Slovensko mladinsko gledališče je v petek premierno uprizorilo Visoko pesem, ki je nastala pod režiserskim očesom Jana Decorta in dramaturško dlanjo Singrid Vinks. Uprizoritev se uvršča v tematski sklop predstav, ki nastajajo po navdihu ljubezenske korespondence in ki ga je decembra lani načel Silvan Omerzu z uprizoritvijo Kleist. Tokrat se je za besedilno osnovo vzelo svetopisemsko besedilo, ki ga lahko beremo v stari zavezi in ki po tradicionalni krščanski razvrstitvi spada med modrostne knjige. Pogovarjali smo se z dramaturginjo Singrid Vinks:

Sigrid Vinks: " ..now it started when Uršula Cetinski from the theater, she asked Jan if he would like to come and direct a performance in Mladinsko theater and she said the theme of the hole year was love letters and that he could choose what kind of text he would choose...and then I suggested Jan to use Visoka pesem, Song of songs, because I think it is a very beautiful text ...it is like the most ancient love letters, love text we have...and I like it in that way a lot because it is not concrete...it is not from these times...it is from old times..and I like this distance very much.... During the press conference...Jan already talked about, that he like abstraction so much...and this is a way to talk about love in abstract way, because it is almost a mythical text you don't understand every word.... I don't have to understand every word...I know it is about very deep feelings...about very deep things...I know it is about love, abou life, about pain, abou everything...and that's what I like about it... "

Kanoničnost Visoke pesmi pa je bila od vsega začetka sporna. Judje Visoke pesmi niso takoj soglasno sprejeli v kanon svetih knjig, ki so jih priznavali za navdihujoče. Še v 1. stoletju našega štetja so nekateri rabini dvomili, da je navzočnost Visoke pesmi v kanonu upravičena. Problematičnost pesnitve se je nahajala v njeni seksualni, erotični dimenziji, ki je spodbujala k osnovanju trditev; da se človek kot osebno in zavestno bitje, poklicano k vsestranski svobodi, mora razvijati, osvobajati in zoreti tudi na ravni spolnosti in erotike.

Sigrid Vinks: ...ja ja...and then the Catholic church... they tried to move it in a way that it was like a metaphor...for the love of human beings to God...but in fact it is about sex, about physical love, about all the aspects of real love...and that's what I like about it....

Navkljub arhaičnem tekstovnem materialu in tematiki ljubezenskega hrepenenja in poželenja med moškim in žensko, pa se belgijska gledališka mogotca odločita za sila hladno odrsko postavitev. Tekom cele uprizoritve je pesnitev suhoparno brana iz zvezkov s trdimi, črnimi platnicami, izpod strogih naočnikov dveh birokratov, bosih, ki sedita na leseni klopci drug poleg drugega. Distanca je potencirana z vmesnimi pavzami in premiki položaja, ko Olga Grad in Robert Prebil vstaneta in bereta tekst dalje, obrnjena s hrbtom drug proti drugem. Oba oblečena v črno, pisarniško moško eleganco, brez kakršnegakoli emotivnega ali fizičnega dotika.

Sigrid Vinks : ...I just... wanted to do this text because it is so open...you can find all kinds of meanings in it...if you think it is about equality between man and woman...it is ok...but you don't have to see it in it...but it is true...

Branje teksta pa zmotijo tudi vmesni premori, ko se spusti zvočno podlago, ki ima namen zmotiti kontinuirano, brezizrazno branje in sprva vsaj Roberta Prebila pahniti v smešno poplesavanje in migetanje stoje. Sprva njegova spremljevalka še potrpežljivo, zategnjeno čaka, da bo vse skupaj potihnilo in bosta brala naprej. Drugič pa se le opogumi in tudi sama vstane ter se nekoliko sprosti, a vendar sta drug od drugega prostorsko še bolj ločena in si okorno kažeta hrbet.

Zanimiv je scenografski prispevek k oblikovanju odrske situacije in ambienta. Na desni strani odra tekom branja visijo lobanje čredne živine z rogovi, kar se navezuje na pesnitev Visoke pesmi, ki so jo mnogi šteli za idilo opisujoč pastirske prizore. Motiv pastirske idile tako ni zgolj odsoten, temveč je obešen, razgaljen in mrtev.

Ariana Ferfila:I have one more question...ok...I know the explanation of everything... of the play is very open...but the way it was done by you and Jan Decort, there arise one question to me...do you consider this play as an attempt to be a statement aginst western rationalism, scientism, egoism...?

(...smeh - obe...)

Sigrid Vinks: Exactly how did you guess?? .... (...smeh...)

No, but that is ok...I think the theater remain very simple but also very modern...ofcourse all this things...all our opinions about politics and about what is going in the world now is reflected in what we do... but not in one on one situation...so we involved all this in the freedom we give to the actors and to the public...like you saw yesterday in the performance we made...you have this set that changes with the light... you have three parts of beautiful music... you have a text.... you have the presence of two strong actors.... but all this things exist one besides the other...one is never an explanation or an interpretation of the other... the set isn't intepretation of the texts.... the acting or the way the acters are treating the text is not the explanation of characters or something.....so all this sings put together give an experience to the public...and they can do with it...they can make their own stories... they can make their own references...and that is what is modern about it...

Vsakič ko Olga Kacjan pride do stavka:

''Rotim vas, jeruzalemske mladenke:

Le budite in spodbujajte ljubezen,

Dokler se hoče veseliti!''

vstane s klopi, se približa koncu odra in naslovi avditorij.

Sigrid Vinks : ...because we were talking about the modern world and the reflection of it......you see this things and you can make conections...you can think about birocracy or something...but it is important...that is one of the big diseases of our time..that ....people are so confused and scared, that they are looking for the simple solutions to the complex questions...and that is what we refuse to give...so in a way you can watch this performance... and also see like in the world...things are so complicated...and there aren't simple answers to the things...also the answers are complicated and difficult...

za RŠ recitirala, pisala in spraševala ariana