Incubator

The structure of the performance consists of scenes that are not connected by a linear narrative, yet together form a coherent interpretative whole. In fact, the phrase non-linear narrative opens the performance, while it ends with the phrase semiotic disobedience. These slogans mirror the structure and character of Frljić’s projects. Incubator is based, which is also typical of the Croatian director, on quick transitions between humour, light scenes and brutalism through which the performance does not affect the emotionality of the viewer, but creates a distance. […] The body also recurs in a scene of an imaginary letter from an Israeli woman to a Palestinian boy from whom she received a heart. This is an exceptionally powerful sequence that addresses the issue of harvesting organs from dead Palestinians for Israeli organ banks. At the same time, it shows the paradoxical bond between the two peoples, but a bond based solely on carnality and only possible after the death of one of the parties. […] Frljić may have provoked another scandal with these scenes, as he clearly takes a strong stance in support of Palestine and against Israel. Much of the performance portrays Israeli citizens as entirely consumed by their own ideology and by propaganda imposed by the authorities. However, this reflects only the most radical segments of Israeli society and fails to capture the full diversity of a nation with a complex history and a wide range of narratives. Frljić deliberately focuses on the most extreme cases to make a point. One could argue that there is a risk this performance might be seen as antisemitic. However, the director does not target Jews as a nation. As in all his work, he critiques nationalist narratives and how they can overshadow the human perspective. He highlights extreme cases to draw attention to what he sees as urgent realities – such as the deaths of children in Gaza.