Bitef

SHOWCASE

188

The authoress and the woman-bomb "enter each other's head". I keep the former's use of a terrorist scenario as an algorythm for the production of (dramatic) texts as the basic principle of a post-dramatic production. What is staged in this production is not the woman-bomb or her blowing-herself -apart act but the making of the woman-bomb in the theatre. How does the authoress write about her? How do the actresses think and create the role of the woman-bomb using shredded authoress's texts as their own? How does a director construct Ivana Sajko's Woman-Bomb as a performance-asan-act-of-terrorism-under-the-conditions-and-conventions-of-a-drama-theatre; Tic-tac-tic-tac Actresses enter the theatre together with the audience. Some are already in the lobby, some are late. Evreybody sits down Tic-tac tic-tac The performance does not begin. The performance begins Terror begins. in the theatre time the handles count down 12 minutes and 36 seconds until the explosion Now what? (Let's leave aside the theatre-type illusion 'perhaps the bomb will really go off'. Of course it won't. How to distinguish between a performer and a spectator? Tic-tac tic-tac How can you be sure you won't be sucked into the game and be the one who will at some point become the performer, marked, lit, asked, touched? No longer anonymous, not only a spectator safe in the darkness of the house. Bojan Djordjev

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