Brina Performance Trailer
trailer from the premiere,
the City of Woman festival 2019,
Ljubljana, 10. 10. 2019
"The performance dug out of the archives some important jewels of Slovenian history, which are also significant for the emergence of contemporary dance in Slovenia. That is why the performance should be seen again and again and many times." Brina: Predstava pripovedovanja, plesa, poezije in zgodovinskih spominov, kot sta plešoča Brina pred množico patriotskih borcev in prava partizanska pesem (Brina: A Performance of Narration, Dance, Poetry and Historical Memories, Such as Brina Dancing in front of Patriotic Fighters and a Real Partisan Song). Evelina Pritovšek, Kriterij, 28 October 2019
"Brina is a dance-theatre essay about Marta Paulin, who appears in the title with her partisan name. By combining elements of documentaries, dance, image choreography, recital and sound design, it offers a partial view of the person that it concerns, it makes an attempt (which is the original meaning of the word essay), which, in its fragmentariness charged with poetic intensity, is also a comprehensive view of the national liberation struggle." Duhovi Brine (The Ghosts of Brina), Muanis Sinanović, Kriterij, 24 October 2019
"Brina, which is more than a documentary motive record of the dancer’s time in the national liberation struggle, thus opens the door to the most important element of that time: the personal meditation of the participants. From history textbooks, writings on memorials and the news, we are used to looking at war through the eyes of the state, but all too rarely do we see its dimensions through people, all too rarely do we hear the inner cry of the resistance fighters that did not measure freedom from Piran to Lendava, but from here to the stars, from one person to another (...). Just like Marta Paulin in her work and life, the creators of the performance try to communicate precisely that. And, boy, do they manage it!" N. O. B., Narodnoosvobodilna Brina (Brina of the National Liberation Struggle), Primož Siter, Kriterij, 21 October 2019
"In the scene with the texts frozen in ice-cubes, which start to fall apart when we want to get them out of the ice to read them, an exceptional metaphor of our relationship to an elusive past is established. (...) Precisely because Brina is simultaneously impersonated by two persons with completely different relations to the stage and completely different styles of dancing, we become particularly intensely aware that we cannot identify Brina with either of the performers – and that is precisely why her presence is so much more powerfully invisibly established in the tension between them." Iti v plesu do konca (Going to the End in Dance), Miklavž Komelj, Kriterij, 25 October 2019
"The absence of Brina’s figure and the simultaneous symbolisation of her body through a technological avatar establish an exceptional moment of the convergence of two times and two currents of life, which re-establishes the “real” in the middle of “fiction”. This supra-bodily and liquefied perception (the aerial travel of the melody and the sound of her voice) are striking since, in their distance and elusiveness, they actually unexpectedly create the most corporeal moment in the performance." Spodmik tal plesu in svobodi (Pulling the Ground from under Dance and Freedom), Neodvisni, Zala Dobovšek, 15 October 2019
