The Doors
Choreography: Brane Potoèan
Producer: Vitkar; coproduced by Cankarjev dom

Branko Potoèan's sixth performance - the Doors - shows a switch in his expression. If Potoèan could be reproached for past staging inconsistencies when some elements were not articulated to the full, he has now presented a well shaped expression. The doors hold several meanings. A transition from one state/form to the other was already shown in his penultimate Melancholy Thoughts that revealed a suicidal transition from life to death, a transition that is also subtly present this time. The performance is opened by a computerised video-image of the self-transforming doors, resembling a furniture advertisement. A door as a stage prop - together with the ropes hanging from the ceiling and wooden frames manipulated by the dancers/co-authors (Tina Janeþiè, Alja Klopèiè, Jana Menger, Branko Potoèan, Sebastjan Stariè and Duðan Teropðiè) - is thereafter scarcely used, symbolising not so much a passage to the other side as an obstacle, preventing the entrance due to fear and insecurity.

Potoèan - assisted by Sebastjan Stariè - has created an extremely interesting movement. Movement sequences are guided by the rhythm of music - partly recorded (Juice Connection), partly live (Borut Praper, Andrej Hrvatin) - and mysteriously decelerated which is especially obvious in the male trios. Male and female trios become joint movement sequences with the doors gaining emotional dimension (the (in)ability of forming partnerships), though with a happy ending - literally an unbearable lightness of being when the male-female duos move fastened to the climbing ropes.

The performance showed humorous details typical of Fourklor in skilful use of stage props and smooth movement passages and especially in the scene with the ventriloquist Sebastjan Stariè and his dummy Branko Potoèan.

Excellent performance (dramaturgy Irena Štaudohar) ends with a literal break-through (or the Break on Through song by the Doors whose arrangement is played at the beginning). The door to world stages, even though they might have been only ajar, are now wide open.

By Nika Bohinc/ Dnevnik daily newspaper
Six dancers with six stories in front of six doors
Branko Potoèan expressed his view on the phenomenon of the door:
“ The doors are there to be opened. Rationally I find them an element that opens and unfolds landscapes should you be ready for them. It is up to you how many doors to open. Behind every door there is always another one. And each of them has its own capricious doorman.”

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