we, the european corpses

As the title itself suggests, this is a compilation of criticism of the existing European system, filled parallelly by the contemporary actual writing and the visionary presence of Srečko Kosovel as the sensitive prophet, as well as the unbearable situation with which Europe identifies at the moment. The directing-dramaturgy model neither allows for nor has an intent to establish a logical narrative, in the stringing of scenes there is no time to search for and link the coordinated causes and consequences, fragmentary images and scenes that follow each other like impulsive situations, at times in the dialogue, poetic and recitation like, at other times based on movement, visuals and the force of the non-verbal.

Horvat and his team succeed in staging the total equivalent of the messed-up reality through time and the powerlessness of Europe and the world today, revolutions that aren’t simply what we take them for. [...] 'I think theatre is a serious, critical participation in the real. Theatre must be an artistic and democratic mechanism that, rather than constructing things, has to destroy and re-humanise humans. And it does so by transferring a part of the responsibility on him,' he has recently explained for the Saturday supplement of Večer. And this performance is the embodiment of this exact credo.

With the performance we, the european dead, the director Sebastijan Horvat (in the tandem with the dramaturg and the author of the adaptation Milan Marković Matthis) brought the questions about the (cap)ability of political, engaged and critical to a new level. The performance manages to emphasise that this is not simply a seemingly specific interest of the revolutionary ideas, but rather a fundamental question of power(lessness) and sense(lessness) of any act or thought in the time when Europe is dead, the world is full of shit and the faith in future is gone. [...] It finds the answer to the question about the critical theatre in the fact that such answer doesn’t exist or that the theatre cannot give it; instead the performance establishes a proposal – we have no answers, but we’re all in this together. Paradoxically, this very nullification of resistance establishes a new starting point for possible utopias.