Transformations. Encounters. Potentials.

The creative process for Mirjana Medojević’s project, at first bearing a working title Encounters, then renamed Transformations. Encounters. Potentials., could perhaps yet be transformed into something new before the staging. It has started on 25 May, on Youth Day, the Yugoslavian national holiday no longer celebrated at the young director’s time of birth. In her own words, this reminds her “that history does not start with my own birth and my memory. I am smaller than this date and this invitation to collaborate, which is something worth remembering once in a while.” However, as she wrote in her introductory address to the actors and actresses, whom she values incredibly and considers the heart of theatre creativity, she has decided to enter the process without choosing a topic in advance, by simply going with the flow: “I try to feel where and how this text is moving to. Where it would like to swerve… Its movement, provided it is driven (flexible) enough, does not simply depend on how my brain is riding a certain though, but also on how the brain of a person reading it is driven. I think about how I have never before thought about the Slovenian word ‘driven’ is ambiguous.” She does, however, know that she is interested in three starting points: “I have a triangle that can turn in different orders and gain new meanings while turning.” Encounter. Transformation. Potential. “I feel moved when another person transforms me. This is the potential of an encounter.” The material that will be piled up and formed during the study will be staged in front of an audience a few times. Thus, you will benefit from a unique opportunity to follow the genesis of the performance.