Buffet Titanic / Bife Titanik / PQ Croatia 2019

One hour and 25 minutes, 3 video channels, And very often those were three different videos, not one big image but literally three films
screened in synchrony. These were all moving projectors,
in a small space beneath where we are now. And all three projections were
synchronized with the music and reproduced the video material
for the whole performance. All of them rotating and moving. The approach was one raw collage, meaning that we didn’t opt for
projection mapping and new techniques where everything matches perfectly. We did not choose the basement because
we had no other place to go. We probably could have afforded some
other place or make an agreement with the Museum of Contemporary Art. But, we rather made an aesthetic choice
with the basement because we wanted to see what could be done
with the theory of audience-actor proximity That is, whether that proximity
could help in any way. It is very hard for me to work on stage design
because an empty stage drives me crazy. On the other hand, this situation
where the space is filled with projections,
that is actually my playground. It is a very important thing to say
because Klif played a decisive role in that the performance achieved
the dimension of a spectacular opera. Moreover, it seemed as if one had
not been in that particular space because it was impossible
to see its contours in the dark. As a spectator,
you had no idea where you were. Initially, Klif was in charge of creating
a metaphysical space with the projections. In a way, he had to achieve the Raumflucht,
as they called it in Mannerism. There were incredible amounts of material
and it really looked sensationally. I think we also have to praise
Ana Hušman for that too. Brezovec is a theatre director
who understands projections. He treats projections as the light
that can be modified and that has a different nature
than the regular theatre reflector. The idea of Buffet Titanic was, of course,
to find a solution in the basement and those
three components of the performance are not here to structurally or post-structurally
develop a structure that provokes you to build it
and upgrade the performance yourself and thus see what you want to see in it. That would have been a structuralist,
or post-structuralist approach. In a couple of our last productions
we have been using the term “semioclasm”, or some sort of sign-breaking
or at least sign-loosening, if it is clear what we wanted
to say with that term. Of course, we are building a structure but the intention is not to get something
out for you from it or to find a meeting point
between Klif and myself but to make impossible
for anything to come out so that the audience
does not have a single association. It is very hard to create a performance
that does not talk about anything but to actually try to do so implies
that Klif does not understand me and I do not understand him. For example, when Heiner Müller brought
Hamletmaschine to Bob Wilson, Wilson told him that
he did not understand anything but that he would put it on stage anyway. That is the kind of misunderstanding we use. Whether Klif pretends to be uneducated
and I pretend to be educated, or vice versa,
is completely irrelevant in the process. What matters is playfulness,
both Klif’s and mine, and that could be our common denominator. It’s not about Brezovec
commissioning what he wants. No, he simply provides a framework. First of all, in terms of dramaturgy
and technological aspects, he has a sense of time and duration and in terms of space, he has a sense of where
the actors are and how they move. That provides me with a basic framework
and I like to stick with that. After that, there is a symbolic level
since it is not unimportant what is going to be put inside
and how it looks. I usually tend to skip that part
and treat it as something banal because I prefer when my
subconsciousness does that part. I pretend that it is nothing while, actually, that is never the case. In fact, it usually fits in rather well. When I think about theatre,
I am the child of rehearsals, the child of theatre,
someone who learned that working in theatre means sitting in rehearsals
and thus absorbing everything. I am very bad in perceiving the written text. I understand it much better when
it is performed in an actual space. So, the ideal rehearsal takes place on stage, in the space where the performance
is going to be. That ludic principle
can actually become philosophical. And of course, it is. Play is a serious matter. The fact that we play cards
until 5 o’clock in the morning, and playing cards is a game,
is a serious matter because you can lose your house
or someone might kill you if you don’t pay off your debt. But it’s still playing. Playing is a responsible thing
and you are held responsible for your play. No matter how Klif tries to get away with ludism I still try to follow him.

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