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71 1 have noticed that some of my theatre counterparts think that theatre is degraded when it calls a spade a spade. Still, referring to the best theatre tradition - that, for instance, of Aristophanes who did not hesitate to call out the names of people in the first rows -it occurred to me to mention directly the names associated with the assassination of Zoran Đinđić in my production. Let me remind you that they are people who are alive and politically very active individuals who today create the reality of this country, the life of its citizens.. The aim, therefore, was not only to turn to what will come out as the final product, as a production but also to turn to a kind of higher political awareness. Oliver Frljić, interview with Tamara Nfkčević, peščanik.net

The following story addresses several points: accusations directed at Zoran Đinđić himself, the role of the Church and the Red Berets while at the very end we see the trial of an important politician when the theatre took it upon itself to write the indictment. There is no fictitious “once upon a time there was” in all this; every word uttered is a direct comment on the reality with some quotes about political its political aspects. By not hiding behind fictitious characters the production avoids to turn into an offensive pamphlet. Not happy with that, Frljić develops further this hidden aesthetic quality by a seemingly documented genesis of the production and creation of pseudo-documents. Aleksandra Glovacki, Večernje novosti

Pamphletism is a choice absolutely justified here; it fully fits the contents. Ethics and politics clearly replace aesthetics. The reductionist and shallow acting is in this case an efficient means of social commitment. Ana Tasić, Politika

}} From the trauma of the destroyed, from wandering through a “landscape after battle" (Ambrose Bierce), from the view of a forest, the trees, when only after coming nearer you see that these are charred corpses, in this epoch, or post-epoch, Oliver Frljić speaks through context and text in his theatre because the site of the trauma is of sufficient concern to him as the birth place of art. Borka Pavićević, Danas

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