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Set design Veronika se odloči…

Veronika se odloči…

Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…
Set design Veronika se odloči…

Veronika Decides...

Veronika Decides... represents a respectful art achievement, a painful cry into void, and a specific apotheosis to the catharsis with an uncertain outcome.
By Stanislav Koblar
Veronika Decides...A modern dance performance (after the motives of Paulo Coelho’s novel veronica Decides to Die)


Choreography and directing: Gagik Ismailian
Music: Silence
Dramaturgy: Irena Štaudohar
Set design: Matej Filipčič
Costume design: Alan Hranitelj

Slovene National Theatre Opera and Ballet Ljubljana
Opening night on March 17


...Instead of depicting Coelho's story he decided to try and discover the portrait of the main woman character Veronika, of her reflective and her emotional multiple within her living environment, as well as the interactions arising from it. This compressed and shelled essence was then transformed into a dance. When this was not sufficient he stepped over the genre threshold, he opened his characters and heroes, and he made them speak and shout. So, he achieved a joint original work regardless the motive taken from Coelho, he avoided the speculative re-experience of (similarities and differences) of two different media. By removing the two last words from the title (...to die) he opened new possibilities of solution, he rose doubts about what is actually happening with Veronika and who she really is (Is it she? Are we her?).