… about the creators
Ivan Talijancic is a multi-disciplinary artist who has been working in New York already for over a decade. With his co-workers Erika Latta and Dion Doulis he founded a multi-disciplinary theatre group WaxFactory. The group was formed during the study of staging arts at the New york Columbia University. Already with their first performances (Wedekind's Lulu, Ibsen's The Lady From the Sea, Müller's Quartet) the group went touring around Europe and established itself as an extremely nomadic, residential, international group with a permanent core and different project co-workers. The members of the WaxFactory group took part in numerous residential projects in the U.S.A. and in Europe, they performed and assisted in Robert Wilson's performances, they were guests in projects of various New York theatres, and with their shows – either as WaxFactory or some other theatre group – they took part in numerous international festivals.
The members of the WaxFactory presented themselves to the Slovene public for the first time in 2003 within the festival Exodos, the co-producer of their staging of Sarah Kane's Cleansed
… about the performance
The performance … SHE SAID concentrates on the idea of a space in between. This space is not defined with conceptions such as life and death or movement and standstill. … SHE SAID is somewhere in between, in a state of transition between time, defined by life and death, and space, defined by movement and standstill. This is a bottomless chronotope of the artist's imagination. It is a sort of semi-life (or perhaps a super-life?)
With the play … SHE SAID a non-definible world is disclosed in front of the spectators, a world, which the artist can destroy as easily as he has created it. The characters placed in this space are merely products of the artist's imagination. They are a conception of the artist's will.The artist himself, however, is eventually just a conception in the will of his own characters.
The creators built their performance from a conviction about the existence of that space in between, where each person spends some non-defined amount of time, split between the external world and his/her own imagination.
Just like the contents of the play its form, too, appears to be somewhere in between: between the move and the voice, between the video and the theatre, between the electronics and the acoustics. It combines the modern architectural structure (stage-set design: Spela Ursic and Nejc Batistic) with integrated lighting units (light design: Jaka Simenc); industrially designed costumes (costume design: Silvio Vujicic) with modern technology in programme equipment – electronic music (sound design: Random Logic) and video (video: STRUP). In its basic concept of approach the technological structure of the play incorporates the unusual use of the spoken text as well as elements of the movement theatre.
The construction, limiting the protagonists of the play yet at the same time offering a kind of an integrated 'shop-window', represents a space in between, whichreminds us of a working area in some scientific laboratory or some waiting room of an airport entrance hall.; so, the structure changes into an abstract, metaphoric token filled with images of transiency, life's brief duration, captivity.Through use of the video the stage set turns into a vast projection surface, where the mounted contents of the direct video transmission and the recorded film material is reeling off. The text of the play … SHE SAID is a product of a team work: the director Ivan Talijancic, the stage manager Simona Semenic and the performers Dion Doulis, Erika Latta in Katarina Stegnar