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PHIL SOLTANOFF Dozvolite mi da probam još nešto da kažem о samoj predstavi. Onome па кода se odnosi (to whom it may concern), pócela je od lične reakcije na Tišinu (Silence) Johna Cagea. Predstava ima pet epizoda, sa 12 izvodjača u odelima i sa aktovkama, lako začete sa Tlšinom, ideje su izrasle u razmišljanje o tome koliko čovek čuje/ne čuje, о prirodnom/veštačkom, о gradu/zemlji i širenju i sažimanju pozorišnog prostora. Délo se prvenstveno zasniva na pokretu i zvuku, a ne na tekstu. Ono komunicira preko sučeljavanja zvučnih, koreografskih i vizuelnih elemenata, a ne preko tradicionalnog dramskog pripovedanja. U skladu sa duhom Johna Cagea, gledaoci se pozivaju da igraju kreativnu ulogu u zaokruživanju “smisla” ovog delà. Svaki deo komada Strukturiran je око ponavljanja “petlji” telesnog pokreta. “Petlje” se smiču i razvijaju, dopuštajući gledaocima da zapaze male promene koje se vremenom dešavaju. Muzika je stvorena nezavisno od koreografije i stvara vibrantna sučeljavanja i pratnju za kretanje glumaca. Dok posmatra i doživljava ono što se zbiva, svaki gledalac se podstiče na vlastite asocijacije i definicije. Smisao tada postaje funkcija mesta sa kojeg neko gleda komad u odredjenom trenutku. Drugačije rečeno, Onome na кода se odnosi je pozorišni komad cija je svrha da podražava “proces” življenja, a ne da predstavi kako život izgleda. Radi toga i u duhu johna Cagea, gledaoci dobijaju stvaralačku ulogu jer ih pozivamo da definišu vlastito iskustvo: “Tri čoveka su šetala jednog daña i dok su šetali, jedan od njih primeti drugog čoveka kako stoji na brdu ispred njih. Pogleda svoje prijatelje i reče: “Šta mislite, zašto onaj čovek stoji tamo gore na onom brdu?.” Jedan rece: “Mora biti da je gore jer je tamo svežije, pa uživa u povetarcu." Drugi reče: “Pošto je brdo uzdignuto iznad ostale zemlje, mora biti da je gore kako bi nešto video u daijini.” A treći reče:”Mora biti da je izgubio prijatelja, pa zato stoji sam tamo na brdu.” Posto su jos neko vreme hodali, tri čoveka se pópese na brdo, a onaj koji je tamo stajao, jos uvekje tamo bio: stajaoje tamo. Upitaše ga: “lz kog razoga stojite tu sami, na ovom brdu?” On im odgovori: “Prosto stojim.” Odlomak iz Tišine Johna Cagea i onome na кода se odnosi Phil Soltanoff

TO WHOM IT MAY CONCERN Let me try to give you some additional information about the performance itself, to whom it may concern started as a personal response to John Cage's Silence. It has a separate episodes featuring 12 performers in suits with briefcases. Although the ideas for the piece started with Silence they evolved into a meditation on hearing/not hearing, nature/artifice, city/country and the expansion and compression of theatrical space. The piece is based primaly on movement and sound rather than text. It communicates through the juxtaposition of sonic, choreographic and visual elements rather than a traditional dramatic narrative. In the spirit of John Cage, the audience is asked to play a creative role in completing the “meaning" of the piece. Each section of the piece is structured around repeating physical movement “loops” that shift and develop, allowing the audience to perceive the slight changes over time. The sound-track was created independent of the choreography and creates vibrant juxtapositions and accompaniment to the actors movement. Each audience member is encouraged to create their own associations and definitions as they observe and experience the event. Meaning, then, becomes a function of where one happens to be viewing the piece at any given moment. In other words, to whom it may concern is a piece of theatre designed to imitate the “process” of living rather than be a representation of what life looks like. To that end, and true to the spirit of John Cage, the audience is given a creative role in that they are asked to define their own experience: “Three men were out walking one day, and as they were walking along one of them noticed another man standing on a hill ahead of them. He looked to his friends and said 'Why do you think that man is standing up there on that hill?' One said: 'He must be up because it's cooler there and he's enjoying the breeze'. The second said, 'Since the hill is elevated above the rest of the land, he must be up there in order to see something in the distance'. And the third say, 'He must have lost his friend and that is why he is standing there alone on that hill.' After some time walking along, the men came up the hill and the one who had been standing there was still there: standing there. They asked him, 'What reason do you have for standing here, alone on this hill?" He replied, 'I just stand'.” Excerpt from Silence and to whom it may concern Phil Soltanoff