Bitef

Jugoslovensko dramsko pozorište Beograd, Srbija

Igor Štiks

ELIJAH OVA STOLICA

Yugoslav Drama Theatre Belgrade, Serbia

Igor Štiks

ELIJAH'S CHAIR

Režija:

Boris Liješević

17. September, 20:00 Jugoslovensko dramsko pozorište (Seena „Bojan Stupica") Trajanje: 100'

Directed by:

Boris Liješević

September 17 th , 20:00 Yugoslav Drama Theatre (Stage "Bojan Stupica") Duration: 100'

Romanu Elijahova stolica me je privukla tema potrage za Ocem kao potrage za tajnom vlastitog identiteta. Narocito mi je drago da se to dogodilo u Jugoslovenskom dramskom pozorištu, gdje sam već imao komad na tu temu - Drag/ tata, Milene Bogavac, tako da sam ovo na neki način doživio kao određen tematski kontinuitet mog prisustva u JDP-u. Mene uzbuduje kad publika treba da procita predstavu, kada sa dizanjem zavjese ne počne iluzija koja savršeno dočarava neko drugo vreme i prostor u kojem će se dogoditi određene stvari, a iluzija se završiti raspletom i spuštanjem zavjese. Ta vrsta iluzije mislim da stavlja gledaoca и pasivan položaj. Počne predstava i sve mu je dato. Kao na tanjiru. On samo treba da odgleda, pa možda se u tom gledanju i probudi neka emocija. Ja ne volim kad se predstava samo gleda već kada se i čita, kada se publika na taj način angažuje. Ne mislim pri tom na angažman kada glumac izvede na scenu nekoga iz publike, prospe brasno po publici i tome slično, nego kada publika svojom imaginacijom učestvuje, kada publika dobija asocijacije koje će aktivirati imaginaciju da u glavi stvori ono čega u predstavi nema. Ali toga namjerno nema, jer je to na gledaocu. Boris Liješević

The novel Elijah's Chair attracted me by its subject: the search for Father as a search for the secret of one's own identity. I am particularly happy that it happened at the Yugoslav Drama Theatre where I already did another play along the same lines Dear Daddy by Milena Bogavac so that this was for me a kind of thematic continuity of my presence in the YDT. I find it exciting when the audience needs to read the production, when the opening of the curtain does not signify the beginning of an illusion perfectly portraying a different time and different space when certain things will happen and when the illusion ends with the denouement and the closing of the curtain. To my mind, this kind of illusion makes the spectator passive. The performance begins and it is all served on a platter. All he has to do is see it to the end and along the way he might experience the stirring of some emotion. I do not like it when a production is merely watched and not read, meaning that the audience becomes involved. By this 1 do not mean that an actor has to bring onto the stage somebody from the audience, or sprinkle the audience with flour and the like, but that the spectators' imagination draws him in, when he has associations which will activate his imagination and create in his mind that which is not in the production. And it is not in the production on purpose because it is up to the spectator. Boris Liješević