DRAMA WITH IDENTITY
The new season builds upon the previous one, when we began practicing diversity by opening the themes that penetrated deeply into the issue of identity, ours as well as that of our audience, namely, the gender identity, ethnical, historical, class and sexual one. Michelangelo, Lolipop, Regoč, Sunset Boulevard and Leica Format are performances the themes of which are devoted to sometimes a painful, often quite a complex, but definitely always a changeable issue of identity. Diversity and heterogeneousness are mirrored in our new titles, namely, from Real Comedy /Prava komedija/, in which completely different authors’ signatures are encountered, such as that of Zijah Skolović and Matija Ferlin, also that of Saša Anočić and Jelena Lopatić, to the impossible artistic practices brought by the BADco, or the uproarious Madame Minister /Gospođa ministarka/; in plays for children and the young, from the dreamlike Little Prince in the direction of Renata Carola Gatica to the tragic Oedipus the King in the direction of Luciano Delprato. As the season highlight, it is finally the play Practicing Life /Vježbanje života/ that the Croatian and Italian Drama together read again within the programme of the Rijeka 2020 – European Capital of Culture.
The diversity of genres and forms, themes and aesthetics, will present to our audience a challenge for theatre experiences, also a challenge for our ensemble to show what it is that makes it so special. The Croatian Drama will be focusing on the inconstancy of their acting identity, on processes of transition and borderline, that is, their full artistic potential. The ensemble that through its development has co-operated with most different authors and contributed to totally different poetics, has grown into an ensemble without prejudices and fear of the unknown in the artistic creation, which is exceptionally rare as it is the nature of a group to become more careful, conservative and distrustful with years. It could be due to this being a port city, or the melancholic rain, or is it perhaps owing to themselves, however, this ensemble has never been stronger and more creative.
At the same time, the Croatian Drama ensemble has been joined by another ensemble, The Fifth Ensemble that has captivated the Rijeka audience with the performance of Descendants, Giants, Gods. Branko Mijić, the Novi list daily columnist, has described this ensemble as “The best thing that could happen to Rijeka and Croatia”.
Taking into account these small theatre communities that we call ensembles, Hellmuth Plessner, German philosopher and sociologist, determines conditio humana as a disengagement of the human being from herself, the ability to recognise herself from the outer viewpoint, the one opposite her, namely, someone else she recognises from this position of viewing. It is in this state that the theatre finds its basis – the state of creating and experiencing itself as someone else and presenting itself in the wide spectrum of different identities.
Renata Carola Gatica, Croatian Drama Director & Nataša Antulov, Croatian Drama Dramaturge