While Creating the Production of “The Conundrum of the Revolution”

 

The year which is slowly ending, in which we are commemorating hundred years since the end of World War I, is framed by the year which marked the centenary of the Soviet Revolution and by the year which will mark the hundredth anniversary of the revolution in Germany, but also a hundred years since the murder of Rosa Luxemburg. “Red Rosa,” is still an inspiration for rebellion, in an age when rebellion against everything inhumane, violent, and exploitative – is invisible. She still raises the question: where is the rebellion, is it possible?

In a different reality, which this play creates, this revolutionary meets other revolutionaries and poets. Four revolutionaries – Rosa, the Red Army Faction’s member Ulrike Meinnhof, Castro’s comrade-in-arms Camilo Cienfuegos, and Lenin’s assassin Fanny Kaplan, as well as poets Kharms and Mayakovsky, walk through time and talk to each other, and to us “from the other side.” Their spirits still breathe down our neck. What are they saying to us today? What is all allowed in order to gain power and preserve the revolution? How far can the revolution go in order to preserve its values?

The frame of this encounter is the world of Kharms’ absurd. Daniil Ivánovich Yuvachov, who used the pseudonym Kharms, was a Russian avant-garde writer. He was convicted of anti-Soviet activity and died of hunger in jail in 1942. Thanks to the bravery of his friends who risked their own lives to save his writings, his work is known throughout the world and today he is considered to be one of the most significant writers of that time period.

 

 

 

 

 

The secret dedication of our production is to this writer. And as the rehearsal for his own play takes place, everything becomes possible and nothing is impossible, people are disappearing, drunkards are toasting to the revolutions while singing the Lady Gaga and Boney M. hits, the bodies of executed revolutionaries are thrown into a canal, are being burned, or sinking into the ocean, and occasionally bright souls shine through asking us how long we will be silent, inviting us to start disruption, resistance, and fight for meaning beyond the imposed “matrix.”

These characters meet in apartments serving as revolutionary cells, in prison cells, but also in a theater during a rehearsal. The particular space in which the performance takes place, with minimal scenographic interventions, allows us to invite the audience to move through these “cells,” where they will be able to opt for the revolution in which they themselves believe or to not opt for any at all. Spectators are no longer just “innocent” observers or consumers of the theatre act – they are also potential accomplices who choose or are chosen to participate in the work of individual “cells.” This process reveals the ideas, delusions, and passions of those who believed in a revolution and a better world.  This world needs a revolution, “but each tear that might have been avoided is an indictment” – the words of Rosa Luxemburg are echoing through time.

 

 

 

 

 

Creative Ensemble:

Directing: Dijana Milošević

Dramaturgy: Duca Knežević

Acting: Evgenija Eškina Kovačević, Ivana Milenović Popović, Ivana Milovanović, Ivan Nikolić

Scenography: Neša Paripović

Music: Uglješa Majdevac

Singing Assistance: Ljubica Damčević

Costumes: DAH Teatar & Snežana Arnautović

Makeup: Snežana Arnautović

Video Concept: Dijana Milošević & Amy Sarno

Video Production: Anja Turanski

Lights: Milomir Dimitrijević

Production: Nataša Novaković

Social Networking & PR: Marko Milojević

Performance Semiotics: Amy Sarno

Directing Assistance: Jelena Risteljić

World Premiere: December 20th and 21st, 2018, Cultural Institution “Parobrod,” Belgrade.