Bitef

167

Beogradsko dramsko pozoriste 20.09. 20:00 Trajanje: 1h 10'

Gradually transforming from the original version of Janos Pilinszky into Urbiet orbi Cast: Marta Beres (Moni) / Andrea Erdely (Zuzi) / Imre Elek Mikes (Zoltan) / Arpad Mesaros (Tibor) Costumes: everybody wears to bed whatever she/he likes. Technical assistant: Atila Uri Photography: Edvard Molnar Premiere: 27 October 2007 Duration: 1 h 10' Subtitles: Viktorija Simon-Vuletic The production is intended for the audiences over 18. Simultaneous interpretation into Serbian and English is provided. Coproduction partner: Association MASZK- Szeged About the production The text of the production is specific, its basis is Janos Pilinski's play of the same title, but the production itself was done as an improvisation. The text is by and large variable, it includes parts of Pilinszky's and Heiner Müller's works. Are we afraid? Does punishment exist? What is sin today in the age of stripped man's reality shows and Internet displaying and offering everything without giving anything tangible? Is there faith, in what, does It hurt? These are the questions of the powerful, blasphemously entertaining, cautionary and gentle Andras Urban's Urbi et Orbi, whose title and "leaning" flirt meaningfully with the emptied fullness of once Imperial and papal decrees, and its stage logic with some of paradigmatic examples of the artistic performance of the Sixties as well as with the media, electronic, ever switched on and inquisitive eyes and ears of our global village. In the small form of a well-suggested evening para-media confessional which of all the inhuman aids uses only the microphone, a cake of soap, a basin, a cart, a metal barrel..., and of the human ones - the fragments of texts by Janos Pilinszky and Heiner Müller, religious chants and refrains, a little couplet or two, an art-conscious director, four dedicated actors and space open for improvisation. All this results in a stage form the director meaningfully calls "orallty" which in a canonignoring way blends the energies of cabaret, morality play, ritual dances, post-Brechtian agitprop and an obvious move to examine the effects of the poetic where It has been all but extinguished. Tense in a synchronous pursuit of an active form of the verbal, oral theatre and the fresh blood of the non-verbal stage "oracle" in which It forcefully ends with litanies of words, the play says that we have to answer the questions It raises -and which we occasionally raise, too - by ourselves. His real answer, if there is any In a violent stage-whirl of the said and acted, is precisely Its form, torn between the trivial and the poetic, the daylight and the forces of the night, and the dusky silence which remains behind the theatrically open meaning into which we are drawn due to of this great small team. Vladimir KOPICL

The production Is о bout sin and forgiveness: that is its focus, but on this occasion I'd rather avoid the fundamental discussion as to what is, and what can be, sin because the production does not nourish that ambition. * In the Christian, European environment, some mythologies and religions contain certain notions addressing the basic problems of man's life and we have begun addressing them, too. The moment when we fetched up at the word confession was essential as we looked at It not only in the religious form, as a ritual performed in a church but within a very human context. Andrâs Urban

Kosztolanyi Dezsö Szfnhâz / Pozoriste "Kosztolânyi Dezsô'7 Kosztolânyi Dezsö Theatre Contact person: Hajna Toth Serbia, 24000 Subotica, Harambasiceva 4 T/F; + 381 24557471 E: info@kosztolanyi.org www.kosztolanyi.org

ET ORB i