22 MESS


FESTIVAL COMMITEE ON SELECTION

Chief selector: Laslo Gerold

The play with mask – is stated in the subtitle of the play “Neko je ubio pjesmu”, which deals with “exploring the function and possibilities of the mask and movement”, and it also includes music as an important dramaturgical mean.

The play – research, in terms of finding adequate solutions and in the sense that everything takes place before the eyes of the audience – has its consistent dramaturgical line of action and rhythmic development of stage events, poetic note, experience of human truth and a high degree of artistry.

Republic selector:

An almost autochthonous phenomenon in our (Bosnian-Herzegovinian and Yugoslavian) theatrical art, the “Maska i Pokret” Theatre, as the title itself confirms, deals with the research of the function and possibilities of mask and movement, as stage means of expression.

Whose effect should not be viewed in isolation. Namely, the mask and the movement, that is, conditionally called choreography of the movement, are by them by no means “decorative”, “additional”, only artistic and visual elements, but have such theatrical value that can be compared and evenly measured with a stage action which is in essence of one theatrical act. This is exactly what “Maska i Pokret” Theatre is trying to prove – that everything stems from the action performed on the stage, in front of the spectators (and conflict, and fatal act, and guilt, and punishment, and an ironic message). Every scene they present in the play “NEKO JE UBIO PJESMU” originates and ends on the stage, in front of the spectators, which by its hidden cruelty, almost ritual brutality and at the same time purity and tenderness (not pathetic), turn into a sign-symbol or system of sign-symbols.

The aim of creating these signs-symbols is to systematically and directly, without too much story, retelling, etc., provoke extremely strong feelings in the viewer, which are mostly born spontaneously, the moment a certain character appears on the stage and does something, which is partly rationally incomprehensible.

The function of the mask in this play, which with the help of characters who appear on the stage, gaining in specific situations very clearly and precisely defined characteristics (from primordial evil, through grotesque sarcasm, apparent lyricism, imbecility to predestined sinfulness and dullness), is multiple and cannot be read and understood only as a type definition of a person (character), but just the opposite – as an elaboration of the character to its final exposure and procedure, which usually acts on the viewers as a Shock. The mask also, under intense lighting and in combination with a very precise, not ballet but “dramatic choreography of movement”, changes its expression, achieving clarity in the motivation for a certain action, which often can be missed by a “living actor” whose improvisation can lead to misrepresentation the procedure of the character.

This play is in the true sense the research, albeit of certain theatrical research means, which does not limit its value, “unusualness”, freshness and studiousness – elements that meet the criteria not only of this festival but of “new movements” and different, more modern thinking of theatrical art.

22 MESS


SELEKTORI O IZBORU

Glavni selektor: Laslo Gerold

Igra s maskom – stoji u podnaslovu predstave ”’Neko je ubio pjesmu”’, koja se bavi “istraživanjem funkcije i mogućnosti maske i pokreta”, a ona istovremeno uključuje i muziku kao bitno dramaturško sredstvo.
Predstava – istraživanje, u smislu pronalaženja adekvatnih rješenja i u smislu da se sve odvija pred očima gledalaca – ima svoju dosljednu dramaturšku liniju radnje i ritmički razvoj scenskih dogadjanja, poetičnu notu, iskustvo ljudske istine i visok stepen artizma.

Republički selektor:

Gotovo autohtona pojava u našoj (bosanskohercegovačkoj i jugoslavenskoj) pozorišnoj umetnosti, Teatar ”Maska i pokret’ , kako to sam naslov potvrđuje, bavi se istraživanjem funkcije i mogućnostima maske i pokreta, kao scenskih izražajnih sredstava.
Čije se dejstvo ne bi smelo posmatrati odvojeno. Naime, maska i pokret, odnosno uslovno nazvana koreografija pokreta, kod njih nisu ni u kom slučaju ”ukrasni’, “dodatni”, samo likovni i vizuelni elementi, već imaju takvu pozorišnu vrednost koja se može porediti i ravnomerno meriti sa scenskom radnjom koja je u biti pozorišnog čina. Upravo to Teatar “Maska i pokret” nastoji dokazati – da sve proističe iz radnje obavljene na sceni, pred gledaocima (i sukob, i fatalan akt, i krivica, i kazna, i ironična poruka). Svaki čin koji oni predočavaju u predstavi “NEKO JE UBIO PJESMU” nastaje i završava se na sceni, pred posmatračima, koji po svojoj skrivenoj okrutnosti, gotovo ritualnoj brutalnosti i istovremeno čistoti i nežnosti (ne patetičnosti), prelazi u znak-simbol ili sistem znakova- simbola.
Cilj stvaranja ovih znakova-simbola jeste da sistematski i direktno, bez previše priče, prepričavanja i slično, izazove izuzetno snažna osećanja kod gledaoca, koja se većinom rađaju spontano, istog momenta kad se na sceni pojavi i nešto učini odredjeni lik, što se delom ne može racionalno pojmiti.
Funkcija maske u ovoj predstavi koja uz pomoć likova koji se pojavljuju na sceni, dobijajući u konkretnim situacijama vrlo jasno i precizno određene osobine (od iskonskog zla, preko groteskne zajedljivosti, prividne liričnosti, imbecilnosti do preodredjene grešnosti i otupelosti), višestruka je i ne može se pročitati i shvatiti samo kao tipsko određenje ličnosti (lika), već upravo suprotno – kao razrada karaktera do njegovog konačnog ogoljenja i postupka, koji na gledaoce deluje obično kao Šok. Maska, isto tako, pod intenzivnim osvetljenjem i u kombinaciji sa vrlo preciznom, ne baletskom već “dramskom koreografijom pokreta” menja svoj izraz čime se postiže jasnoća u motivaciji za odredjenim postupkom, što često može promaknuti ”živom glumcu” kojeg improvizacija može odvući u pogrešno predstavljanje postupka lika.
Ova predstava je u pravom smislu istraživanje, doduše odredjenih pozorišnih istražajnih sredstava, što ne ograničava njenu vrednost, “neobičnost”, svežinu i studioznost – elementi koji zadovoljavaju kriterije ne samo ovog festivala, već uopšte “novih pokreta” i drugačijeg, modernijeg promišljanja pozorišne umetnosti.