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x THE AUTHOR

MILO RAU, born in Bern in 1977. Studied Sociology, German and Roman studies in Zurich, Berlin and Paris. Worked as a journalist for various papers and magazines. Since 2003, Rau has been working as freelance director and author. Founded the theatre and film production company International Institute of Political Murder (IIPM) in 2007. His productions include: Hate Radio (Hebbel am Ufer, 2011), The Civil Wars (Zürcher Theaterspektakel. 2014), The Dark Ages (Residenztheater Munich, 2015) and Das Kongo Tribunal (College Alfajiri/Sophiensaele Berlin, 2015) among others. Rau has been invited to various national as well as international festivals, including the Festival d’Avingon (2010, 2013) and the Theatertreffen Berlin (2013).

x FROM THE REVIEWS

“The text is based on numerous interviews conducted with NGO workers and with war victims with mental and physical consequences, found not only among the current refugees bit also with the ones in Congo. The pervasive question is how do we deal with others’ suffering and why do we deal

me, na neophodnom prisustvu empatije i njenoj profesionalnoj upotrebi u pozorištu. Te dve perpektive se prepliću i. svaka iz svog ugla, preispituju funkciju i instrumentalizaciju sažaljenja. To je ono što ovu predstavu čini uzbudIjivom - neprekidno preispitivanje sopstvenih razloga... Milo Rau, koji je u svojim opsežnim istraživanjima i predstavama poput Moskovskih procesa i Tribunala u Kongu pokušavao da na stvarnost primeni pozorišna sredstva, ne izuzima ni sebe, figuru Reditelja, iz kritike evropske arogancije i sveukupnog precenjivanja." Katrin Bettina Müller, TAZ „Milo Rau optužuje Evropu da je slepa i gluva za užase van svog kontinenta, za koje su odgovorni njen turbokapitalistički sistem, njeni imperijalistički porivi i njena preduzeća i oružje... Glavno pitanje ovog višeznačnog teksta glasi; da li je situacija u svetu zaista do te mere beznadežna da svaka humanitarna misija mora da propadne? Da li je to zato što se reagüje saosećanjem tamo gde bi trebalo primeniti pravdu? Hi zato što milosrđe ne može da nadomesti solidarnost? Nesumnjivo težak materijal, ali nadn na koji autor i reditelj Milo Rau uspeva da ga postavi na scenu, precizan je i potresan.“ Irene Bazinger, FAZ

with it in the first place? On the other hand, the text is based on the analysis of classical acting technique, the necessity of empathy and its professional exploitation in theatre. The two perspectives keep overlapping and questioning the function and utilisation of compassion. And that is what makes the performance exciting - the constant questioning of its own reasons... Milo Rau, who has been applying theatre techniques in his ample researches and performances such as Moscow Processes and Congo Tribunal, does not exempt himself, the figure of Director, from the criticism of overall European arrogance and overestimation.” Katrin Bettina Müller, TAZ “Milo Rau accuses Europe of being deaf and blind to the horrors happening outside the continent, for which its turbo-capitalism, its imperialistic urges and its enterprises and weapons can be blamed... The main question of this multifaceted text is this: is the world situation really so hopeless that each and every humanitarian mission must fail? Is it because compassion comes in the place of justice? Or because compassion cannot replace solidarity? Difficult stuff by all means but the author and director Milo Rau manages to stage it in a precise and moving way.” Irene Bazinger, FAZ

X 0 AUTORU

MILO RAU, roden je u Bernu 1977. godine. Studirao je sociologiju, germanistiku i romanistiku u Cirihu, Berlinu i Parizu. Radio je kao novinar za niz novina i časopisa, Od 2003. godine, Rau radi kao nezavisni reditelj i pisac. Pozorišnu i filmsku kompaniju Institut za političko übistvo (IIPM), osnovao je 2007. godine. Neke od njegovih produkcija su: Radio mržnje (Hebbel am Ufer, 2011), Građanski ratovi (Zürcher Theaterspektakel, 2014), Mračno doba (Residenztheater Munich, 2015) i Tribunal u Kongu (College Alfajiri/ Sophiensaele Berlin, 2015). Gostovao je na mnogim festivalima, kako u Nemačkoj tako i u inostranstvu, medu kojima su festival u Avinjonu (2010, 2013), kao I Teatertrefen u Berlinu (2013).

x IZVODI IZ KRITIKA

„Tekst se zasniva na mnogobrojnim razgovorima sa pripadnicima NVO sektora, sa žrtvama rata koje su pretrpele kako fizičke tako i psihičke posledice, a vodeni su kako sa izbeglicama koje trenutno dolaze u Evropu, tako i sa onima u Kongu. Pitanje koje stalno provejava jeste: kako se nosimo sa patnjom drugih, zašto se bavimo njome? Sa druge strane, tekst počiva i na analizi klasične tehnike glu-