“Hold, hold, Don Quixote,
and think, that what you are
destroying, crushing and killing
are not true Moors but puppets
made of rigid paper.”
Cervantes: Don Quixote
Theatre “Maska i Pokret” exists in order to realise its own vision of theatre. According to this perception, it (the theatre) is not a mosaic set of “jobs”, nor an occasional or “inspired” commitment, but serious and detailed (not “intellectualistic”) examination of all its layers with the help of two selected stage means: mask and movement. We connect the skill of creating mask and classical ballet technique because we believe
- —that the mask is not visual, finished form, part of the stage equipment, but the theatrical sign, PHYSICAL SIGN OF ACTION, understood as an action that has a clear goal.
- —that its function is not only in “clarification”, mimetic representation of the type (it is the most banal use of the mask), but also in independent action, and two-way transformation: both the spectator and the performer.
- —that the mask had always been tied to the Actor-Dancer, and not so by depersonalising him, but on the contrary, by devising and causing him believe in his magical skill.
- —that the movement (”classical” ballet) does not have to lose itself in quasi-romantic hermeticism, futile symbols or Delsarte’s descriptiveness, but can, by developing its universal language, establish a connection with the origins of theatre.
Iva Kostović-Mandić, Sarajevo, ‘79.