Nikoli me ne vidiš tam, kjer te jaz vidim / You never see me where I see you
Kraj/Location: gledališčna scenografija/ theatre scenography
Gledališče/Theathre: Slovensko mladinsko gledališče, Ljubljana,
v sodelovanju z Mestno občino Novo Mesto
Produkcija/Production: 1997
Režiser /director: Matjaž Berger
Koreografija /Choreography: Marko Mlačnik
Scenografija /Scenography: Ana Kučan
Oblikovanje luči /Light design: Miran Šušteršič
Kostumografija /Costume design: Alan Hranitelj
Glasba/ Music: Rok Golob
Stoli /Chairs: Borut Simič
Igralci /Actors: Alenka Avbar, Marko Mlačnik, Nagisa Moritoki, Sandi Pavlin, Draga Potočnjak, Robert Prebil, Pavle Ravnohrib, Romana Šalehar, Janez Škof
Ker se Matjaž Berger sprašuje o počelu duha, ki ga skuša locirati tu in zdaj, se Nikoli me ne vidiš tam, kjer te jaz vidim dogaja v abstraktnem prostoru, ki nastaja z igro samo. Režiserjevo eklektično spajanje citatov iz Shakespeara, filozofskih konceptov Nietscheja in Lacana in gledaliških žanrov terja minimalističen formalni okvir. Zaporedje scenskih slik se vrsti pred prosojnim belim platnom; projekcije pisav, ker se razlivajo čez celotno površino, brišejo meje med tlemi in stenami in ustvarjajo statično, sploščeno, celo brezprostorsko in brezčasno ali vsaj transzgodovinsko krajino. Ujetost v večni krog, kot sporočilo inscenacije, v pesek dobesedno s sledmi zarisujejo igralci, kot v zen vrtu. Atmosfera je zmehčana s toplo svetlobo, ki je kontrastna likovni ostrini pisav, s čimer relativizira odnos »očesa« in »pogleda«.
Matjaž Berger is questioning the origin of the spirit, whom he aspires to locate here and now, hence the You never see me where I see you, is set up in the abstract space, unfolding with the very play. The director's eclectic fusion of quotations from Shakespeare, philosophic concepts of Nietzsche and Lacan and theatrical genres, demands a minimal formal frame. The sequence of stage-set images takes place in front of the translucent white canvas; the projection of writings, spreading over the whole space, blurring it into a two-dimensional plane, is used as a tool to create an atmosphere of a static, flattened, even spaceless, and of timeless or at least transhistorical landscape. The entrapment into the eternal cycle, as the message of the staging, is continuously inscribed into the sand by the footprints of the actors, as in a Zen garden. The regulation of the atmosphere by a soft light is contrasted by the sharp angles of the writings, which question the relation between »the eye« and »the gaze«.