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SELEKTORSKA BELEŠKA U komadu, napisanom još pre deset godina, prikazuju se mehanizmi koji su danas postali svakodnevica. Dvoje mladih pretvaraju svoj stan u umetničku galeriju. Njih skoro svakodnevno snima kamera i ceo život se prenosi na internet, Vremenom, oni preuzimaju te„snimane identitete" da bi počeli da igraju uloge u sopstvenm životu i, poigravjući se sa autentičnošću, provociraju realnost. Njihova tela, obavijena kablovima, kao da potvrđuju tezu Žana Bodrijara: „Danas više nije reč čak ni о tome da se ima neko telo, nego о tome da se na svoje telo bude priključen ". Jezikom drame, i igrom reči, uspeva da prikaže izvornu strukturu toka misli. Alite misli,kao i psihološki lomovi junaka postaju roba, neophodna tržištu na kome je publika gladna tuđih života, koja preuzima tuđe identitete i koja se teši tuđim nesrećama. Tema identiteta, uz značajnu dozu ironije, prikazana je tako u svetlu medijske manipulacije i ataka na privatnost, kome su izložena i deçà.Time se prikrivaju nevidljive poluge mod i mehanizmi dja dinamika oblikuje savremeni svet. Gledalac je u prilici da shvati kako je i sam uvučen u zamku medijskog sveta, koji je okupirao i znatan deo njegovog života. SELECTOR'S NOTE The play, written ten years ago, shows the mechanisms, which have become the daily occurrence today. Two young people convert their apartment into an art gallery. The camera records them almost daily and transfers their whole life to internet. With time, they take over these "recorded identities; they start playing parts in their own life, provoking the reality by toying with the authenticity,Their bodies wrapped in cables seem to confirm Jean Baudrillard's thesis:"Today, it is not even the question to have a body, but to be switched on to one's body." The specific language of the drama and puns succeed in showing the authentic structure of the flow of thoughts. These thoughts, however, and the psychological breakdowns of the characters become merchandise needed by the market where the audience hungers for other people's lives, adopts the identities of others and finds comfort in the misfortunes of others. The subject of identity is thus shown with considerable irony in the light of media manipulation and invasion of privacy, including children, concealing the invisible levers of power and mechanisms the dynamics of which changes the modern world. The spectator has the opportunity to realise that he is also drawn into the trap of a media world which occupies a goodish part of their own lives as well.