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Hamletovog oca koji se pojavljivao i dražio maštu s nekom namerom. (...) Najbolji među njima su realisti jer prikazuju život onakvim kakvim ga vide, ali kako kroz svaki njihov redak provejava svest o cilju, Vi, pored svakidašnjeg, osećate i onaj drugi, idealan živol A mi? Mi! Mi slikamo život tako kako ga vidimo, ni trunke vise od toga... (...). TOMI JANEŽIČ Roden 1972, Diplomirao pozorišnu i radio režiju (AGRFT, Ljubljana). Osnivač Studija za istraživanje glumačke umetnosti, gde radi i kao reditelj. Pošto je studirao Strazbergov (Lee Strasberg) metod glume, pod mentorstvom Andreja i Janeza Vajeveca, i tehnike Ježija Grotovskog (Jerzy Grotowsky) i Tomasa Ričardsa (Thomas Richards) u Pontederi (Italija), posvetio se dubinskom istraživanju pozorišne uloge i psiholoških procesa koji nastaju tokom njenog studiranja. Njegovo istraživanje u Studiju za istraživanje glumačke umetnosti urodilo je plodom u posebnom načinu glume ili u odnosu izmedu giumca i njegove uloge. Suptilne glumačke tvorevine, izvanredna obrada likova i razvoj glumčevih sposobnosti tumačenja do skoro savršene, jednostavne koegzistencije sa svojom ulogom, stavljaju ga među najbolje tumače metoda Stanislavskog, a njegove pozorišne postavke nikada ne liče na već viđene klišee. OBIMNIJA DELA: J. Genet: Stužavke, AGRFT, Ljubljana 1994. P. Šefer (P. Shaffer): Equus, Gradsko pozoriste Ljubljana 1996. Emptiness, Stare priča iz mog grada, Ptujsko pozoriste i Praznina Br. 2, Studio za istraživanje glumačke umetnosti, Ptuj 1996. Sofokle: Kralj Edip, Mladinsko pozoriste, Ljubljana 1997. G. Bihner (G. Buchner): Vojcek, Primorsko dramsko pozorište. Nova Gorica 1998. A. P. Čehov: Caleb, Mladinsko pozoriste, Ljubljana 1999. A, Tarkovski: Stalker, Primorski letnji festival P. Rostan (P. Rostand): Sirano de Beržerak, Hrvatsko narodno pozorište Split, Hrvatska 2000. A. P. Čehov; Tri sestre, Mladinsko pozorište, Ljubljana 2001. ... kao kad biste išli kroz polje maka i ne bi vam palo na pamet da überete cvet Hi Koje je boje smeh?, Studio za istraživanje glumačke umetnosti u saradnji sa Mladinskim pozorištem, Ljubljana 2002. F, Dostojevski: Zločin ikazna, Narodno pozoriste Ivan Zajc, Rijeka, Hrvatska 2002.

Three Sisters, A.P. Chekhov's last but one work, is probably the most challenging play of the fundamental enigma known as modern 20th century theatre, a phenomenon to which we constantly return. After his extremely well received performance. The Seagull, Tomi Janežič again embarks on an attentive dialogue with this classical author of modern drama. Chekhov intrigues him by a uniquely structured image of life, reflected by individual characters that uncover the author's world through their experience. The experience enters a dialogue with that of us spectators as faced with the situation from the text - the situation of the characters that interlaces with the present time of our observation. By means of his special rehearsal processes, Tomi Janežič - aided by the contributions of his actors - forms a joint vocabulary of the performance: it is based on the development of the acting instrument, self-awareness, ceaseless activity, the creation of circumstances from one's feeling and, last but not least, on substitution. Thus, we become faced with a generating theatre of the actor, in which the director wilfully renounces his dominating part, deciding - as states Janežič - to work “with a certain lenience, in order to gradually, slowly give one another the possibility of development and learning, to provide one another with useful experience, an awareness of something creative, of work proper". TOMAŽ TOPORIŠIČ REVIEWS This is one of the best stagings of Chekhov we have seen. It is clear that Tomi Janežič has entered deeply into the poetics of the play, and by the simplest of means, compressed and summoned this work in nearly natural light, by candleglow, employing natural acting that does not differ from life itself. Without pathos, without "charades" that we are used to on our stages, with deep lifeness of Chekhov's characters. (...) D. Cvijović, "Pobjeda", Montenegro The actors knew how to fill and control the space by means of a number of little intimate gestures which shifted the spectator's attention from one end of the stage to the other, with seemingly unimportant details constantly alluring to his gaze. (...) Their way of acting, the small trivial pursuits, the "fidgetings", gave an impression that there many things going on throughout, whereas in fact, time was literally brought to a halt before our eyes. Thus, Chekhov's replies acquired a sound even more plastic and tragic, re-creating and topicalizing the complexity of the relationships and mental portraits of his characters who are bored to tears in their country town and yearn for Moscow. Amelia Kraigher, "Dnevnik"