Bitef

0 POZORIŠNIM LEŠEVIMA Na kraju, uvek prebrojavamo leševe. A ti leševi postaju ulog u novim političkim projektima. Neka tela se mogu zapamtiti 1 sahraniti sa svim počastima. Drugi leševi nas pretvaraju u Antigone. Moramo da govorimo о vrednosti svakog ljudskog života јег će inače naša hiljada biti ništa u poređenju sa njihovih deset hiljada. Ali to je rezultat koji smatramo nepovoljnim. Na kraju krajeva, mi smo umirali malo manje i klali malo više. Na čijoj ste strani - Eteokla ili Polinika? Hajner Miler kaže da je smrt oblik predstave, delo kao svako drugo, koje organizuje kolektiv i samo kolektiv. I naše pozorište odražava tu situaciju. Naše pozorište je, uprkos svemu, uglavnom bilo i ostalo slavljenje smrti pojedinca. Time se baš ne treba hvaliti, ali to je tako. U svojoj srži pozorište je laž, A kada postavlja pitanja о smrti, pojedinačnoj ili zajedničkoj, simboličnoj ill stvarnoj, laže baš loše (ako je uopšte moguće dobro lagati) i tada možda čak počinje da govori neku vrstu istine. Naime, ponavljanje je u prirodi pozorišta, a smrt je onaj granični fenomen koji se ne može ponoviti. Njen pozorišni prikaz zbog toga takođe postaje problematičan. Kako ponoviti neponovljivo? Ova predstava pokušava da kroz inflaciju smrti, kroz neprestano ponavljanje neponovljivog, naglasi pozorišni mehanizam koji uvek ostaje prikaz neke spoljne stvarnosti. Sa svojim grčevitim pokušajima da na pozornici predstavi kolektivnu smrt, ova predstava baca izazov pozorišnom prikazivanju smrti i samoj ideji о pozorišnom prikazivanju. Ponavljanja smrti koja se dešavaju na pozornici и gotovo pravilnim intervalima, posle čega se protagonist! „vraćaju u život", ogoljuje tapkanje и mestu pozorišne mehanike prikazivanja. Upravo ti mehanizmi za proizvodnju fikcije - koji najčešće ostaju skriveni, izbacuju svaki tematsko-sadržajni okvir i stoga postaju jedino što je vidljivo.

ON THEATRE CORPSES In the end, we're always counting corpses. And these corpses become the stakes in new political projects. Certain bodies can be remembered and buried with all the honours. Other corpses turn us into Antigones. We must speak about the value of each human life, because if we don't, our thousand would be nothing compared to their ten thousand. But this is a score that we consider unfavourable. We have, after all died a little less and slaughtered a little more. Whose side are you on: Eteocles's or Polyneices's? Heiner Müller says that death is a form of production, work like any other, organised by a collective and only organised by a collective. Our theatre, too, reflects this situation. Our theatre has, despite everything, mostly been and remained the glorification of the death of individual. This is not exactly something to brag about, but so it goes. Theatre in its core is essentially a lie. And when it asks questions of death, individual or collective, symbolic or real, it lies particularly badly (if it is at all possible to lie well), and then maybe it even starts to speak some sort of truth. Because repetition is in nature of the theatre, while death is that border phenomenon that can't be repeated. Therefore its theatrical representation becomes problematic as well. How to repeat the unrepeatable? This performance attempts, through the inflation of death, through the incessant repetition of the unrepeatable, to emphasise a theatre mechanism that always remains a representation of a certainoutside reality. With its compulsive attempts to stage collective death, this performance challenges the theatrical representation of death, as well as the idea of theatre representation itself. The repetitions of death that appear on stage in almost regular intervals and after which the

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