Bitef
svoj transfer upravo kroz razuzdani i slobodnl erotizam, kojl otkriva čovekovu dlonlzljsku povezanost s prirodom I raspoloženjem, I danas nlje drugačije. Oblast seksa Je danas pravo pravcato bojno
polje, polttlčko polje gde se obllkuju mehanlzml kontrole I modi, gde uznemlrena letarglja zajednlce pre svega nastojl da ogranlčl slobodu drugoga, Jaclntlna plesnatadka na Petrovoj zabavl u gradu jedan Je od onlh osnovnlh demonsklh I demokratsklh trenutaka, kada se za tren 6lnl da smo mi, kao I onl drugl, združenl u harmonlčnom posmatranju I dlvljenju lepotl I đožlvljavanju nečega što nam )e svlma zajednldko. Da II Je to ona] osnovnl transfer kojl govorl o tome da je pravl sužtvot fasclnantan I modan, all I brz I prolazan. Koreografsk) I plesnl susret s Jednlm od osnovnlh tekstova slovenadke dramatlke produbljuje taj kontekst, dlnl ga razumljlvlm za savremenlke I Izuzetno Irrbrlgantnlm I zanlmljlvlm, te eflkasno razotkriva taj grotesknl I Istovremeno prtvladnl sužlvot razlldltlh tela, tu Ironlčnu I u Isto vreme krutu Igm nelstomlšljenlka I Istomlšljenlka, taj clnlčnl I neobldnl svet kojl svl zajedno naseljavamo I na njemu gradlmo I mSlmo prepreke, skrtvamo 1 otkrtvamo, prekrtvamo I pokrtvamo, oduplremo se prtrodl I neprestano deznemo za njom. Čak I ako toga nlsmo svesnl, još postavljamo I u Ist! mah rullmo svoje neprobojne “telesne straze”, Bojana Kunst
figure. In a global world, he can be a journalist, a speaker, a media person, a derider and a cynic, and, as with Cankar, appears solely for esthetical reasons. “Lately, I am confused and so my thoughts are esthetical.” Now, upon losing his original demonic powers, he can be one who, In the name of esthetics, alters words and works to manifest their Importance. He, therefore, is able to Involve himself, despite the difficulties of an evading space, which Is, even for a less metaphysical being, certainly unbearable. Instead of a local, Introverted environment, we encounter different forms of power and environment today. Increasingly, we reside In a contemporary society of different virtues - a global village, where virtues are no longer connected literally, as with a Sentflorlan cord, but through endless stereotypical Images of the mass media and carriers of communication. Even though It appears that our valley Is more open because of the never-ending amount of Information, a deeper look Into modem life reveals that we are still unable to accept difference: after all, proof of this Is the existence of diverse political extremes and prejudices that (despite accepted democratic values) breed exclusivity and violence toward difference. We still, therefore, live In a world that Is, like In Cankar's time, polarized by Invisible boundaries between society and the Individual, Our modem global village still brands an ambivalent relationship towards everything that is different; this Irritates us, and at the same time, attracts us In a peculiar way. Let us look at characteristic (cowardly) prejudices, with which those who are different are marked: they do not know for order, do not work, are not efficient or organized, and shortly, do not fit Into the system of contemporary rationalization that requires transparency, predictability, and Individualism that can be controlled. At the beginning of the 21st century, therefore, we may speak of Sentflorlans as Prlmoz Kozak has done In his brilliant Interpretation of Cankar’s Temptation : those who subdue their personalities and existences to harsh rules, those who lack the Intelligence to be true humans. With Cankar’s Sentflorlans, Irritability and attraction to difference experienced their transfer through unbridled and tree eroticism, which discloses man’s Zlonlstic link with nature and mood. Today, the situation is no different. The field of sex is today a true war zone, a political field where mechanisms of control and power are shaped, where the disturbed lethargy of the community exists primarily to limit another’s freedom. Jaclnta’s dance number at Retro’s party downtown Is one of those basic demonic and democratic moments, when, for a brief Instant, we ourselves appear to be, like the others, brought together Into a harmonic observance and reverence of beauty and an experience of something that we all have In common. Is this the basic transfer that speaks of true life as fascinating and powerful, but swift and transient? An encounter between choreography and dance with one of the basic texts of Slovenian drama deepens this context, and makes It understandable for the modem man and extremely Intricate and Interesting. Consequently, It efficiently reveals that grotesque and, at the same time, attractive life of two different bodies, that ironic and, at the same time, stiff game of like-minded people and not-llke-mlnded people, that cynical and unusual world that everyone Inhabits together and on which we build and destroy obstacles, hide and reveal, cover-up and conceal, resist Its nature and incessantly long for It. Even If we are not aware of It, we still establish and simultaneously destroy our Impenetrable "corporal guards.”