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Navdih za celovečerno predstavo Zavoda EN-KNAP z naslovom HIDRA sta režiser Sebastijan Horvat in dramaturg Milan Ramšak Marković našla v bogatem dramskem besedilu Cement, avtorja Heinerja Müllerja.Plesna predstava HIDRA je epilog trilogije Cement, ki sta jo zgoraj omenjena avtorja v enem letu predstavila v Zagrebu, Beogradu in Ljubljani. Gre za tri gledališke predstave, ki predstavljajo tri raznolike pristope k tematikam kot so: odnos med intimnimi in družbenimi odnosi, ljubezen in revolucija, nekončan proces emancipacije, politika spomina. Istih tem se loteva tudi predstava HIDRA, ki izhaja iz istoimenskega odlomka besedila Cement. Čeprav odlomka v trilogiji gledaliških predstav ni bilo moč najti v tekstovni obliki, je ravno ta izjemnega pomena ne le zgolj za vsako od treh predstav, temveč za cikel kot celoto. V tem odlomku, ki bi ga danes hitro označili za postdramskega, lahko prepoznamo odzven težav, s katerimi se je nemški književnik in režiser Heiner Müller soočal v času pred padcem berlinskega zidu. Na eni strani se razkriva skoraj popolna kontinuiteta družbene elite iz časa nacizma, na drugi strani pa mit o socialističnem junaku delavskega razreda.
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Director Sebastijan Horvat and dramaturg Milan Ramšak Marković found the inspiration for the new full-length dance performance of the EN-KNAP Institute entitled HYDRA in Cement, a rich dramatic text by Heiner Müller.
The HYDRA dance performance is the epilogue of the Cement trilogy which the above-mentioned authors realised in a year, and presented them to the public in Zagreb, Belgrade, and Ljubljana. The three theatrical performances were inspired by Müller's Cement, and they represent three diverse approaches to similar topics, such as: the relation between intimate and social relationships, love and revolution, the unfinished process of emancipation, the politics of memory. The HYDRA play also covers the same topics and it derives from the eponymous fragment from the Cement. And although this fragment could not be found in textual form in the trilogy of theatrical performances, it is of great importance not only for each of the three performances, but also for the cycle as a whole. In this fragment, which could be defined too quickly as post-dramatic nowadays, we can recognize an echo of the problems that German writer and director Heiner Müller was certainly facing during the historic deadlock the world was at before the fall of the Berlin Wall. On the one hand, it reveals the almost complete continuity of the Nazi era social elite – the rise of neon, financial sector, and carpet bombings as a prediction of the times we live in today – and on the other, the myth of a socialist hero of the working class and revolution.
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Event Venue & Nearby Stays
Španski borci - Center kulture v Mostah, Zaloška 61 (pri tržnici Moste),Ljubljana, Slovenia