Битеф

nabiraju i šibaju po pozornid kao talasi. Jer, vatre se stalno gase, ali i ponovo pale. Drugim redma, pojedinci nastavljaju svoju groznicavu potragu za trenucima strasti koja potpaljuje njihova tela i njihove duše. Tela se taru jedno о drugo dok iz njih пе izlete varnice; muškard i žene se pretvaraju u lomače strasti. U treptaju oka, penis postaje baklja, vagina mehanizam za paljenje sastavljen od sumpora i fosfora. Genitalije postaju prava udarna povrsina za sve zapaljivo. No, što je vatra veća, veći su i mehanizmi za gašenje: kada pesak i sekira nisu dovoljni, glomazne dsterne stižu pred plamen i pred našim odma pretvaraju ga u dimnu zavesu, C0 2 i leted pesak. Dakle, predstava slika prometejski pejzaž izmeću Olimpa, Kavkaza i doline u kojoj žive ljudi. Kao u operi, red i slike klize jedni preko drugih kao plima i oseka. Užad predstavlja vezivnu nit izmedu mnogobrojnih slika i nadrealističkih migova; tu su i lanci za sve koji krše zakon Velikog Vođe; predmeti požude za one koji bi da dožive zadovoljstvo; čaura bube za one koji čekaju metamorfozu. Ovo novo delo nas suočava sa bojnim poljem naše civilizacije. U njegovoj osnovi je - Prometejeva vatra. Ali šta ljudski rod dni sa tom čudesnom moći vatre? Kakvu je alhemiju nadahnula? I čemu nas je na kraju strah od vatre odveo? Luk van den Dris, Univerzitet u Antverpenu

The structure of this production does not rest on the sketch but the flow. The flow of the mighty cursing and profanation the Olympic gods continuously sling at each other; the flow of images which Fabre has ripple and lash over the stage like waves. For throughout, fires are continuously extinguished but also continuously relit. Individuals, in other words, continue their feverish search for moments of passion, that which sets their body, their soul, on fire. Bodies subsequently scrape over each other until sparks fly from them; men and women turn themselves into pyres of passion. In the blink of an eye, a penis becomes a torch, a vagina an ignition mechanism of sulphur and phosphorus. The genitalia become a veritable striking surface for anything flammable. Flowever, the greater the fire, the more invasive the extinguishing mechanisms: when sand and axe are not enough, hefty tanks are brought before the blaze, transforming before our eyes into a curtain of smoke, C0 2 and flying sand. The production therefore paints the Promethean landscape between Olympus. Mt. Caucasus and the valley where the people live. Like an opera, text and image slide over one another, like the ebb and flow of a surging sea. Ropes represent the binding thread between the many images and surrealistic winks: chains for all those who violate the law of the Great Leader; objects of lust for those who would give themselves pleasure; a cocoon for those awaiting metamorphosis. This new piece confronts us with the battlefield of our civilisation. At its basis: Prometheus' fire. But what did mankind do with the magical power of fire? What alchemy did it inspire? And to what end has the fear of fire delivered us? Luk Van den Dries, University of Antwerp

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