Composed of spheric sounds, Pandur’s Gesamtkunstwerk of wild images — somewhere between Fellini, Pasolini, and Caravaggio — strongly engages all senses. It resembles a journey into the center of the boiling abyss of Hell and into the purifying bath of Purgatory. The performance is extremely forceful, fascinating, engaging, and dazzling.
Armgard Seegers, “Hamburger Morgenpost”, 1995. Hamburg, Germany.
Angels were hovering above Maribor when Tomaz Pandur was staging his brilliant and visionary version of Dante’s “La Divina Commedia”.
Roberto Canziani, “Il Piccolo”, 1993. Trieste, Italy.
In Pandur’s hands, this epic on sin, punishment, regret, retribution and salvation, unparalleled in world literature, turns into both a powerful artistic relief and the twilight of the gods at the same time. Influenced by the Far East, Pandur glorifies the ritual of the theatre; nevertheless, his stage production is above all a vivid, materialized, and freedom-inspiring Poetics constantly clashing with the present reality.
Werner Krause, “Kleine Zeitung”, 1993. Graz, Austria.
No special generosity is needed to notice the visual beauty of this performance and to surrender oneself to the enjoyment and satisfaction evoked by Pandur’s entanglement of stage images.
Lupe Gehrenbeck, “El Nacional”, 1995. Caracas, Venezuela.
With a stroke of genius Pandur blends the exotic dreams of a child with the realistic daily news into a unique world theatre.
Horst Schmuda, “Hannoverische Neue Presse”, 1995. Hannover, Germany.
The visionary literary cosmos of the famous Florentine is given a visual counter-cosmos of exciting acoustic codes invented by Tomaz Pandur and his set designer Marko Japelj. They approach the play in a deconstructive manner, trying to find the most effective and appropriate images for the three-fold astral journey through all Hells, all Purgatory’s spheres, and all Heavens.
Sigrid Löffler, “Süddeutsche Zeitung”, 1994. München, Germany.
The flight to Inferno resembles a journey towards the center of the world of the theatre. The first part of Pandur’s “La Divina Commedia” is a gift from Heaven. Pandur’s theater is a play of effective and powerful poetic allurements. Representing a white angel, Scipio Jr. is hovering above the scene populated with creatures of sad, indifferent faces; and there is a path leading down to Hell.
Ilse Ratzek, “Oberösterreichische Nachrichten”, 1994. Salzburg, Austria.
Tomaz Pandur’s artistic production seems almost superhuman. His “Inferno” — two hours of surrendering to space, to the mythic and visionary total theatre, for and with the viewers — is a futuristic blend of the stage and auditorium, resulting in a mysterious dream-ship where the image, light, color, and music gently inebriate the senses of the viewers — somewhere between monumental classicism and science-fictional activism.
Stefan Weber, “Salzburger Volkszeitung”, 1994. Salzburg, Austria.
For Pandur space is the place of living; his unconventional approach to the theatrical event opens up the possibility of inhabiting the entire space. Tomaz Pandur has victoriously step over the threshold of his Inferno.
Omar Khan, “El Globo”, 1995. Caracas, Venezuela.
The tempo dictated by the performance is incredible; the way of presenting 16 scenes in only 90 minutes, their entanglement, structuring, montage, and focusing show Pandur’s love for and inclination to filmmaking.
Ernst Corinth, “Hannoverische Allgemeine Zeitung”, 1995. Hannover, Germany.
A macabre ball pregnant with lust and terror. Hell undoubtedly exists, here and now. Pandur enables us to watch our world which still may have a chance of purification.
Ingrid Seidenfaden, “Allgemeine Zeitung”, 1995. Berlin, Germany.
No stage producer has ever ventured on such a journey through Hell, Purgatory, and Paradise. No communication with myth and history is left. With each new day a new experience of hell instead, making man search for salvation in terror and fear. Tomaz Pandur translates these feelings into convincing stage images.
Christa Höller, “Die Presse”, 1993. Vienna, Austria.
The megaproject entitled “La Divina Commedia” is undoubtedly the most comprehensive and exacting stage production by Pandur, brought to its completion by and concluded with Paradiso. Its inspiration and initiative is Dante Alighieri. With it this theatre, qualifying its author as a generous aesthete capable of creating visual manifestations and segments of extreme theatrical beauty, reaches its culmination.
Vasja Predan, “Razgledi”, 1993. Ljubljana, Slovenia.
Pandur’s imposing project “La Divina Commedia” has up to now been the most comprehensive, the most complex, and the most ambitious stage production in the history of the Slovenian theatre.
Neva Slibar, “Die Bühne”, 1993. Vienna, Austria.
While staring at this picturesque pandemonium of Pandur’s, the viewers can distinctly sense that the distorted dream images reflect loneliness, fear, and illusion of the world.
Kurt Wimmer, “Hamburger Morgenpost”, 1995. Hamburg, Germany.
Draw a long and deep breath! Go and see “The Divine Comedy”, that journey through life, pregnant with thought. You can embark on it either as a tourist or a philosopher, an artist or a heretic, a religious or an anarchic person; all that really matters is to take a right, long and deep breath. The rest will come naturally; even (after)thought. It is an expedition tackling the most distant goals ever ventured by mankind. They can only be attained by the most persistent, the toughest, and the bravest. It was nice to be one of you.
Anton Odlekov, “M’zin”, 1993. Ljubljana, Slovenia.
There is something completely new, absolutely gripping in “Paradiso”, the third and final part of “La Divina Commedia” by Tomaz Pandur, something nobody has expected — an undertone of subtle detachment, temperance, a restraint. It does not emerge as a brief interval, a momentary flash interrupting his generous creative strokes, high impulses, and sweeping effects; it dominates the play as a principle and as a rule. For the theatre-going public this is a unique opportunity to see an enthralling top theatre event of subdued, but suggestive intensity and inner force, functioning both as a perfect culmination of the triptych, i.e. an integral part of the organic structure of “La Divina Commedia”, as well as a brilliant independent creation.
Lojze Smasek, “Vecer”, 1993. Maribor, Slovenia.