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I slna, prlnuden Je da prodaje svoje telo za naudne oplte. U tome gubl razum. Ma kollka blla Vojcekova Ijubav prema Marljl, novae kojl može da Joj pružl je nedovoljan I kad vldl kako ga prevazllazl bllstavl I vatrenl dobodar kaplar, ved prilidno pokolebana vera u pravdu ga napuita. Vojcek traži utehu u drugoj ženl, opija se I Iznenada se nađe sa okivavljenlm nožem u rucl. Pred njlm iežl bežlvotno MarlJlno telo. Vojcek je prida o postupnom propadanju Jednog doveka; o zlokobnoj vezl nasleđa I sredlne. Vojcek Georga Buchnera naplsan je pre 164 godlne, a ostaje pre svega moderns sllka vedltog vrtloga ludila, koje svako bide mora osetltl kad mu se svet srušl u apsurd I kad žlvot postaje mnogo nepodnolljivljl. CANETTI POVODOM VOJCEKA Tog dana, tadnlje, te nodi, pregledao sam Buchnerovo delo I otvorlo Vojceka, onu scenu s doktorom. Kao da me Je grom pogodlo I Jod ml se udlnllo da je to slab Izraz. Prodltao sam sve scene takozvanog odlomka u to) svescl I kako nlsam mogao prlhvatltl da tako nešto može da postojl, kako prosto u to nlsam verovao, sve sam Ih prodltao detlrl 111 pet puta. Ne znam da je bllo šta u žlvotu ostavllo na mene tako snažan utlsak, a da to ne bl bllo slromadno osedanjlma. U praskozorje nlsam vlše mogao podnetl da budem sam. U zoru sam krenuo za Bed da blh se prldružlo onoj koja ml Je blla vide od supruge, koja je od tada to I postala I dije prlsustvo danas žellm, sad kad je vide nema. Ona je blla nadltanlja od mene, dltala Je Buchnera kad joj Je bllo dvadeset godlna. Prekorlo sam je dto ml nlje pomlnjala Vojceka kad smo takoredl govorlll o svemu. "Budl sredan dto to nisi znao”, rede ona, “kako bl Inade mogao da plded?" Odlomak Iz Izlaganja Ellasa Canettlja (1905-1994) prlllkom dodele nagrade Georg Buchner 1972. GEORG BOCHNER & WOYZECK Georga Buchnera (1813-1837) nazlvaju najmodernljlm medu Wasldnlm plsclma nemadke knjlževnostl, polltldklm pobunjenlkom, pozorldnlm partlzanom, dlja je umetnost blla znatno Ispred njegovog vremena. Kad Je Buchner pre vide od 160 godlna naplsao svoja trl dramska dela; Dantonova smrt, Leons i Lena I Vojcek, komadl nlsu Izazvall senzaclju svojlm peslmistldklm vlđenjem sveta I britklm razodaranjem. Tek u doba umetnldkog ekspreslonlzma, negde oko Prvog svetskog rata, otkrlvena je BQchnerova Izuzetna orlglnalnost, njegova sažetost I jezldka preclznost; njegovo prlbegavanje nagllm, skoro fllmsklm promenama Iz scene u scenu I, pre svega, njegov poseban opls ljudskog blda, 51st, "antlllrskT. Stll kojl je snažno Insplrisao posebno Bertolta Brechta. Neobldno je, all je kompozltor Allan Berg svojom operom Vojcek 1923. poplodao pobedonosnl put delu. Naslov Je podetna gredka u ditanju Izdavada kojl Je prvobltno dtampao rukopls, dto treba povezatl s dlnjenlcom da Je Vojcek u stvarl samo odlomak jednog dela, BQchner Je umro od tlfusa u 23. godlnl dok je plsao ta) komad I, mada Je nekollclna njegovlh prljatelja tvrdlla da je u dasu njegove

fragment which had been Included In that volume, and since I couldn't acknowledge that such a thing existed - I simply didn't believe it - I read them all four or five times, I don't know that anything has touched me like that before In my life, which hasn't been poor In Impressions. As daylight came I couldn't stand being alone anymore. In the early morning hours I drove Into Vienna, to her, who was more than my wife, who also became my wife later on, and whom I wish could be present here today now that she Is no longer alive, She was more well read than I, she had read Buchner when she was twenty. Now I scolded her, for not once had she mentioned Woyzeck to me, and there was hardly a subject that we hadn't talked about. "You should be happy that you have never known this”, she said. “If you had, how wpould you have been able to write anything yourself? ROBERT WILSON (born 1941) “He Is like Da Vinci. He's a director, a dancer, a fantastic painter. I have learnt a lot from him. He sat down with a piece of paper and designed the entire stage, the scenography, the lights, everything. If he sees a tree he likes he will draw It, have someone make an exact copy and put it on stage the very same evening. He played the entire final scene In Shakespeare's King Lear for me one night when we were drinking and talking. Finally, he took an old newspaper, crumpled It, and threw it up in the air so that It slowly fell to the floor. Then he hunched himself up like a lump on the exact same spot where the newspaper had landed. He does things like that all the time." TOM WAITS ON ROBERT WILSON Robert Wilson was born In Waco, Texas and studied architecture at The University of Texas and the Brooklyn Pratt Institute. He studied art with George McNeil In Paris, and later on he worked with architect Paolo Solarl In Arizona. When Wilson moved to New York In the midlle of the 1960's he quickly became part of the boiling cauldron of the avantgarde circles. A sparkling artistic enviroment where painters, choreographers (among others pioneer choreographers Merce Cunningham, George Balanchine, and Martha Graham), musicians and theatre people teamed up to create entirely new and experimental art forms. It Is sate to say that Robert Wilson succeeded. If one were to mention five directors who have left their decisive mark on Western theatre during the last 30 years, Robert Wilson would definitely be among them. There Is no getting around his uncompromisingly minimalist aesthetics. Since the 1960's It has had and still has a radical Influence on all creative theatre artists In the Western world. Shortly after Wilson had moved to New York he gathered a number of artists under the name of Byrd Hoffman's School of Byrds. And It did not take long before two of his first major performances saw ther light of day in New York; The King of Spain and The Life and Times of Sigmund Freud.