas, material for new research, to work on a new character. Everything runs on our drawers – files.

For what reasons did you choose these particular roles?
Of all the roles we have taken a few scenes, parts of the text, which would the most exactly and efficiently represent the character. And further on we did the selection against the possibility of using the original settings in our play. The last reduction we have based on the content, theme, and the logic of collage, which is not statistical, looking at unnecessary repetitions.

Do you change the dress on stage, do you leave it while “crossing” in the new role? How do you actually make the transition from one role to another?
I do not leave the stage, I am here, in front of people, for them to see the reversals, to see disrobing and putting on of the new costumes, which all are originals. The transitions from one role to another do not always have the same formula. Sometimes it is the clear-cut, sometimes they are invisible, yet always are close and somewhat incidentally. I do not wear complete costumes, I use just one item.

What is the message you want to convey to his audience?
Come, come, come again. Together we can do everything.

What do you think, how would the Croatian audience react to your performance?
You never know. So far I have always had the feeling that I Croatian audience has received me well, responding to the things that I had the honor to perform there, so somehow I would not panic this time. We’ll see. The performance tells the story about the actor, acting business, theater. The house, the job, the job, the house. I’m interested in, to see each other. To meet. Welcome.

https://vimeo.com/37548028