Битеф

riod davljenja „ličnim kao političkim“, tim nosečim ideološkim konceptom drugog talasa feminizma, te naučnih i političkih projekata proizašlih iz njega. To ne znači, naravno, da je koncept „ličnog kao političkog“ odbačen, več samo to da nas savremeno iskustvo vrača i „klasičnim" političkim problemima za koje smo naivno mislili da smo ih prevazišli. Obe Lorencijeve predstave, a u izvesnom smislu i Fabrovu, povezuje i to što u njima ne dominira dramski modus (ili podražavanje), zasnovan na konstruktima priče, sukoba i lika, več pripovedački. U prvi plan istaknut je, dakle, sami čin kazivanja na pozornici, koliko njegovo značenje toliko, ako ne i više, auditivini, energetski i, uopšte, čisto telesni vid scenskog govora. To je posebno istaknuto u predstavi Biblija, prvi pokušaj, monumentalnoj koliko i minimalističkoj, koja se može shvatiti kao scenski esej ili eksperiment na temu moči i mogučnosti kazivanja biblijskog teksta u savremenom pozorištu... Kao i dugo trajanje predstava, tako i usmeravanje gledalačke pažnje na različite aspekte scenskog kazivanja, s isticanjem njegove telesnosti, odgovara političnosti izvođačkih umetnosti, karakterističnoj, prema Lemanu, za postdramski teatar. To je ta političnost koja se ne nalazi u sadržaju predstave več u načinima njegovog izvođenja. Konkretno, pažnja usmerena na slušanje je politička i. u najširem smislu, civilizacijska alternativa svetu lakih, brzih, trivijalnih i nezahtevnih vizuelnih informacija. Predstava koja je potpuno usmerena na slušanje. ima odgovarajuči naziv - (Sa)slušanje. Ova predstava mladog iranskog reditelja Amira Reze Kuhestanija, koja je več ostvarila veliki uspeh na vodečim svetskim festivalima, ima strukturu saslušavanja, a na temu slušanja i prisluškivanja (odatle i dvosmislenost naslova). Medu gledaocima sedi glumica koja igra stariju studentkinju internata i koja s te pozicije - koja se izjednačava (kao i pozicija gledalaca u teatru) s društvom, zajednicom ili javnošču - sukcesivno saslušava nekoliko mladih žena, učenica iz internata, jer je jedna od njih cula iz susedne sobe (i to prijavila nadležnima) - muški glas. U Kuhestanijevoj predstavi sjajno se prožimaju forma i sadržaj: priča o društvu u kom se mnoge teme prečutkuju, guraju pod čilim, o njima se šuška, šapuče i priča u poluglasu, artikulisana je u formi scenskog saslušavanja. Uz malo kritičarskog

Quite the reverse: we are reliving very intense historical moments marked by the global crisis of capitalism and vicarious democracy, a proliferation of wars and conflicts the world over and the refugee catastrophe. At an age like this, it seems that the time has come to return to the indubitably most significant great narratives. These narratives have, historically speaking, shaped our world, which is presently undergoing one of the biggest crises in modern times. This shift is all the more necessary as we had a long period of addressing "personal as political", the principal ideological concept of the second wave of feminism, and scientific and political projects which have emerged from it. Of course, this does not mean that the concept of "personal as political" has been rejected, but only that the contemporary experience takes us back to the “classical" political problems we naively believed we had overcome. The link between both of the Lorenci's productions and, up to a point, the Fabre’s, is their common quality of not being dominated by the dramatic mode (or representation) based on constructs of the story, conflict and character, but rather by the one based on the narration. In other words, the emphasis is on the act of onstage narration, on its meaning and equally, or perhaps even more so, on the auditive, on the energy and generally speaking, on purely physical aspects of the stage speech, This is particularly evident in The Bible, the First Attempt, both monumental and minimalistic, which can be seen as a stage essay or experiment in power and recital of the biblical text in modern theatre... The long duration of these performances but also the attempt to focus the spectators’ attention on different aspects of stage narration with the emphasis on its physicality, correspond with the political nature of performing arts which, according to Lehmann, characterizes the postdramatic theatre. That political nature is not found in the content of the production but in the manner of its rendition. Concretely, the attention directed at listening is a political and in the broadest sense, civilizational alternative to the world of easy, quick, trivial and undemanding visual information. A production which fully focuses on listening has an appropriate title - Hearing. The production by Amir

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