Bitef

Mada ih je mnogo već otišlo, veoma važnih osoba, karaktera, figura. Ali za mene, kad uzmem da ih poredim sa svojim potonjim učfteljima, od kojih sam - pod navodnicima - učio pies, pozorišnu umetnost ili bilo šta drugo, oni su istog ranga sa njima. Dakle, majstor Dekru, majstor Marso, japanci, instruktori plesa na istom su nivou sa mojim drugom, bricom Dušikom, od koga sam neizrecivo mnogo naučio. U više komada sam ugradio njegove anegdote, price. Orfejeve lestve, na pnmer, započinju kao jedna igra senki, u kojoj, kao šegrt beiterina, brijem iuftbaion. On mi je, naime, pričao, da je to bio jedan od zadataka koji je kao šegrt morao da izvrši. Kasnije, u komadu Vojcek, dok brijem jednim nožem, sve to držim na umu, i te sekvence posvećujem njemu. Cak sam ga i pozvao, kada smo u Kanjiži igrali Vojceka, i jedno od najlepših mišljenja o komadu koje sam imao prilike da čujem, izrekao je baš on. Rekao je: "Joška, sine, pa ti briješ sjajno, skoro dobar milimetar ispod kože", Kanjiški predeo, taj uzani potez, prostire se od Use do Jaraša. Reka, kao mesto meditacije, za mene je izuzetno važna, sama ta sredina je veoma važna za postizanje ravnoteže. Jedan drugi predeo, koji je za mene veoma bitan, to je naša pustara Jaraš.

Veliki je to izazov za mene, otisnuti se od pozonsnih dasaka i istražiti neki drugi prostor zarad građenja i sprovođenja pozorišnih stvari. Nema predela na svetu koji me je tako opčinio, i nisam mu našao zamenu. Nisam mogao da zamislim da išta igde napravim, osim kod kuće. Osećam neizmemu potrebu da se napajam sa rodnog tla, i u duhovnom i u fizičkom smislu. Kao što Dante započinje Božanstvenu komedijw. i ja sam na pola životnog puta, i tu drugu polovinu bih želeo da izgradim od ovdašnjeg živovanja. U čemu bi se mogao koreniti madarski teatar? To je vanredno teška misija. Ne libim se lokalpatriotizma, jer je provincija, baš kao i grad, deo univerzuma. Naime, koliko je lokalan, toliko je i univerzalan. Ono na šta treba paziti, jeste da ove dve kakvoće ostanu uravnotežene.

ABOUT JOSEPH NADJ, FOUNDER OFJELTHEATRE Joseph Nadj was born in Kanizsa in 1957. He went through primary school in his home town but he attended the Art High School in Novi Sad. Later he studied ethnography and music in Budapest, where at the "Skene Theatre" (Teatar Skene) Andras Kecskes introduced him into the world of mime. From there he went to Paris, where initially he learned from Marcel Marceau, and later an other great authority, Etienne Decraux. Simultaneously he got to know about various arts from the Far East, acrobatics, modern dance, butho and contact-dance. In 1987. he had a premiere of his first production, the Peking Duck, which immediately took the world. Joseph Nadj became celebrated in the Western world as soon as after his first performances as an original author of the central-European culture circle. Nadj draws his art primarily from his boyhood, from the vicinity of Kanizsa. The rituality of his performances becomes shaped after lengthy improvisations and the sophisticated picturesqueness grows from the lyrical poetics of his personal vision. The accentuated visuality of his pieces has a deep connection to music which he uses, when possible, as live on-stage accompaniment. The performance Death of the Manager (co-authors Gyula Kolodany and Szabados Dyerdy) was a new step in the realm of musical theatre of the new European culture. He frequently collaborates with important presentday composers and musicians: Dyerdy Szabados, Isztvan Kovacz Tikmeier, Mihaly Dresz, Vladimir Tarasov, Andrew Cyrille, Silard Mezei, Akosz Seleveny... Joseph Nadj's theatre speaks in an authentic theatre language of the plains, on a world level. Relying on his Bačka roots, through Nadj our theatre has been given a great world-class company .