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pribegavajud manje ili vise smelim seksualnim strategijama, neobuzdanoj masturbaeiji. Medutim, svi ti pokreti i gestovi, ma koliko besni ili nežni, neizbežno se na kraju ispostave da su potpuno neostvarivo tkanje, skoro očajnički san o mogućem razvoju nekog životnog projekta. A tu neostvarivost odlično simbolizuje s jedne strane voda, kojom izvođad polivaju jedni druge kofama ili crevom (kada padnu na zemlju, čisti i mokri, kao pravi magneti za blato), a s druge strane, neodoljivi komični efekat oneobičenja, kada jedni drugima, tako strokavi, skidaju sa ramena neku dlaku ili iz kose slamku," Enriko Fjore, Kontrošena

„Odela i haljine protagonista neprikladne su za pies po blatu. Od publike ih, ne iz bezrazložnog straha od prskanja, odvaja staklena pregrada, jer se bez zazora i bojazni isprobava sve što se sa blatom raditi može; od bauljanja kroz njega, do kljukanja i gadanja njime. Skoro bez red, ali s velikom preciznošću i telesnim naporom, N 043 Prljavština razvija bitku u blatu kao kamernu dra-

eluded working at Munchner Kammerspiele and Thalia Theater Hamburg (Germany) where one their latest work was Peter Handke’s The Hour When We Knew Nothing Of Each Other that premiered in April 2015. That production was invited to Wiener Festwochen (Austria) and Ruhrfestspiele (Germany, both on 2015) and lately opened the Holland Festival (Netherlands, 2016). Ojasoo’s and Semper’s latest piece at Thalia, Hansel und Gretel, premiered in April 2018. It has often been noted, a very central trait of Semper’s and Ojasoo’s work as directors is the high level of scenic energy of their actors and also that the actors work as a well tuned ensemble. One of the specific qualities of his work is also the ability to develop societal metaphors out of very personal experiences and emotions.

FROM THE REVIEWS

“That is exactly what happens in the performance N 043 Filth. Bodies in the whirlwind of mud. Touching each oth-