Bitef

mu o međuljudskim odnosima u kojoj se muški čopor mačoidno i seksuaino, nasilno ogrešuje o ženske likove. U poslednjoj fazi, ansambl Semperove priželjkuje nevinost životinja na pojilu." Mihael Vurmicer, Der Standard

„Reditelji nas iz scene u scenu podsećaju na dnjenicu da je svet na ivici kataklizme. Katastrofa je na pragu, sledi kraj svega: prirode, društva, ekonomije, politike, morala, etike. Trčanje, padanje, vodenje ljubavi, plivanje u blatu, to je sve nadn života poznat Sologubovim junacima, a sada predstoji i nama,“ Jana Merzon, Tieter tajms

er, hugging, cuddling, often employing more or less daring sexual strategies, reckless masturbation. But all those movements and gestures, no matter how wild or tender, turn out to be an absolutely unattainable fabric, an almost desperate dream of a possible development of a life project. That impossibility of realization is usually symbolized by water, used by performers to splash over each other in buckets or by pumps (when they fail onto the ground, clean and wet, a true mud magnet), but also by an irresistible comic effect of estrangement, when they pluck a hair or a straw from each other’s filthy shoulder." Enrico Fiore, Controscena

"The protagonists’ suits and dresses are inappropriate for dancing in the mud. There is a sensibly erected glass shield between them and the audience, since they freely use mud in every possible way; they crawl through it, splash and stuff each other with it. Practically without words but with great precision and bodily effort, N 043 Filth develops a mud battle as a chamber drama of human relations where male pack sins against female characters in a macho and sexually violent way. In the last phase, the ensemble of Semper yearns for the innocence of animals at watering points.” Michael Wurmitzer, Der Standard

"The world, the directors remind us scene after scene, is at its very end. The catastrophe has arrived: the end is all-environmental, social, economic, political, moral, and ethical. Running, falling, making love, swimming in mud are the ways of life Sologub’s characters knew and we are now subjected to.” Yana Meerzon, The Theatre Times

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