ZAPRTA VRATA
NO EXIT

Sartrov koncept pekla, ki je v izvirniku hotel z neskončno sobami, sva želela z režiserjem vizualno in pomensko odpreti. Izhodišča so bila seveda izoliranost, utesnjenost/zaprtost, dezorientiranost in že v začetka kreativnega procesa je bila sprejeta odločitev, da ta utesnjenost ne bo samo tema gledališke imaginacije, ampak da je konkretna, torej, da se prostor zgradi v fizični formi. Prostor predstave je zasnovan kot bela mrežasta »škatla« – abstrakten in nevtralen prostorski okvir brez fiksnega koordinatnega sistema, ki funkcionira enako ne glede na to kako ga obrneš ali zrcališ. Kljub navidezni preprostosti je vizualno vpadljiva in nosi širok asociativni naboj. V tem izčiščenem in abstraktnem prostorskem okvirju pa igralci oziroma liki in njihovo soočenje ostajajo glavni uprizoritveni poudarek.

Together with the director we wanted to open up Sartre’s concept of hell (originally conceived as a hotel with an infinite number of rooms) both visually and conceptually. The initial premises were, of course, isolation, confinement, claustrophobia and disorientation. From the very beginning of the creative process, we decided that this sense of confinement would not remain merely within the theatrical imagination, but would take concrete form through the physical construction of the performance space. The performance space is conceived as a white, grid-like “box” — an abstract and neutral spatial framework without a fixed coordinate system. Its design is non-oriented: regardless of how it is rotated or mirrored, the space retains its fundamental structure and character. Despite its apparent simplicity, it is visually striking and opens up a broad range of associations and possible interpretations. Within this refined and abstract spatial framework, the performers, or characters, and their interpersonal relationships and confrontations remain at the forefront.