Play 19 December – the Day After is a theatrical triptych composed of the following drama plays:
The play composed of these 3 stories was performed in the factory 19 December in Podgorica.
“The idea of Peter Brook that all that a play needs is a man who walks across an empty space whilst someone else is watching him creates the possibility of affirming various extra-institutional spaces and involvement of their symbolic potential into the play itself. Thus a factory with a history of being the part of the old socialist system becomes a symbol which substantially defines the interpretation of the play performed in it. Alteration of social systems does not emerge out of nowhere, eliminating residues of the previous system. We continue to live in the residues of the world created by
our fathers and that world may have made us what we are today.
Pursuing the radical severance, a new man disregards what is deemed the universal value, and the main principle becomes mere surviving, i.e. “coping” in the chaotic, decentralized world. Narcissism and depression – two notions often deemed as dominate attributes of modern society in contemporary psychology- emerge in such settings. Have factories of our fathers created this world or it has created itself, in the hectic need to destroy everything pre-existing? Whether 19 December was the symbol of liberation, why would it matter to us now? What sort of freedom does a modern man search for and what is released from his inner world? Our modern drama continues to be played behind the curtains of the old system.
For such sensitive issues the invisibility of distance between the audience and the actor is essential. The viewer must sense the smell, hear the echo, feel discomfort of the space, as delineated in Artaud’s idea of affecting all senses. The ambient play makes borders of our world more real – borders which we tend to ignore in our everyday routine. Therefore, inspired by Grotowski, the viewer should be involved in the play. That kind of theater is deprived of redundancies, in which the actor and the text are the backbone of the play. Alternative theater implies a more direct, provocative and uncompromised interpretation of modern themes than in the mainstream theater. It is the alternative not only in the manner of performance, but in the approach to a certain theme as well.”
Vasko Raičević
Predstava 19. decembar − dan poslije je pozorišni triptih sastavljen od dramskih komada:
Od tri priče sklopljena je predstava koja se odigrava u podgoričkoj fabrici 19. decembar.
„Ideja Pitera Bruka da sve što je potrebno za jedan pozorišni događaj jeste čovjek koji korača kroz prazan prostor dok ga neko drugi posmatra, otvara mogućnosti afirmacije različitih vaninstitucionalnih prostora i uvođenje njihovog simboličkog potencijala u sadržaj predstave. Tako jedna fabrika koja ima svoju istoriju u okviru starog socijalističkog sistema postaje znak koji u značajnoj mjeri određuje tumačenje predstave koja se u njoj odigrava. Smjena društvenih sistema ne dešava se odjednom, brišući naglo sve ostatke starog sistema.
Mi još živimo u ostacima svijeta koji su stvarali naši očevi i taj svijet nas je možda stvorio onakvima kakvi smo danas. U toj potrebi za radikalnim raskidom, novi čovjek briše i ono što je smatrano univerzalnom vrijednošću, pa glavni princip postaje preživljavanje, tj. ’’snalaženje’’ u haotičnom, decentralizovanom svijetu. U takvim okolnostima javljaju se narcizam i depresija – dva pojma koja se u savremenoj psihologiji najčešće navode kao dominantna obilježja savremenog društva. Jesu li fabrike naših očeva proizvele ovakav svijet ili se on stvorio sam od sebe, u grozničavoj potrebi da sruši sve ono prethodno?
Ako je 19. decembar bio simbol oslobođenja, šta nam to znači danas? Kakva je sloboda koju savremeni čovjek traži i kakve se stvari oslobađaju iz njegovog unutrašnjeg svijeta? Naša moderna drama još uvijek se odvija pod kulisama starog sistema.
Za tako osjetljiva pitanja važno je da distanca između publike i glumca bude nevidljiva. Gledalac mora da osjeti miris, odjek, nelagodu prostora za igru, u artoovskoj ideji djelovanja na sva čula publike. Predstava u ambijentu konkretizuje granice našeg svijeta – granice koje u svakodnevnoj rutini ignorišemo. Stoga je neophodno, po uzoru na Grotovskog, učiniti gledaoca dijelom predstave. To je pozorište lišeno viškova, u kome su glumac i tekst temelji predstave.
Alternativni teatar podrazumijeva direktnije, provokativnije, beskompromisno bavljenje savremenim temama, nego što je to slučaj u mejnstrim pozorištu. Ono je alternativa ne samo u načinu realizacije, već i u pristupu određenoj temi.’’
Vasko Raičević
