Битеф

su artikulisala trojica velikih grčkih tragičara. Konferansije ovog programa je jedno provokativno, beskrajno šarmantno i zavodljivo otelovljenje samog boga Dionisa, zaštitnika tragedije i pozorišta. I, zaista, predstava je izrazito dionizijske prirode, u tim zasebnim scenskim celinama smenjuju se halucinantni prizori ekstaze, telesnog iznurivanja, orgija, najuzvišenije poezije, ali prevashodno krajnje uzbudljive vizuelne i duhovne lepote i slobode, te snage i radosti života. O PREDSTAVI Ovde je reč o čovečanstvu i rodenju tragedije u svojoj elementarnoj formi: sakačenje, razvrat, pročiščenje. Prepoznajemo obrise priča i likova iz grčkih tragedija, bliske, a ipak veoma udaljene. Fabr razotkriva nesavršenost ovih likova, sve dok ne ostanu u dronjcima, skrhani nasiljem, homerovskim smehom i ekstazom. Olimp nije modernizovana verzija grčke tragedije. To je ispitivanje nemogučnosti da se prikaže ono što nas sakati, a potom pročiščava. Uz samu tragediju, važnu ulogu igra i vreme, Šta je vreme u pozorištu? Šta se dešava kada se vreme razvuče? Fabr intenzivira sadašnji trenutak, to pozorišno večito ovde i sada, čineči to u vrtlogu slika koje gledaoca uvlače u drugačiji model iskustva vremena, u neku vrstu vremenskog lavirinta. Fabr na scenu uvodi četiri generacije i 28 izvodača, kako bi nam predstavio svaku dimenziju

in Homeric epics, and the one articulated by the trio of great tragedians. The host of the programme is a provocative, infinitely charming and seductive embodiment of the god Dionysus in person, the patron of tragedy and theatre, The production is indeed truly Dionysian; hallucinating scenes of ecstasy, bodily exhaustion, orgies, the most sublime poetry as well as primarily visual and spiritual beauty and freedom beyond comprehension, the force and joy of living follow one after the other in separate scenes. ABOUT THE PRODUCTION It is the age of humanity and of the birth of tragedy in its most fundamental form: mutilation, obscenity, purification. We recognize the outlines of stories and characters from Greek tragedy, close by yet far away. Fabre wrenches open the flaws in these characters until they are left in tatters, smashed by violence, Homeric laughter and ecstasy. Mount Olympus is not a modernization of Greek tragedy. It is an investigation of the impossibility of representing that which mutilates us and makes us pure again. Alongside tragedy, time also plays a leading role. What is time in the theatre? What happens when time is stretched? Fabre intensifies the present moment, the eternal here and now of theatre, in a maelstrom of images that pull the audience into a different mode of temporal experience, a labyrinth of time, Fabre uses the four generations and 28 performers on stage to exhibit every dimension of his theatre work. The performers speak a language punctuated by hesitations, silences and death rattles, a language that is sometimes just a scream. They dance and move at the urging of a wordless inner force. They wake and sleep on stage. Fabre constructs his images out of their stolen dreams, 24 hours long, and the result is a tribute to the profound beauty of his performers. THE AUTHORS JAN FABRE (b. 1958) is considered one of today’s most innovative and versatile artists. Over the past thirty years, he has worked as a visual artist, theatremaker and author, in the late 19705, the young Jan Fabre caused a sensation as a performance artist. Chaos and discipline, repetition and madness, metamorphosis and the anonymous are the main ingredients of Fabre’s theatre. In 2005, Jan Fabre was the curator of the Festival d'Avignon. Jan Fabre is also a prolific author on the subject of the theatre, whose