Zvonimir Peranić

June 26th, 2014 // news

Author: Zvonimir Peranić,

Zvonimir Peranić

In a time of rapid and constant changes, with less focus on ones own, in a time of life as a show, imposed values, programmed patterns of behavior, in a time of acceleration, constant striving to higher levels, mortality appears to be more inconspicuous. Life runs quickly. Our personal values, the reasons for living, the importance of existence, of friends, love, attention … is postponed. The search for the lost time in many cases never starts. Some people, before even opening their eyes, close them forever. The neoliberal ideas seem scary, the consumerism, the “libertarian” upstarts: reality shows, the exposure of ones personality through social networks, unnatural modeling and fashion forming of people, formatting television programs, political dulling …. All this makes poor, dries, drips, neutralize and petrify the essence of life. And art, as the theater, in quite a few cases, is connected to this trend. The field of muses sometimes seems false, and instead of a transformational effect on a man which can inspire the theatre catharsis, the stage presents uninventive repetitionar performances.

The persistence of such forced change is extremely difficult. The International Chamber Theatre Festival Golden Lion survives in such transitional time. The fifteenth jubilee edition, is facing a time in which the extremes are especially evident. The Golden Lion has in its base, a permeated idea of the Triangulum – coexistence of three nationalities who live along the border: Croatian, Slovenian and Italian. Just the idea of ​​tolerance, which is chronically lacking in this field, and which is very present in Istria, opposes the idea of ​​extremes. Extremes that nowadays are still present in the transit area. The festival always avoids limits. The Festival programming by Damir Zlatar Frey is open to different forms of professional chamber theatre_ from a chamber scene of large theaters to noninstitutional theater groups and experimental theater formation. It is open to different theatrical forms, from folk to artistic theaters. Such programming may seem extreme at these times, and not only the theater, but the festivals themselves, be it on their financing or production of the plays, they tend more to monochromatic forms, common interests, and just reflect the extremes of the environment, instead of making a critical questioning. The performances of the fifteenth edition highlight these extremes, speak about them, indicate, scream about the human alienation, loneliness of a man lost in a polygon stretched by social, religious, gender, national, educational extremes that are flooding today’s life, which, as a shadow with its darkness, blur the apparently created sense of freedom, and actually isolate, numb and turn them into puppets. The program will therefore face the audience with the everyday life of extremes and try to boost their search. Search, in which the theater can help to avoid losing of time, and focus on enjoying the beauty of life.

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