Translation into Slovenian language:
Suzana Koncut

Translation into Croation language:
Ana Kvrgić and Jasna Vombek

Adaptation, directing, dramaturgy and language consultant:
Jasna Vombek

Ana Kvrgić as Anne Desbaresdes, Gaber K. Trseglav as Chauvin

Set and costume design:
Irena Pivka

Brane Zorman

Light design:
Jaka Šimenc

Tilen Vipotnik and Nace Hočevar

Mladinski kulturni center Maribor

Mini teater in co-operation with Študentska založba Ljubljana

Opening performance:
January 2005; Mini teater

Duration 70 min

About the performance

Following the eminent novel Moderato cantabile of the French literary, film and theatre artists Marguerite Duras (1914-1996) the Slovene performance with the same title, created by Jasna Vombek, represents the first performance in Slovenia based on the text of the above author. The idea and the topic starting point (finding its source in the literary tekst from 1958) established the unpredictable field of the relationship 'man-woman', which is problematic already in its base due to external circumstances or even more, due to their (indicated) intimate obsessions. This love story, frustrated as it goes along, is shown in concealed disclosure; in the protagonists getting closer or moving apart from each other; in their desire to escape the exhausting existence; due to reduction of the traditional psychologic analysis of the characters and the apparent exclusion of the fable, it opens up in a partly disclosed, at first sight fragmentary performance with a simple and almost plain language expression, covering a continuous bubbling of the gradually increasing obsessive attraction and the painfully unfufillbar yearning. At the same time the performance is playing with the question of reality an fiction, with the fatally committing interlacement of the two characters - raising the question whether in the world of truth pluralism fiction really exists as an innocent, independent world, ontologically separated from the real world; or better: to what extent its effects can reach into it. Where - considering the manco of the only and supreme Truth - is the ordinary each-time truth hiding? And to what degree is its status binding? In what way are the meanings reestablished and the context of sense spaced within this modern, decentred labyrinth with no redeeming Ariadna's thread?