Битеф

Trublejn / Jan Fahr Antverpen, Belgija

Јогоеп Olieslagers, Jan Fabr

PROMETEJ PEJZAŽ II

Troubleyn /Jan Fahre Antverpen, Belgium

Jeroen Olyslaegers, Jan Fabre

PROMETEUS LANDSCAPE II

Concept, direction and set up by;

Koncept, režija i scenografija:

Jan Fabre

13. September, 20:00 Sava Centar Trajanje; 100'

September 13 th , 20:00 Sava Center Duration: 100'

Eleos & Fobos. Strah i samilost. Dve glavne emocije koje pokušava da saopšti grčka tragedija. Suočavanjem svoje publike sa tragičnim herojima izloženim strahovitim patnjama tragedija dotiče najintimniji dec gledaočeve psihe, vezujuci njegovu sudbinu za sudbinu heroja i čisteći ga od telesnih otrova. U svom najnovijem delu Jan Fabr ponovo traga za tom tragičnom dimenzijom. Pustolovine Prometeja, onako kako ih je zabeležio najstariji tragični pesnik Eshil, predstavljaju osnovnu nit ovog delà. Fabrov Prometej nas uranja u raznolike vremenske slojeve ovog cuvenog mita. No, рге nego što predstava odista počne, opraštamo se sa jednim slojem vremena, najpoznatijim sistemom objašnjenja, najviše kritikovanom i najviše odbacivanom pripovešću zapadne civilizacije - psihologijom. Od Sigmunda Frojda do Karla Junga, kroz svaku ličnost između njih i u svakoj sekundi, psihologija se proklinje i odbacuje. Ništa se ne može razumeti ili objasniti psihologijom, a pogotovo igra koju ovde igraju bogovi sa Olimpa. Tragicna dimenzija пе može se svesti na psihološku šemu; ne možete da objasnite krik tragičnog heroja sedeći u fotelji. Njegov bol prouzrokuje zaglušujuću buku, prodornu galamu koja odjekuje u polomljenim kostima i ožiljcima koji otkrivaju gde je civilizacija tek prišivena. Gde je sada naš tragični heroj, pita se Fabr glasno u beskonačnoj pripovesti. Gde je? Potreban je našem vremenu. Tokom čitavog preludijuma, dvojica glumaca šapuću, preklinju i dovikuju heroju u svim ključevima: „Heroji su nam potrebni - sada!“

Eieos & Fobos. Fear and compassion. The two main emotions which Greek tragedy attempts to convey. By confronting its audience with tragic heroes subjected to abominable suffering, the tragedy touches the innermost part of the viewer's psyche, binding his fate to that of the hero and thereby purifying him of the poisons of the body. In his latest production, Jan Fabre once again goes in search of this tragic dimension. The adventures of Prometheus, as chronicled by the oldest tragic poet Aeschylus, represent the underlying current which flows through this work. Fabre's Prometheus immerses you in the multifarious temporal layers of this well-known myth. But before the show really begins, we bid farewell to one layer of time; the most famous explanatory system, the most criticised and rejected narrative in Western civilisation: psychology. From Sigmund Freud to Carl Jung with every second and third rung figure in between, psychology is cursed and renounced. You cannot understand or explain everything with psychology, and certainly not the game played here by the gods of Olympus. The tragic dimension cannot be reduced to a psychological scheme; you cannot explain the cry of the tragic hero from an armchair. His pain causes a deafening clamour, a piercing noise which reverberates in the broken bones and scars that reveal where civilisation is but sewn together. Where is our tragic hero now? Fabre wonders out loud in an endless recital. Where is he? Our time needs him. Throughout the prelude, the two actors whisper, beg and cry in every key to the hero: "We need heroes now!"