Битеф

gledališče Kranj. Van granica Slovenije sarađivao je sa gradskim pozorištem u Brnu, Hrvatskim narodnim kazalištem i Zagrebačkim kazalištem mladih. Predstava Tartif, u produkciji ZKM-a, u režiji Jerneja Lorencija, osvojila je nagradu za najbolju predstavu na 37. Danima satire Fadila Hadžiča, koji se održavaju u pozorištu Kerempuh u Zagrebu, a publika ju je proglasila i za najbolju predstavu u sezoni 2013 (Teatar hr. 2013).

jev dom, Slovenian Youth Theatre, Ptuj City Theatre, SNT Nova Gorica, SLG Celje, Zavod Flota, Dance Theatre Ljubljana, EN KNAP GROUP, Ljubljana Festival. Prešeren Theatre Kranj. Internationally, he has worked at the Brno City Theatre, the Croatian National Theatre and the Zagreb Youth Theatre. Tartuffe produced by the latter and directed by Jernej Lorenci won the best production award at the 37 th Fadil Hadžič Days of Satire Festival held at the Kerempuh Theatre in Zagreb, and was named the best production of the season 2013 by popular vote (Teatar hr, 2013). FROM THE REVIEWS “Lorenci's dealing with spirituality may have reached a peak in this staging. Joined by a team of outstanding actors, he embarked on a collective adventure, a humble, modest and theatrically intriguing post-dramatic enquiry of certain topics, upsetting for the Old Testament, such as the story of Job’s suffering, a story of a man tried by God, The Bible is one of Lorenci’s big themes and ancient canonical texts that form the basis of his theatre of ritual, spirit and imagination. Holy texts can only be attempted.” Marjana Ravnjak, Slovenian Television " The Bible, the First Attempt indicates a desire and an investigation of the way one is to cut into the mind of modern man using the book of books, and to foist religious content upon modern viewers to remind them, in the face of our contemporary godlessness and cynical individualism, of the roots of civilization and, above all, how one is (with every good intention) to make the grandness of God relative, and by doing so to allow for at least a minimum identification. /.../ It is clear, and in compliance with a (megalomaniac) textual original and the director's principles, that the key to Lorenci’s touch is a time-based component regarding its physical presence and content. To take time, to expand time, to bow to time and honour it, to stretch time, to split time and annihilate it, to invent “our” time, even though it is momentary, and yet so real in its fleetingness." Zala Dobovšek, Dnevnik “By staging the Bible, Lorenci returns to the text in a similar manner as in his earlier staging of the Iliad,