Bitef

Arden Fingerhut Električar: Howard Meyer Administrator: Marianne de Pury U kolektivnom radu postoje faze od istog značaja kao i završna predstava. Kada ansambl prelazi na završnu fazu, onda se u potpunosti oslanja na početna istraživanja. Želeli bi da se zahvalimo sledećim ličnostima za učešće u razvoju

Terminala: Dick Peaslee i Stanley Walden (kompozitori) ; Mark Kaminki, Nancy Martin i Sam Shepard (pisci) ; Joyce Aron, James Barbosa, Brenda Dixson, Ron Faber, Sharon Gans, Jayne Haynes, Ralph Lee, Peter Maloney, Murial Miguel, Mark Samuels, Ellen Schindler, Barbara Vann, Lee Worley (giumci) ; Dale Whitt, Joseph Cambell, Mossa Bildner, Kesang-Tomma, Ronald Laing i Muir Weisinger.

The company of actors call upon the dead, the dead who are buried under this ground We call on the dead because they are finished with the argument that we are still in. We bang on the floor of the dead. We offer our bodies for them to speak through. 'We come among the dying to call upon the dead. There are dead beneath this floor. We call upon the dead. Let the dead come through and let it begin with me.’ We dance on the graves of the dead. During this seance we wait for the dead to come through. We consider the matter of dying and the dead, who we shall all become. The living embalm the dead in order that they should appear like the living. The living are initiated into the dead world. The living minipulate and exploit the livng. The Dead Come Through; First is Marie Laveau. She is a black mystic from New Orleans who has been dead for thirty years. She comes through the body of a white actor and speaks. Then the soldier comes through an actress. The soldier speaks of what it is to say 'yes.' When the dead leave, the company of actors put on cosmetics and describe the procedure of cosmetics as it resembles embalming. The Dead Come Through: The responsible one comes through. Here is a dead one who believes that all that has ever taken place was her responsibility, the massacres as well as the snow falling. The Dying Pray. The Dead Come Through: Next, the executed man is the only person who knows the exact hour and day his death is to be. It's been decided by other people. His last days in prison are all in relation to the specific hour and day. Then is the song from the dead. In the final scene an actress ascends the ladder to begin the scene 'The Dying Imagine Their judgement’ The scene begins with the statement. ’The judgement of your life is your life.’

Giumci dozivaju mrtve, mrtve koji su sahranjeni na ovom tlu. Oni ih dozivaju, jer su mrtvi završiii sa argumentima u kojima mi još živimo. Mi udaramo o tio mrtvih. Mi nudimo svoja tela da bi progovorili. ’Došli smo među one koji umiru da bismo dozvali mrtve. Ima mrtvih pod ovim podom. Mi dozivamo mrtve. Neka se mrtvi dignu i neka to počne sa mnom.’ Mi igramo na grobu mrtvih. Za vreme seanse mi čekamo da se mrtvi dignu. Razmatramo temu umiranja i mrtvih, koji ćemo svi biti. Živi balsamuju mrtve da bi kada se pojave izgledali kao živi. Živi su posvećeni u svet mrtvih. Živi manipulišu i izrabljuju žive. Mrtvi se dižu; Prva je Marie Laveau. Ona je crni mistik iz Nju Orleansa. Umrla je pre trideset godina. Ona se pojavljuje u ploti belog glumca i govori. Onda se vojnik pojavljuje ovaploćen u glumici. Kada mrtvi odlaze, giumci se šminkaju i opisuju proceduru šminkanja koja liči na balsamovanje. Mrtvi se pojavljuju: Najpre Odgovorna. To je mrtva koja veruje da je za sve što se ikada desilo ona odgovorna; pokolj i padanje snega. Molitva mrtvih. Mrtvi se pojavljuju: Pogubljeni jedino zna tačno dan i cas svoje smrti. A o tome su drugi odlučili. Njegovi poslednji dani u zatvoru u stalnoj su vezi sa tim određenim danom i časom. Onda opet pesma mrtvih. U završnoj sceni jedna glumica se penje uz merdevine. Time počinje scena: ’Mrtvi predstavljaju dan svoga suđenja'. Scena počinje rečenicom: ’Sud o tvom životu je tvoj sopstveni život’.

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