Radio Slovenija

9th December 2011

Šeparović´s performance is an updated complex triptych. It takes parallel to the snap and its copy, underlining it with the memories of actors of the first layout, especially of guest performance in Beograd in 1983 when the blood was actually spilt on the stage, and then in a longer final part it fired sharp questions at the audience. About present circumstances, relations, reticence of social classes – with questioning conscience of everyone´s responsibility for misery, exploitation and impatience – about levers of social changes and about function of violence. Mlačnik and Hrs come from the first performance, while Kos, Maček, Kaurin and Šef pull with crazy, wild, endless energy that does not run over an acting precision. Boris Kos, present Buto, has at least reached the legendary Miloš Battelino. An explosive mix of indignation and revolt, which was captured by angry young man Taufer three decades ago in the first Enemy, did not lessen. Neither on the stage, nor in the society. Back then the rage blasted the ideological role of school, today´s rage overflows home and the world intertwined with spasms and rocks them in their foundations. Political theatre represents many things, but this performance not only penetrates into the politics, but it plays at politics. However, if we can hear the same echoes in the basement of the Mladinsko Theatre as in the Wall Street park, in front of our Stock Market or even in the occupied Faculty of Arts, what does that mean and what will the future bring us?

Dušan Rogelj




Radio Študent

12th December 2011

The question about what can theatre contribute to the present and what actually is the role of the theatre has been articulated anew with this performance and other similar ones. More precisely with documentary work, direct expression of thoughts and stiffing requirement for viewers to answer these questions, with the difference that they are not as usually hidden behind the computer screen. Theatres and theatricals are once more stepping among people. Maybe that moment is not so far away when theatres will do the same as the Faculty of Arts and change themselves in discussional Bastilles, and streets into stages.
With radicalization of today´s state of society, with reconstructed display of violence and some parallels with the past, with documentary approach, Šeparović and actors succeeded in forming the questions that cut into the difference between past and present, thereby fuelling the sparks of desire so that the wind of criticism of the system from the Faculty of Arts would also spread under the wings of other institutions.

Sonja Zlobko

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