When, at the beginning of the last season, we announced the staging of the novel Leica Format by Daša Drndić, in the adaptation of Goran Ferčec and the direction of Franka Perković, remembering in that context the legendary Practicing Life by Nedjeljko Fabrio, Darko Gašparović and Georgij Paro, a number of upset witnesses of those remote days and the legendary performance, resented our mentioning Practicing Life and Leica Format in the same sentence. Moreover, we dared to announce the whole season with the slogan Practicing Diversity!?
However, after the premiere of Leica Format, many spectators, even critics, ventured to connect the two performances, even marking the latter one as the “new Practicing Life”. Does it actually mean that we, both the audience and the theatre, have begun to become emancipated from the performance and the time, namely, the performance on the time of Rijeka, that has been haunting us for three decades as an unattainable social, cultural, marketing and political event? Haunting to the extent that all that the (Rijeka) theatre can and should be in the following decades has been measured in comparison with the Practicing Life, eventually degrading the legendary performance from memory and inspiration into a rhetoric “souvenir” and turning it into a kind of the Rijeka theatre “curse”? Does it mean that it is time to have Practicing Life – Second Time: anew, that is, again in a new way? When to acknowledge this question, we as the audience and as the theatre, if not in the year of Rijeka as the European Capital of Culture!