Uprizoritev Pot v Jajce črpa iz treh različnih virov: iz Kocbekovih dnevniških del Tovarišija in Listina, ki sta literarizirana dnevnika, nastala v povojnem času na osnovi zapiskov ali zgolj po spominih in z vednostjo o »neobstoječi« cenzuri; iz Svetinovega dramskega teksta Pasijon po Edvardu Kocbeku, ki govori o tem, da je Kocbekov delež v slovenski osvobodilni vojni in revoluciji treba razumeti skozi splet zgodovinskih okoliščin na eni in skozi Kocbekov osebni razvoj na drugi strani; ter iz odlomka Nietzschejevega dela Tako je govoril Zaratustra. Uprizoritev ne govori toliko o nekem zgodovinskem trenutku, temveč predvsem o duhovnem preobratu, o Kocbeku – Pavlu, ki si ni po naključju nadel tega partizanskega imena po apostolu Pavlu, ki je bil najprej Savel in je v notranjih duševnih sporih in spopadih, tako značilnih tudi za Kocbeka – personalista, postal to, kar je njegova vloga danes.
The performance Passage to Jajce takes material from three sources: Kocbek's notes Tovarišija [Comrades] and Listina [The Document], fictionalized journals written after the Second World War on the base of notes, or only memories and with the knowledge of the “nonexistent” censorship; Ivo Svetina's play Pasijon po Edvardu Kocbeku [Passion after Edvard Kocbek], which discusses how Kocbek's part in the Slovenian national-liberation war and revolution must be understood through the cluster of historic circumstances on one side and Kocbek's personal development on the other; and an extract from Nietzsche's Thus Spoke Zarathustra. The performance does not deal with a particular historic moment so much, but mostly about a spiritual somersault, about Kocbek – Pavel, who did not chose his partisan name from Paul the apostle, who used to be Saul, by accident; Paul-Saul went through a series of internal spiritual struggles to be able to take the role he has now, struggles so typical also for Kocbek the personalist.
Dogajanje, katerega protagonisti so večinoma zgodovinske osebnosti /…/, postavljene v avtentičen zgodovinski čas 2. svetovne vojne /…/, ves čas tesno povezuje in svobodno prepleta zgodovinsko preteklost s čistim sedanjikom uprizoritve, nekdanjo prostost duha z omejenostjo dandanašnje družbene prakse, jasnost in določnost izrečenih besed (idej) z večpomenskostjo govorice glasbe, giba(nja), likovnosti in celostnih odrskih podob.
Slavko Pezdir, Delo
The events -- the protagonists of which are, for the most part, historic personalities /…/, set in the authentic historic time of the Second World War /…/ -- always closely connect and freely intertwine the historic past with the pure present of the performance, the erstwhile freedom of spirit with the limits of today's social practice, the clarity and determination of the spoken words (ideas) with the multi-layered meanings of music, move(ment), visual and overall mise-en-scène.
Slavko Pezdir, Delo
