Битеф

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„Ursina Lardi tumači lik koji neko iako može pomešati sa samom Lardi: glumicu koja je zajedno s ’tim režiserom’ išla na dokumentarno-teatarsko putovanje u izbegličke kampove po Evropi. Tamo su svi slatki momci izgledali kao hipsteri, kampovi su, smatra ona, lakši za organizaciju nego koncerti grupe AC/DC, a fotografiju mrtvog dečaka Ajlana sigurno nikada nije videla, sve dok ‘taj režiser’ nije rešio da je integriše u komad. Maše njome mrtva-hladna kao da je reč o beznačajnoj slid iz porodičnog albuma, Pa ipak, uskoro saznajemo: razlog te njene užasne hladnoće leži u činjenici da je otupela od strahota koje je proživela: kada joj je bilo dvadeset godina, kao pripadnica nevladine organizacije, bila je na obodu ratom zahvaćenog Konga, Pušta Betovenovu Sedmu simfoniju zaglušujućom jačinom ne bi li se spasla ludiia. To joj ne polazi za rukom, a Ursina Lardi to genijalno dočarava. Osećamo želju da utešimo tu ženu koja, traumatizovana, mokri usred otpada i želimo da je udarimo posred nasmejanog lica kad prosipa egocentrične, latentno rasističke fazone, Ali tada shvatamo: ta žena - to smo mi. Moramo promeniti svoje živote, I te kako." Stefan Hochgesand, tip Berlin

“Ursina Lardi plays a character that one could easily mistake for Lardi herself: an actress who joined 'the director' on his documentary theatre trip to refugee camps in Europe. All the cute guys looked like hipsters, the camps are more easily organized than an AC/DC concert, and she had most definitely never seen the photo of the dead boy, Aylan, until ‘the director’ decided to use it in his play. She cold-bloodedly flashes the photo as if it was a snapshot from a family album. And yet, we are soon to realize - her horrible heartlessness stems from the fact that she is numbed by another horror: when she was 20, she was an NGO worker situated at the fringes of war-torn Congo. She plays Beethoven's 7 th Symphony to the level of deafening noise to save herself from madness. Her failed attempt to do so is brilliantly played by Ursina Lardi. We feel the need to comfort that traumatized woman who urinates in the middle of the rubble; we want to hit her grinning face spilling egocentric, latent racist jokes. But then we realize: that woman, she is us. We have to change our lives. Promptly.” Stefan Hochgesand, tip Berlin