Битеф

prijemu glumaca u ovaj teatar (prednost manjinskim grupama), jer takav pristup i dalje ne odgovara stvarnom procentu stranaca u Berlinu, a može i da napravi pozorišni „azil" za etničke i druge manjine. U drugom delu, scena se, i metaforički i bukvalno, rotira za 180 stepeni, i ova se tema pretapa u osudu ekspanzije ekstremne desnice. Drugim rečima, pokreće se pltanje da li je jedno progresivno pozorište, ako pristane na izvesnu getoizaciju i igru u sistemu, stvarni otpor tom sistemu, ill samo alibi za savest umetnika?

O PREDSTAVI

Danas se, ne prvi put u istoriji, suočavamo sa situacijom u kojoj se antidemokratske sile legitimizuju demokratskim putem, osvajajud i stvarni i medijski prostor, te uspevajud da udne svoje stavove društveno prihvatljivim. Sa tih pozicija, zatim, one mogu na apsolutno legitiman nadn da svrgnu demokratiju i zavedu autoritarnu diktaturu. Do toga ne dolazi samo u Poljskoj ili Mađarskoj, već i u Nemačkoj. Predstavom Gorki, Frljić ima nameru da isprati političku logiku kako bi preispitao pozorište. Ali samo da bi prikazao mračnu stranu predstavničke demokratije: ako ona dopušta fašisoidnim partijama da udu u parlament, vreme je da preispitamo demokratski sistem. Na 150. rodendan Maksima Gorkog, Frljić pokušava da ustanovi da li predstava Gorki može pozorištu „Gorki" da pomogne da razume Alternative za Nemačku. I da li Alternative za Nemaćku može da pomogne u razumevanju pozo-

of actors in prioritizing minorities, since that approach still does not reflect the true percentage of foreigners in Berlin and opens a possibility of the creation of “theatre asylum” for ethnic and other minorities. In the second part of the performance, the stage - both metaphorically and literally - rotates for 180° thus criticizing the rightwing expansion. In other words, the performance poses the question whether a progressive theatre, if it agrees to a certain ghettoization and a game within a system, represents a true resistance to the system, or simply an alibi for artists' conscience?

ABOUT THE PRODUCTION

As has already happened in the past, today we’re experiencing anti-democratic forces being legitimized by democratic means once again, acquiring media and real spaces to present themselves and making their views socially acceptable. Then, quite legally, they can overthrow democracy and demand an authoritarian dictatorship. Not only in Poland or Hungary, but also in Germany. In Gorki - Alternative for Germany? Frljić wants to follow the logic of politics in order to question the theatre. But only to show the anti-matter of representation: if representative democracy allows fascistoid parties to enter the parliament, then we have to rethink the democratic system. On the 150th birthday of Maxim Gorki. Frljić tries to figure out whether Gorki can help the Gorki Theatre understand the Alternative for Germany. And whether the Alternative fur Deutschland can help in understanding the Gorki Theatre. Or the other way around? What is democracy worth, if its opponents can put on a big display on its premises? What is theatre worth, if its opponents cannot put on a display on its premises?

THE AUTHOR

OLIVER FRLJIĆ was born in 1976 in Bosnia-Herzegovina. He studied philosophy, religious studies and directing in Croatia and works as a director, author, actor and theorist around Europe. His productions have garnered him several awards and invitations to international festivals, including the Wiener Festwochen for his 2010 production Mrzim istinu! (Ich hasse die Wahrheitl), and the Heideiberger Stuckemarkt