Bitef

dobiti politick! kontekst. Htjela sam da on bude prisutan kroz predstavu baš onoliko koliko je obilježio živote osmero djece ili adolescenata и to vrijeme. Iz njihove vizure, u tadašnjem trenutku, bez komentara iz današnjice. Tih dvadeset godina su većina života ili cijeli život za autorski tim. Ostavile su nepovratne posljedice i nebrojene ožiljke. Ali je to istovremeno naš život, jedina stvarnost koju smo odrastajući poznavali. I ti individualni doživljaji, pogled na svijet djece koja odrastaju u ekstremnim okolnostima, to je ono što me zanima. Tok procesa je bilo teško predvidjeti. Metodologija rada je postojala, ali materijalza predstavu je osam života, tu postoji toliko rukavaca u koje se može skrenuti. Selekcija materijala je bila bolan procès, jerse zaista moglo napraviti nekoliko predstava. Meni lično je bilo najkomplikovanije događaje este-, tizirati, a ostati vjerna dokumenarnosti. Ništa što je ušlo u predstavu nije fikcija. Ni dijalozi, koji su se ili tačno tako odvili ili izašli iz ponudenog materijala za improvizadje - dnevničkih zapisa, pisama ili svakodnevnog života porodica. Bilo mi je bitno da zadržim autentičnost istovremeno govoreći pozorišnim jezikom da bi sve dobilo univerzalnu ravan. Glumcima se lični materijal tokom procesa pretvarao u scenske zadatke i otklon koji su morali postići je jako značajan. Bitno je publici ne nametati vlastiti stav, emociju ili komentar. Ostaviti im prostora da sami zaključuju. To zvuči jednostavnije nego što jeste, kada govorite о događajima koji su se vama desili. Treba biti objektiven и okviru vlastite subjektivnosti.

children or adolescents at the time. Through their lenses, then, without comments of today. These twenty years are the major part of life or the whole life of the creative team. They left irreversible consequences and countless scars. But this is also our life, the only reality we knew as we were growing up. These Individual experiences, the worldview of children growing up under extreme circumstances - that is what Interests me. It was difficult to foresee how the process would unfold. The methodology of work did exist but the material for the production was eight lives; there are so many branches that can divert you. The selection of the material was painstaking because one could make several productions. To me, the hardest thing of all was how to aesthetise the events, yet remaii faithful to the documentary approach. There is no fiction in the production. Not even the dialogues which unfolded exactly as they are spoken or emerged from the material offered for improvisation - diaries, letters or daily life of their families. It wa important for me to preserve the authenticity while using the theatrical language so that everything could acquire a universa meaning. For the actors, their personal material transformed into acting tasks and the distance they had to achieve were ven important. One must not impose one's attitude, emotion or a comment on the audience. Leave them room to draw their own conclusions. It sounds simpler than it is when you speak about things that happened to you. One needs to be objective within the framework of one's own subjectivity.