POVODNI MOŽ - MUZIKAL
WATER MAN - MUSICAL

Vsakdanja realnost pospešeno postaja virtualna. Naši medsebojni odnosi ter javna podoba in vrednost posameznika vedno bolj temeljijo na naši prisotnosti v virtualnih prostorih socialnih omrežij. Ustvarjalci oz. upravljalci teh navideznih svetov pa imajo vedno večjo družbeno moč in bogatstvo. Lik Povodnega moža predstavlja eno teh oseb. Sledilce k sebi zvabi s podobami uspeha in priljubljenosti, v resnici pa je privlačnost njegovega sveta bleščeča digitalna tančica, pogrnjena preko prazne ideološke ptičje kletke. V njej so zaprti z bliščem zaslepljeni sledilci in vsak, ki podvomi v navidezno moč PM-a, je javno osramočen.Prosojnih LED video paneli, ki sestavljajo osrednji del scenografijo te predstave, omogočajo uprizoritev opisanega vsebinskega izhodišča. So hkrati fizična in virtualna kulisa. Gledalca (tako kot Urško) nagovarjajo atraktivne digitalne vsebine, kaj kmalu pa se izkaže, da za njimi ni nič drugega kot hladna črna rešetka. Sicer je scenska zasnova podrejena specifičnosti žanra muzikala. Osrednji del odra je namenjen velikim skupinskim koreografijam, dinamično odrsko dogajanje pa je podkrepljeno z velikopoteznimi premiki scenskih elementov. Precizno oblikovana luč med dramskimi prizori ustvarja želene atmosfere med songi pa lahko s polno močjo zažari v koncertnih razsežnostih.

Everyday reality is rapidly becoming virtual. Personal relationships and individual public image are increasingly based on our presence in the virtual spaces of social networks. Owners and the administrators of these virtual worlds have ever-increasing social power and wealth. The character of the Water Man "Povodni mož" represents one of these persons. He lures followers to him with images of success and popularity, but in reality the allure of his world is a glittering digital veil draped over an empty ideological birdcage. Manipulated followers are trapped inside this birdcage and anyone who questions the apparent power of Water Man is publicly shamed.Translucent LED video panels, which make up the central part of the scenography of this performance, represent the described relationship between virtuality and reality. They are both physical and virtual scenery. The audience (just like main characetr Urška) is mesmerised by attractive digital content, but it soon turns out that behind it there is nothing but cold black bar grid.Scenography is arranged to the specifics of the musical genre. Open central part of the stage is dedicated to group choreographies. The dynamic stage action is accompanied by movements of stage elements. The precise theatre light design creates desired atmospheres during dramatic scenes and concert intensity during songs.