Duration: 1 hours 10 min
Director: Saša Božić

From the position of a young man born in 1990, Mr. Pešut discusses the life of the generation born in the 1990s, which grew in difficult and chaotic years, the generation that cannot find a place in the society lacking ideals.

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By the new drama text by Dino Pešut: (Second-to-)Last Panda or Statics, the Croatian theater is enriched with the drama that does not refrain from recent forces of Croatian everyday life (war, post-war environment, transition, the collapse of civil consciousness, the rise of xenophobia, and the like) but these forces are being integrated into an unusual structure and pulled through a filter of strong and authentic narrative voices, which all together results in a polyphonic, modernist whole to which recent dramatic writing is, unfortunately, not used. The author says the following about his drama opus: “All my texts deal with young people that question social problems trying to find their position in the system that surrounds us.” From the position of a young man born in 1990, Mr. Pešut discusses the life of the generation born in the 1990s, which grew in difficult and chaotic years, the generation that cannot find a place in the society lacking ideals. In Statics we follow the birth, maturation and sobering of a state in a specific manner, through breaking focalization points of the same action. But this is only a framework used for experimenting with the idea of a counterpoint: a polyphony of voices in which four major dramatic voices can be recognized, voices that base their narration/addressing the readers and potential audience on long internal monologues discontinued by croquis of dramatic situations.

“This is a drama written in a bursting style of quick and short sentences that amount to a picture of growing up of four young people from the war and post-war Sisak. Two male and two female characters moving from the same starting positions, basement shelters of the bombarded city, and life then shapes them into completely different people, at first by small steps that eventually become tectonic. The drama extremely precisely and deeply cuts the neuralgic tissue of the post-war society in transition and almost without an error detects ‘the history of illnesses’ of our areas,” says the explanation of the expert committee of the Marin Držić Award.

“A polyphony of voices, inner monologues, hot topics of domestic reality, and a thoughtful authorial concept are features of Mr. Pešut’s piece. At the beginning of the play we meet four characters whose voices are blended in the childhood and work as one undivided consciousness, which are forcibly separated by entering the culture, or rather the beginning of education. Their inseparable childhood is linked by the mythical story called: the birth of a country from the scourge of war. It is interesting that these voices are not ageing, but the county is growing up, from an unreasonable child to a disillusioned, discouraged, and a little bit tired dramatic persona. The directing concept finds these formal characteristics of the text interesting and plays with the issue and idea of gender associated with the development of neoliberal capitalism at the turn of the century in Croatia.

I will confront a sort of passivity and decentralization of the drama subjects with the opposition young-mature: each character in the piece will have its performative back side, as the country grows up, so the actors that represent these events change. How does viewers’ empathy respond if they are presented with a tired and duration- affected body at one time, instead of an attractive, sporty, young body? Furthermore, the characters in Statics seem to communicate through the unspeakable, sounds and colors, almost merging consciousness with one another, which reminds me of Nietzsche’s giving a preferential treatment of the Dionysian impulse as the birth of tragedy. In this sense, I am taking the motive of exploring the actor’s physicality: in exploring the actor’s readiness, physical, psychological and physical readiness to meet a text matrix, as well as director’s tasks, but also the need of a modern viewer extremely exposed to the media to enjoy the scenes of extreme physical exposure. In the conventional dramatic theater, where the psychology of faces and the fable play a dominant role, unusual bodies are often depicted as caricatures. In Statics, contrary to this type of theater, I suggest such theater where physicality is not just a marginal presence. The other and different bodies, deformed over time, are treated not as a sign of psychological pathology, but as a means of directing.

Mr. Pešut gives priority to irrationality rather than rationality, internalization before civilization, totality before individuality, collectivity before particularity. Searching for the possibility of an intuitive cognition and an inner, somewhat mystical connection between consciousness of our characters, we will try to interfere with the deeper, invisible, but also more intimate, truer reality that lies beneath the surface of political events,” said Saša Božić.

Dino Pešut 

Directed by:
Saša Božić 

Opening night:
May 16, 2015 

Dino Pešut 

Stage and Lighting Design: 
Bruno Pocheron i Claire Terrien 

Costume Design: 
Zdravka Ivandija Kirigin 

Nenad i Alen Sinkauz 

Stage Manager: 
Milica Kostanić 

Language Advisor: 
Đurđa Škavić 

Zoran Kulušić Neral 

Graphic Design: 
Bojan Krištofić/Drugo Uho