Bitef

IGRAČ OD ZEMLJE Iz intervjua sa Jožefom Nađem Kakav je procès stvaranja predstave i da li se on razlikuje od période do perioda, kako se biraju motivi, inspiracije, terne, problem!...? J. N.: Nikad ne pišem unapred scénario. Nemam pojma, nikada nisam ni imao, kako ce izgledati komad koji upravo spremam. Pravim neki podsetnik, beleške, nekakve skice. To je sasvim dovoljno da se ogradim od pukog narativnog i da pokušam da evociram upravo one misli i osećanja koji su me obuzimali и vreme čitanja, jer je upravo to ono na šta treba obratiti pažnju и toku aktuelnog stvaranja. To je ono bitno. Kako spiritualni duhovni procès ulazi и taj telesni materijal...? J. N.: Pravim razliku izmedu naracije i zbivanja, i to zbivanja na vise nivoa po dubini. Ali isto tako je to i jedna vrsta kosmogonije, stvaranja sveta iz ničega. Put mojih predstava, koji se oertava već evo vise od dvadeset godina, treba, zapravo, na kraju da oerta jednu vrstu kosmogonije. Treba da deluje kao prvobitni mit. Jer mit je tek kasnije, u svojoj dekadentnoj fazi, postao prica, naracija. On je izvorno bio zbivanje nastanka sveta. Bio je tako doživljavan i priman u drevnim zajednicama - kao kosmogonijska slika. Sledstveno tome svaka moja predstava se onda može sagledavati kao etapa na putu jedne kompleksne kosmogonije, kao Jedan veoma složeni ritual koji evocira taj put nastajanja.

EARTHEN DANCER From an interview with Josef Nadj What is the process of creating plays like and does it differ from a period to a period, how do you choose themes, inspiration, topics, issues ... 7 J. N.: I never write a script in advance. I have no idea, nor have I ever had it, what a piece I am working on will be [ike in the end. I keep a kind of diary, write down notes, and draw sketches of a sort. That is enough to keep myself at bay, at a safe distance from a mere narrative and try to evoke exactly those thoughts and feelings that came over me at the time of reading, because that is exactly what you need to pay attention to during actual creation. That's what matters. How does spiritual process enter physical material...? J. N.: i distinguish between narration and happening, the happening at several levels in depth at that. But it is also a kind of cosmogony, creation of the world out of nothing. The course of my plays, which has been outlining itself for more than twent years now, is actually supposed to outline a kind of cosmogony in the end. It should act as the original myth. Because, only later in its decadent stage, did the myth become a story, a narrative. Originally it was a happening - of the creation of the world. That is how it was perceived and accepted in ancient communities: as a cosmogonic image. Consequently, each of my plays, then, can be seen as a stage in the course of a complex cosmogony, as a very complex ritual that evokes the course of creation.

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