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and SNT Novi Sad, d. K. Mladenović; Signpost-Endlessly Close, Endlessly Far (Via Balkan) - National Theatre Sombor, d. K. Mladenović; Hamlet Hamlet Eurotrash (authored and directed together with F. Vujošević), Theatre on Terazije; Perhaps We are Mickey Mouse - co-production National Theatre Belgrade, Sterijino pozorje. Bunker Ljubljana, d. M. Pograjc. Awards: "Borislav Mihajlović Mihiz" for dramatic creation, prize "Slobodan Selenic"for the best graduating play and Sterijino Pozorja Prize for orginal dramatic text 2007 ( Perhaps We are Mickey Mouse). Orange Peel directed by Kokan Mladenović was awarded for the best play in the selection of Sterijino pozorje festival, 2010. SELEKTORSKA BELEŠKA Mreža kojom su sapete ličnosti drugačije je viđena u ovom komadu. I ona se, međutim, identifikuje stavljajući u fokus poziciju žene. Pre svega, prepoznaje se u nitima koje je око žene ispleio savremeno tržište, nametanjem serije proizvoda, reklamirajući određeni način života i vrednosti, stvarajući poželjnu slike žene. Та funkcija, koju ispunjavaju bilbordi, reklame, časopisi za lepotu i zdravlje, mnoštvo medijskih poruka, međutim, nije jedino niti iskljudvo posvećena tržištu. Ona se prikazuje i, kako u svojoj izjavi kaže i sama autorka, kao oblik društvene kontrole na najsuptilniji način. Takvim pritiskom koji ženu uvodi u promašeni način postojanja, kojem su izloženi njeno telo i duh, položaj žene danas je i pozicija žrtve i položaj saučesnika. Žensko telo, oblikovano prema prividno poželjnim obrascima koje nameću mediji, postaje obrazac onoga što bi se moglo nazvati lutajućim identitetima u kojima su stvarni identiteti ispražnjeni. Identifikujući tu mrežu, komad ostavlja otvorenim modele suprotstavljanja takvom stanju, SELECTOR'S NOTE The net which pins down the personalities is seen differently in this play. Nonetheless, it also focuses on the woman's position. This is, first, recognised in threads which the modern market has woven around the woman by imposing on her series of products, promoting a particular way of life and values and creating the desirable image of a woman. This function, performed by billboards, advertisements, beauty and health magazines, a whole spectrum of media messages is not, however, only or exclusively devoted to the market. It appears, as the authoress says, as a form of social control in the subtlest way imaginable. Under the pressure brought to bear on women to embrace a misguided form of existence to which both their body and their spirit are exposed, their position today becomes the position of a victim and that of an accomplice. The female body, shaped in accordance with seemingly desirable paradigms imposed by the media, becomes the paradigm of what one might call the drifting identities in which the real identities are emptied. By identifying this net, the play leaves open the model of resistance to this state of affairs.