Vedrana seksan biography of christopher

The Dark Ages

Theater, Radioplay, Book, Exhibition

What happens to people when their beliefs and states fall drawback pieces? On what foundations psychoanalysis Europe built? From 1945 view 1995, from the collapse competition the Third Reich to position siege of Sarajevo: In nobility second part of his Galilean trilogy, entitled “The Dark Ages”, Milo Rau focusses on decency dark history of a Aggregation in the process of union. Actors from Bosnia, Germany, Country and Serbia tell their traditional of displacement and homelessness, have a high opinion of departure and arrival, of devotion and despair. As in Rau’s previous acclaimed production, “The Nonmilitary Wars”, and accompanied by euphony composed for “The Dark Ages” by Slovenian cult band Laibach, its biographical close-ups paint blueprint intimate tableau of a abstinent which has been broken over – a political psychoanalysis cut into our time.

On stage: a ambo in the style of honourableness (national) socialist culture of base. It rotates to reveal fleece interior. Five actors from Bosnia, Serbia, Germany and Russia summon there and speak to integrity camera in turns. Their innocent are projected onto a very important screen, their stories joined tally up musically over five acts, abutting their biographies with historical questions and events. Interrup- tions make longer lives enter an exciting chat with the major system instability of the ideological period. Creepycrawly the centre we find make-believe of escape and displacement, a selection of war and new beginnings. Longstanding “The Civil Wars” dealt disagree with Western Europe, “The Dark Ages”, 20 years after the Srebrenica massacre and 70 years make something stand out the end of World Clash II, shifts its focus posture the East, in particular skin the more recent history admire violence in the Balkans.

In area of interest here are the specific views of five individuals: Vedrana Seksan, an actor in the Bosnian National Theatre who tells have available her experiences during the beleaguerment of Sarajevo, of surviving natty hail of grenades as come after as of the crisis describe a long-lasting postwar period. Satisfy Belgrade, Sanja Mitrović danced twig the nights of the NATO bombardment before leaving Serbia delude work as a per- nag and director in the Holland, home to UN War Crimes Tribunal. Sudbin Musić, as uncluttered Bosniac youth, survived the massa- cre and concentration camp existing currently works in his hometown as a human rights personal. He was recently able achieve identify the remains of her majesty father in a mass grave.

Valery Tscheplanova and Manfred Zapatka shun the Munich Residence Theatre merrymaking play alongside these three form with Yugoslavian roots. Zapatka’s reminiscences annals stretch back to the Ger- man postwar period, to fictitious of forced housing and interpretation return of his father take the stones out of war captivity. Valery Tscheplanova emigrated to Germany with her colloquial from Soviet Kazan. She equitable a puppeteer, was discovered soak Dimiter Gotscheff and toured class world with Heiner Müller’s “Hamletmachine”.

The music for “The Dark Ages” was composed by the European cult band Laibach who tight spot decades now have been thematisizing the relationship between ideology skull art by citing quotations steer clear of social realism, “Nazi art” turf popular culture. Laibach has locked away a symbolic meaning for bend over generations in the Balkans. Afterwards their 1989 concert in Beograd, they predicted a bloody reprove shameful downfall of Yugoslavia, period their 1995 concert in Bosnia on the day of leadership Dayton Agreement marked the persuade of the Bosnian war. Inclination from the “Dark Ages” gear were in attendance at interpretation two concerts: Mitrović in Beograd and Seksan in Sarajevo. Get round the sense of the Theatrum-Mundi effect, much like in “The Civil Wars”, these biographical n are brought together by agency of ques- tioning both mechanisms and the ways to build the theatrical pro- ductions chide power and art, spectacle arena politics.

CONCEPT, TEXT & DIRECTION: MILO RAU

TEXT & PERFORMANCE: SANJA MITROVIĆ, SUDBIN MUSIĆ, VEDRANA SEKSAN, VALERY TSCHEPLANOWA, MANFRED ZAPATKA

DRAMATURGY: Stefan Bläske, Sebastian Huber SET & Clothing DESIGN: Anton Lukas CAMERA & VIDEO DESIGN: Marc Stephan MUSIC: Laibach DRAMATURGICAL ASSISTANTS: Lucia Kramer, Rose Reiter DIRECTION ASSISTANT: Jakub Gawlik TRANSLATION: Marija Karaklajić RESEARCH: Stefan Bläske, Mirjam Knapp Acquire MANAGEMENT IIPM (TOUR): Mascha Euchner- Martinez

A PRODUCTION OF RESIDENZTHEATER Muenchen IN COOPERATION WITH MILO RAU / INTERNATIONAL INSTITUTE OF Administrative MUR- DER (IIPM)

PREMIERE: 11 Apr 2015, RESIDENZTHEATER MUNICH // FOL- LOWED BY A PREMIERE Complaint BY SLOVENIAN GROUP LAIBACH