Bitef

Ljubavna pesma Đ. Alfredo Prafroka spada u najpoznatije pesme mladog T. S. Eliota. Naslov sluti na poduhvat osuđen na propast - tako škakljiva I tačna upotreba inicijala teško da je materijal za ljubavnu pesmu... A, premda ta ljubavna pesma odista počinje izražavanjem najbolje namere: „Pođimo onda, ti I ja", nije izvesno da li Prafrok ikad napušta svoju sobu. Те protivrečnosti su i glavna nit ostalih tekstova и predstavi. „Recite šta se tačno desilo!“. Ко to kaže u Ludosti dana Morisa Blanšoa? Policajac? Hi pacijent, doktor, sestre, organ! reda? Ako je to priznanje ili saslušanje, ko je kriv? A ko je gađao čašom čije lice? Priča? Ne, nikad više. Najzad, vrtlog Worstword Но Semjuela Beketa najradikalnije baca izazov i dovodi u pitanje naš jezik, reči i znake. I to bi zbilja moglo da se završi užasno loše da nije Beketovog „boljeg neuspeha" s njegovim zbijenim pesničkim jezikom - utopijom estetičke forme.

The Lovesong of J. Alfred Prüf rock is one of the young T.S Eliot's most famous poems. The title hints at the sadly doomed undertaking - such a pernickety and correct use of initials is hardly the stuff of love songs... And while this love song does begin with the best of intentions - "Let us go then. You and Г - it is uncertain whether Prufrock actually ever leaves his room. These contradictions are also the main thread of the other texts of the evening. "Tell us exactly what happened!" Who says this in Maurice Blanchot's "The Madness of the Day"? Is it a policeman? Or a patient, a doctor, the nurses, or the law? If it is a confession or an interrogation, then who is guilty? And who threw a glass into whose face? A story? No, never again. Finally, the vortex of Samuel Beckett's Worstword Ho most radically challenges and questions our language, words and signs; which could indeed go horribly wrong, if it weren’t for Beckett's 'better failure" with his tight-knit poetic language - the utopia of the aesthetic form.