In his new project, Bobo Jelčić will try to give a fresh perspective on the perils of todays, concentrating on endangerment of the individual in the pandemic/post-pandemic world. In this project, Jelčić will focus on the emotional and social issues. He will continue his exploration of the presentation types in theatre. What is the basis of the scene emotion? How is one to express this emotion? Is the theatre entitled to emotions or expressions of emotions? Is the right way exactly the opposite, to suppress the emotion and allow it to resurface in a different manner? In the case of the emotional, the starting points for theatrical re-imagination will be the Korean film The Woman Who Ran. The other approach would focus more on the social endangerments, thematizing the impact of society rules on the individual. The starting point would be Sorry We Missed You, a film directed by Ken Loach.
Jelčić is not interested in the result, but in the proceeding – the actors in his plays do not question the possibility of reproducing reality, but of freezing moments of everyday life, moments bearing traces of the actors’ personal stories as well as of those of the characters they are playing. Such acting eliminates all differences between the active and the passive, and annuls the imperative of following determined models or views. Theatre thus becomes elusive, extended, or disseminated into reality, and vice versa. There never exists a single perspective, a single reading, a single ideology, a single solution, subject, centre, or periphery.
Premiere May 2022
With the actors of the ensemble of Hrvatsko narodno kazalište u Zagrebu