R. Musil: THE DREAMERS

Because of the microphone which is used in extreme ways implying the examination of the relationship between the body and the technology, the actor and the protagonist, the voice and the text, the acting and the presence, Miloš Lolic's performance can be labelled as post-dramatic. No more a priority, the text becomes an excuse for a risky study of theatrical structure... Love and passion are approached through grandiose ambivalence which mercilessly opens deep wounds, simultaneously and dizzily re-establishes the meaning of life. The whole flow of the performance is accompanied by melancholy music of the pianist Srdan Markovic, which creates lyrical meanings, extremely important in this highly aesthetic staging. The music points towards another world, towards poetry and beauty, inexistent and beyond reach in cold and formalised relationships between the characters... it (the performance) is dear to us because it determinedly and bravely distances itself from tradition, searching for the authentic in the very quintessence of the theatre, surrounded by life turned into theatre and mass-media reality.