A performance about the revolution after the revolution before the revolution.
Based on work by Vladimir Vladimirovič Majakovski
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Directed by: Marko Bratuš
Translated by: Matevž Biber, Marjeta Bratuš, Marko Bratuš, Jure Novak
Performers: Asja Kahrimanović, Ajda Toman, Matevž Biber, Rok Kunaver
Costume design: Katarina Zalar
Set design: Urša Toman
Photos by: Urška Boljkovac
Technical director: Grega Mohorčič
Lighting design: Grega Mohorčič
Technical support: Martin Lovšin, Borut Bučinel
Consultant for movement: Matevž Biber
Consultant for puppetry: Asja Kahrimanović
Consultant for consulting: Ajda Toman
Consultant for the general outlook: Rok Kunaver
Executive producer: Inga Remeta
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What happens when the Koper air, the freshness of Maribor, the Ljubljana basin and excellence in puppetry meet? This spring, exclusively on Glej's stage, a unique revolutionary spectacle (with a limited budget): 4 actors for 64 roles. Ajda Toman, Asja Kahrimanovič, Matevž Biber and Rok Kunaver in the second debut of director Marko Bratuš – Misterio Bufffe! Mystery-Bouffe by Vladimir Majakovski is a spectacular hymn to the worker’s revolution, overthrowing the leading class and dragging Russian workers from the mud to the front door of the utopian commune. A hundred years later, we are faced with a similar situation. The Commune didn’t come to much, communism and socialism replaced by capitalism, the economy in crisis, workers not getting paid for their labor, the falling standard of living, with elites getting larger and larger pieces of the pie.
There are two justices – you go to jail for stealing bread and to vacation for stealing a factory. Our Mystery-Bouffe is, for now, a humorous warning to co-homo-sapiens, who too often forgets that history repeats itself. The next warning will probably not be so funny. |
Reviews
“The politics slammed into us. [...] Of course, this is our revolution!” (Sonja Zlobko, Radio Študent, 14. April 2011)
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“The performance comes across as a “committed statement”, a sort of cut in between; the crisis existence of everyman is portrayed through a comical and distanced approach, yet meant “death serious” via an unwinding playing with theatre language.” (Zala Dobovšek, Delo, 14. April 2011)
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“A performance "Schnellkurs" through the history of social exploitation [...] which the actors carry out with great certainty [...] while avoiding moralizing with self-irony.“ (Nika Leskovšek, Dnevnik, 14. April 2011)
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