ODJEK
Ljubica OSTOJIĆ
VJERA U TEATAR
Nakon 11. Pozorišnih igara u Jajcu
U posebnom programu gledali smo igru sa maskama Neko je ubio pjesmu teatra Maska i pokret iz Sarajeva. O njima treba govoriti jer oni to traže, oni izazivaju puni angažman svoje publike koji se ne može prešutjeti, kreativni dijalog i istinsku suradnju.
Mladi par Iva i Petar Mandić, koji jesu ovaj teatar, napravili su scenario, odabrali muziku, kreirali i realizirali maske, napravili koreografiju, i odigrali svoju predstavu. Oni su stvorili, te realiziraju znalačku i čvrstu koncepciju ovog teatra, ali otvorenu za sve ono što je teatar, i u tom smislu živo i značajno. I oni su igrali profesionalno, sjajno, nadahnuto, uvukavši svaki ton, trak svjetlosti, boju, plastičnost maske, pokret, studiozno pronađene, u igru iz koje je strujalo nešto autentično i iskonski teatarsko.
Da li se to u njima ovaplotilo ono vjekovima neprekidno živo histrionstvo koje su nam donijeli da nas ohrabre, da nam kažu da teatar ne može prestati ako se istinski vjeruje?
O njima treba tek govoriti. Ovo su samo riječi za onu bijelu priču koja se nastavlja pošto se uselila u nas sa svakim pokretom koji smo u sebi odigrali, slijedeći njihovu igru.
ODJEK
Ljubica OSTOJIĆ
FAITH IN THEATRE
After the 11th Theatre Plays in Jajce
In a special program, we watched a play with masks Somebody has Killed the Play by theatre Maska i Pokret from Sarajevo. They need to be talked about because they demand it, they provoke the full engagement of their audience that cannot be silenced, creative dialogue and genuine collaboration.
The young couple Iva and Petar Mandić, who are this theatre, made the script, chose the music, created and realised the masks, made the choreography, and played their play. They have created, and are realising, a knowledgeable and solid conception of this theatre, but open to all that is theatre, and in that sense alive and significant. And they played professionally, brilliantly, with inspiration, drawing in every tone, strip of light, colour, plasticity of the mask, movement, meticulously found, into a play from which something authentic and primordial theatrical flowed.
Was that incarnated in them that centuries-old living histrion that they brought us to encourage us, to tell us that theatre cannot stop if it is truly believed.
We have yet to talk about them. These are only words for that white story that continues as it has moved into us with every movement we repeat within ourselves, following their play.
