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x o AUTORiMA

VOLFRAM LOC je roden u Flamburgu 1981, godine, odrastao je u Švarcvaldu u Bad Ripoldsau, Studirao je književnost, umetnost i medije u Konstancu i kreativno pisanje na Nemačkom institutu za književnost u Lajpcigu, Volfram Loc piše pozorišne komade, radio-drame, poeziju i prozu, a osnivač je i urednik književnog časopisa Minima. Komadi mu se izvode u brojnim evropskim pozorištima, među kojima su bečki Burgteatar, Nacionalni teatar u Vajmaru, Centraiteatar u Lajpcigu. ., Višestruko je nagrađivan, između ostalog Klajstovom nagradom za komad Veliki marš i nagradom Nestroj za Urnebesnu tamu. Neka od njegovih dela su: Mravi do večnosti; Nekotiko poruka za sve(mir); Runjenje, Lista; Mama; Moda izbilja.

DUŠAN DAVID PARŽIŽEK, reditelj, roden je 1971. godine u Brnu, Češka. Studirao je komparativnu književnost i pozorišnu umetnost na Univerzitetu u Minhenu, i glumu i režiju na Akademiji za scensku umetnost u Pragu. Godine 1998, osnovao je Praški kamerni teatar s namerom da težište repertoara bude na svetskim premijerama čeških autora i premijernom prikazivanju komada nemačkih i austrijskih

autora u Češkoj. U Praškom kamernom teatru, koji je postao jedno od najuspešnijih čeških pozorišta, Paržižek je veliku pažnju posvetio delima Tomasa Bernharda i Elfride Jelinek, ali je režirao i komade Roberta Muzila i Roianda Šimelpfeniga. Od 2002. godine stalni je gost pozorišta na nemačkom govornom području. Režirao je dela Getea, Šilera, Bihnera, Klajsta, Muzila i Maksa Friša, a poseban uspeh doživele su njegove režije Elfride Jelinek, među kojima je i praizvedba komada Faustln and Out. Od septembra 2016. godine Dušan David Paržižek radi kao reditelj Folksteatra u Beču.

x IZVODIIZ KRITIKA

„Režija izvlači maksimum kako iz glumaca tako i iz samog avanturističkog teksta. Urnebesna tama uspeva prevashodno zahvaljujud tome što Paržižek od publike otvoreno traži odobravanje. Cinizam ovog teksta umotan je u oblandu besramne naivnosti. Reč 'anus' neprekidno se višeznačno koristi - kao organ koji pruža mogućnost zadovoljstva, ali i kao reč u svakodnevnom blebetanju koje deluje, maitene, ozbiljno, a da pritom nijednog trenutka ne zazvuči nimaio šokantno. Sve je zabava, čak i kada je reč o Biti iii ne biti.“ Norbert Maier, Die Presse

X THE AUTHORS

WOLFRAM LOTZ was born in Hamburg 1981 and grew up in Bad Rippoldsau, Schwarzwald, He studied Literature, Art and Media in Konstanz, and Creative Writing at the German Institute for Literature in Leipzig, Wolfram Lotz writes theatre plays, radio plays, poetry and prose, and is the founder and the editor of literary magazine Minima. His plays are produced by numerous theatres, including Burgtheater Vienna, Nationaltheater Weimar, Centraltheater Leipzig... He has received numerous awards, such are Kleist award for play The Big March, and Nestroy Prize for The Ridiculous Darkness. Some of his plays are: Ants to Eternity; Several Messages for Everyone; Lint Balls, List; Mamma; Fashion and Reality, and others.

DUŠAN DAVID PARIZEK, director, was born in 1971 in Brno (Czech Republic). He studied Comparative Literature and Theatre Art at the University of Munich, and Acting and Directing at FAMU in Prague. In 1998, he founded the Prague Chamber Theatre with an intention to produce world premieres of plays by Czech authors and the premieres of plays by German and Austrian authors in Czech Republic.

The theatre soon became the most successful Czech theatre with the main focus on the works of Thomas Bernhardt and Elfriede Jelinek, although Pan'zek also directed the plays by Robert Musii and Roland Schimmelpfennig. Since 2002, he has been directing in German-speaking countries as well. Fie has directed plays by Goethe, Schiller, Büchner, Kleist, Musii and Max Frisch, and very sucessful productions by Elfiede Jelinek, including world premiere of Faustln and Out. Since September 2016, Dušan David Pan'zek has worked as a director at Volkstheater in Vienna.

x FROM THE REVIEWS

"The director brings out the best both in the actors and in the adventurous text. The Ridiculous Darkness succeeds mostly due to the fact that Pafi'zek openly asks for audience's confirmation. The cynicism of the text is wrapped in shameless naivete. The word ‘anus’ is constantly used in more than one sense - as a body part offering possible pleasure and as a word used in common chitchat which seems almost serious without ever being shocking. Everything is entertainment, even when it comes to Be or Not to Be." Norbert Maier, Die Presse