Битеф

SVIREPI GLUMCI Možemo ih zamisLiti: umorne od übijanja i od straba da budu übijeni, od pljačkanja i uništavanja, od silovanja ì od straba da budu silovani. Ovo su protagonisti mitova o starim Grcima, koji su vekovima ponavljali svoja svirepa dela. Da li mitološki karakteri mogu predstavljati istoriju? Da li istorija i nije tako daleko od mita? Istorija je takodje neumoljivo osečanje postajanja, pobeda snage nad pravdom, iznevereni ideali, ponovni trijumf sistema koji se podsmevaju svakoj utopiji. Predstava je pogrebno bdenje, na kraju milenijuma i kratkog veka koji je počeo 1917. Ruskom revolucijom, a završio se 1989. padom Berlinskog zida. Oko tela revolucionara okupLjeni su Likovi iz grčkih mitova. Oni ga poseduju i uvode u svoju besmrtnost. U njegovu cast, u cast onoga koji se borio za internacionalizan! i pravdu medu Ijudima, protagonisti mitova pripovedaju laži i užase koji su ih učinili besmrtnim. Oni evociraju tamne puteve sudbine: Edip, übica i prorok, sa rupama umesto očiju, luta između Tebe i Kolona; Medeja koja Lj u Lj a svoju zaklanu decu; Kasandra, koju su silovali ratnici i koja je pritisnuta vizijama bududnosti; Orfej, smrtnik koji je ušao u carstvo mrtvih i cija glava pluta u moru, pevajući; Dedal, pronalazač Lavirinta i lêta, koji je bio svedok pada svog sina, Ikara; Sizif, neumorni rob-radnik. I sve to dok Odisej razdražljivo komentariše sLepu vitalnost življenja sa skeptidzmom i podsmehom. Likovi iz mitova su samo akcija i energija. Njihova svirepost nije slabost. Njihova patnja nije tuga. Njihova bezosecajnost ne dolazi iz želje za modi. Oni su brutalni, tragidni, iskreni. Oni ne veruju; oni znaju. Oni poznaju pravu realnost: njihovu snagu od koje se ne moie pobeći, a koju zovemo zio. Zbog toga su oni suštinski razlidti od Ljudskih bica. Oni nas ne razumeju. Oni nas zadirkuju i vole nas - kao slepu decu. Pogrebno bdenje je za Guilhermina Barbosu. Moida niko ne pamti imena ovog nepismenog doveka koji je, od 1925. do 1927. godine prešao 25000 kilometara ceLom dužinom i širinom Brazila. On je bio jedan od vojnika Luiz Carlos Prestes-a. Borio za dostojanstvo svoje zemlje koja je bila u rukama korumpirane vlasti. „Prestesov glavni stub" („Prestes Column") nikada nije spoznao pobedu. Nikada, medutim, nije ni poraien. Guilhermino Barbosa je ostario, povukao se u svoju kolibu u diungli Bolivije, verán svom idealu revolucije. Da li je i revolucija „mit"? Postoje mitovi koji ovaploduju surovost istorije i mitovi koji nas, naprotiv, uče da to ne prihvatamo. Šta mit moie biti za nas? Arhetip? Vrednost koju treba razotkriti. Nada bez vere? Gde se mit skriva dañas? Zašto umire? Kako ga mi zakopavamo? Kada de se ponevo roditi? Eugenio Barba

ACTORS OF FEROCITY We can imagine them, tired of killing and being killed, of pillaging and destroying, of raping and being raped. These are the protagonists of the myths of Ancient Greece who, throughout the ages, have repeated their ferocious acts. Can mythological characters represent History? Is History not the very opposite of myth? History is also the inexorable sense of becoming, the victory of Force over Justice, the ideals that are overturned, the recurring triumph of systems which make a mockery of all Utopias. The performance is a funeral wake, at the end of a millenium and of a short century which began in 1917 with the Russian revolution and ended in 1989 with the fall of the Berlin wall. Around the corps of a revolutionary are gathered the characters of the Greek myths. They take possession of him and introduce him to their immortality. In honour of him who fought for internationalism and justice among peoples, the protagonists of the myths recount the lies and the horrors which made them eternal. They evoke the obscure ways of destiny; Oedipus, murderer and seer, with holes for eyes, wandering between Thebes and Colonus; Medea who cradles her slaughtered children; Cassandra, raped by warriors and oppressed by the vision of the future; Orpheus, the shaman who penetrated into the kingdom of the dead, and whose head floats in the sea, singing; Deadalus, inventor of the labyrinth and of flight, who witnessed the fall of this son, Icarus; Sisyphus, the tireless slave-worker. And all the while Odysseus comments petulantly on the blind vitality of the living with scepticism and mockery. The characters from myths are only action and energy. Their ferocity is not wickedness. Their suffering is not sadness. Their callousness does not come from a desire for power. They are brutal, tragic, serene. They do not believe; they know. They acknowledge the true Reality: the inescapable domain of those forces we call Evil. For this reason they are profoundly different from human begins. They do not understand us. They tease and Love us, like blind children. The funeral wake is for Guilhermino Barbosa. Maybe nobody remembers the name of this illiterate man who, from 1925 to 1927, marched 25,000 kilometres across the entire length and breadth of Brazil. He was one of Luiz Carlos Prestes' soldiers, fighting for the dignity of his country which was in the hands of corrupt Leaders. The „Prestes Column" never knew victory. But it was never defeated. Guilhermino Barbosa grew old, barricaded into his shack in the Bolivian jungle, faithful to the ideal of the revolition. Is Revolution also a „myth"? There exist myths that embody the ferocity of History, and myths that, on the contrary, teach us not to accept it. What can myth be for us? An archetype? A value to be desecrated? Hope without faith? Where is myth hiding today? Why does it die? How do we bury it? When is it reborn?