No Carmen!

Carmen, Georges Bizet’s famous opera, on the stage of the Mladinsko. Is this even possible, what for, how and why? How can we discuss burning social issues without simply limiting ourselves to criticising the content, but also recognising our own blind spots, particularly when it comes to the set methods of working in theatre? What do we stage, when we stage, for example, Carmen? How does the content define us, and about what can we not speak? Why would we even stage this, particularly at the Mladinsko? That’s why. With the help of the play within a play, we will conceive a production about the class question, about staging others, misogyny, stereotypes, femicide and theatre itself, which often reproduces the patterns of violence without any reflection at all. Some of them remain hidden from the eyes of the audience; they can be sensed backstage, during rehearsals, in the corridors and in hidden corners, between the director and actor, between the person in a position of power and other collaborators. Does the end, that is, a good production, really always justify the means, including psychological and physical violence? And how are those of us who remain in the theatre marked by it?