Reality

Thursday, 9th May 2024, 8:30pm
Croatian Cultural Centre – HKD
Croatian National Theatre in Zagreb

https://www.hnk.hr/hr/

Tomislav Šoban’s author project:  Reality

Direction & set design: Tomislav Šoban

Cast: Nina Violić, Livio Badurina
Co-author & dramaturge: Marin Lisjak
Costume designer: Gabrijela Krešić
Composer: Miro Manojlović
Lighting designer: Luka Matić
Stage movement: Natalija Manojlović

Premiere: 15th October 2023
Running time: 60 minutes

Two actors in a hall, on top of a building from the Austria-Hungary period. In a space decorated in the mid-century modern style. In the hall primarily intended for sound recordings.
The two actors in the hall will perform an experiment. Inspired by the lectures of the physicist Richard Feynman.

An experiment is an analytical procedure carried out in order to determine cause-and-effect relationships. In the natural sciences, it is a procedure of controlled observation and measurement of phenomena. The experiment gives us answers as to why something happens. Why the same thing happens. An experiment can indicate what is important and what is unimportant. An experiment can shed new light on familiar phenomena. In natural sciences, an experiment is successful if it gives the same result. In dramatic art, an experiment is successful if it doesn’t give the same result.

From the reviews:
“We have been waiting a long time for the Croatian National Theatre in Zagreb to show signs of life beyond the usual designer kitsch of its shows and the vanity of the dramatic content on the big stage, but it was well worth it. The play REALITY by the experimental film and theatre director Tomislav Šoban (here also as a set designer) finally deals with contemporary issues of dramaturgy, acting and stage script.

Reality is set in the sound hall of the Croatian National Theatre, a small space at the top of a building that has long been hard on hearing, or rather, systematically remains deaf to voices, whether they are coming from the outside or the inside. Its membranes and partitions are transferred onto the set design: there is a glass wall separating the audience from the performers, interlaced with a number of wooden frames and interfering with both hearing and viewing. However, by doing so it manages to intensify audience’s viewing and listening experience. The eye and the ear try to catch details, in search for actors and their frequency heads tilt and the audience sits up and pays attention. The actors remain behind the screen, in wooden boxes, as if working behind the counter.”
Nataša Govedić, Novi list