7 June 2016

With the performance we, the european dead, the director Sebastijan Horvat (in the tandem with the dramaturg and the author of the adaptation Milan Marković Matthis) brought the questions about the (cap)ability of political, engaged and critical to a new level. The performance manages to emphasise that this is not simply a seemingly specific interest of the revolutionary ideas, but rather a fundamental question of power(lessness) and sense(lessness) of any act or thought in the time when Europe is dead, the world is full of shit and the faith in future is gone.
It seems that the stage action reaches this turn with the help of underlying despair that seduces it to abandon all hope in any potential effect of its own critical reflection and it assimilates the absolute nothingness. It finds the answer to the question about the critical theatre in the fact that such answer doesn’t exist or that the theatre cannot give it; instead the performance establishes a proposal – we have no answers, but we’re all in this together. Paradoxically, this very nullification of resistance establishes a new starting point for possible utopias. [...]
The essential foundation for opening the eyes to such a view is a cynical and nihilist text by Simona Semenič (with references to Srečko Kosovel and Dušan Jovanović’s Victims of the Bang Bang Fashion), a radicalised writing in form of a voice of a didascalia or a character in one flow that doesn’t allow a simple translation onto the stage, but rather functions as a script for a stage event that the creators use through an in-depth search through it to create a full-blooded stage landscape. In her text, Semenič also establishes the other side of this public image, the invisible story of the nameless everyday life that the performance puts into a small flat in the back of the stage (stage designer Igor Vasiljev) and develops into a silent “revolution” of the intimate. In the relation to the spiral with no exit or jerking off with no orgasm that takes place in the large part of the stage, this other time, the time of slowness, with Janja Majzelj and elderly non-professional performers, transforms from the painful passivity to the absolute acknowledgement of vulnerability, opening the sensuality and repeated approaching. Both parallel worlds are established with numerous openings in their dialogue and in each of them the director gives up the explicit message – what circulates here is all or nothing – but clearly suggests that the path begins right here, where we have to learn how to be together.

Nika Arhar


13 June 2016

We’re following two dramas in one, caught in two opposing tonalities and rhythms (composer Drago Ivanuša caught this bipolarity perfectly). In one, noise and violence of history slams into us, as well as actual political and cultural reality, while in the other there is the silenced little big story of the endlessly overlooked everyday. [...]
Horvat and his team succeed in staging the total equivalent of the messed-up reality through time and the powerlessness of Europe and the world today, revolutions that aren’t simply what we take them for. Our mothers, grandmothers are also revolutionaries, as are those nameless, tortured by pains of everyday life – young actress Anja Novak provided authentic presentation of them in the programme accompanying the performance. Her monologue about how we, the older generation, destroyed all, we gobbled all up and are guilty for everything, is one of the most toughing and expressive moments of the performance. [...]
For Horvat, it is important to direct the context as well as the text, he’s not interested in how the text and its interpretations are closed into themselves and how they function in different aesthetic variations. He’s interested in the very bloody, direct connections between the text and reality.
“I think theatre is a serious, critical participation in the real. Theatre must be an artistic and democratic mechanism that, rather than constructing things, has to destroy and re-humanise humans. And it does so by transferring a part of the responsibility on him,” he has recently explained for the Saturday supplement of Večer. And this performance is the embodiment of this exact credo.

Melita Forstnerič Hajnšek



15 June 2016

As the title itself suggests, this is a compilation of criticism of the existing European system, filled parallelly by the contemporary actual writing and the visionary presence of Srečko Kosovel as the sensitive prophet, as well as the unbearable situation with which Europe identifies at the moment. The directing-dramaturgy model neither allows for nor has an intent to establish a logical narrative, in the stringing of scenes there is no time to search for and link the coordinated causes and consequences, fragmentary images and scenes that follow each other like impulsive situations, at times in the dialogue, poetic and recitation like, at other times based on movement, visuals and the force of the non-verbal.

Zala Dobovšek

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