We've tried not to challenge the accuracy of diagnoses theatre and not to deprive of their credibility. But for years the theatre has not started any revolution. It has not created any patterns for new institutions.
It has not reformed the language of a public debate, has not eliminated social inequalities. This is not the theatre that brings people to streets. We must have overestimated the strength of its impact. Or we may have been questioning it too rarely.
The German film director Rainer Werner Fassbinder, known for his distrust of conventional languages of art, easily used to give his films a gangster, melodrama or science-fiction frame,used to explore genre cliches and reveal their violent structure. In more than forty films, which he was able to produce before his death at the age of 37, Fassbinder actually used to tell one story, keeping rewriting it for many screenplays. It is a story of violence and fascism emerging in small communities, in individual relationships, on the set - seemingly ephemeral and interpersonal relations free from consequences . It is also a challenge to film and theatre techniques and their users. Bloodon the cat's throat, a play not performed in Poland so far, invites the audience and actors to participate in a hyper-realistic game. Is any look woven through the grid of glances thrown from the stage onto the audience and from the audience onto the stage innocent? How are the roles in the theatrical reality assigned? And why do theatrical revolutions tend to be doomed to failure?
Anja Suša (b. 1973) - a graduate from theatre directing at the Academy of Dramatic Arts in Belgrade and Philosophy at the Institute of Contemporary History in Belgrade. In the years 2002-2011 she worked as the artistic director at the Little Theatre Dusko Radovic. She is one of the most important directors of the former Yugoslavian countries, often awarded for her performances directed on stages in Denmark, Sweden, Croatia and Slovenia. For ten years, she has been a curator and qualifier of International Festival BITEF in Belgrade. She keeps close relationships with the Polish theatre. She was a guest at such festivals as the Divine Comedy in Krakow or Premiere Festival in Bydgoszcz. Her shows were performed at many Polish festivals, i.a. the Korczak Festival and Festival Demoludy in Olsztyn („Maja and me and Maja”).
22.11.2016
Award for the team in the form of a statuette and a cash prize of 10 000 zł for performance "Blood on the Cat's Throat or Marilyn Monroe vs vampires", searching for new forms of acting expression, intelligent interactivity with audience and the strength of teamwork skills while creating expressive creations.
