Битеф

IZVODI IZ KRITIKA

„Živadinov odbacuje realističnost, realizam koji filozof Peter Mlakar, autor komada o Globočniku, na kom je zasnovana ova predstava, povezuje sa nacizmom i koji naziva najvišim vidom realizma. A ono što sprečava da se predstava pretvori u još jednu naraciju na temu politike i biografije, jeste njena apstraktnost. Ritualni pristup razotkriva metafiziku zla nacizma, koji sam po sebi i predstavlja ritual zločina." Polona Balantič, TV Slovenija

„Simboličnim aktom uništenja Odilovog imena, predstava Odilo. Zatamnjenje. Oratorijum. prerasta u teatarsku intervenciju ili protest protiv skorašnjih obiika fašizma, rasizma, seksizraa, ksenofobije i nacionalizma, koji postaju deo predstave kroz tekstualne aluzije na savremenu politiku zastrašivanja i ugnjetavanja (fokus na porodicu, svođenje žena na isključivu ulogu majke, zatvaranje žena u privatnu sferu, rasistička i nacionalistička politika zastrašivanja, plašenje ‘krađom poslova’, i slično). Nije, prema tome, samo reč o übijanju Odilovog imena, već i o übijanju opresivnih politika koje se upravo pomaljaju." Anja Radaljac, De/o

„Pozorište i stvarnost se spajaju u jednu celinu, a poruka predstave Odilo. Zatamnjenje. Oratorijum. sadrži toliko svetlosti da slobodno odzvanja i u budućnosti." Petra Tanko, Radio Slovenija

life and artistic activity: to conclude his artistic path and his fifty-year project Noordung: 1995-2045, he plans to put himself into orbit and self-destruct.

FROM THE REVIEWS

“Živadinov renounces the verisimilitude, the realism that philosopher Peter Mlakar, the author of the play about Globočnik which was the base for the performance, links to Nazism. He called it the greatest realism. And it’s in this non-literalness, this abstractness, that’s meant to prevent the work from becoming just another narration of politics and biography. Its rituality reveals the metaphysics of the evil of the Nazism, itself nothing but a ritual of crime.” Polona Baiantič, TV Slovenija

“With the symbolic act of annihilation of Odilo’s name, Odilo. Obscuration. Oratorio, also constructs itself as a theatre intervention, or a protest, against the renascent forms of fascism, racism, sexism, xenophobia and nationalism that, while a part of the performance, also have textual allusions to the contemporary politics of intimidation and oppression (focus on family, reduction of female persons to the social role of only mother, pushing women into the private sphere, intimidating racist and nationalist politics, intimidation against ‘stealing jobs’ etc.). So it is not just about killing Odilo’s name, but also about the killing of the oppressive politics that are only just emerging.” Anja Radaljac, Delo

'Theatre and reality conflux into one, and the message of the Odilo. Obscuration. Oratorio, contains so much light that it resonates unburdened for the further reflection.” Petra Tanko, Radio Slovenija