- Dramaturgy: Goran Injac
- Assistant director/co-director: Jan Krmelj
- Costume and masks design: Vanja Djuran, Lea Bratušek
- Music selection: Boris Nikitin, Jan Krmelj
- Music arrangements: Uroš Buh
- Language consultant: Mateja Dermelj
- Translation (German–Slovene): Tanja Petrič
- Translation (German–English, English–Slovene): Urška Daly
- Sound design: Marijan Sajovic
- Special effects consultant: Klemen Stare
- Stage manager: Gašper Tesner
The final version of the text was devised in collaboration with the team.
It is clear: overreacting, parody, provocation and subversive playing with borders between the real and the fake have become finely tuned props of populism in the competition for political attention. The borders of the agreed are constantly moved and questioned. It is almost as if we’d dragged the western philosophy over a Dadaist pit and that the question of what is reality and who determines it would become fuel for the next transgression. Non-fiction in a feverish state, a parody as the paradigm of our time! And the consequences, as always, real: winning the elections, triggering crises, making political decisions, wars, selling products. The victim of this is a little man and his probably greatest political ability: his vulnerability. Vulner-ability. How can we deal with all of this on stage, this probably most ambiguous space the evolution has ever produced? Perhaps only as a bad slapstick, as the opposition of things.
The many topics that The Opposite opens include almost all the actual problems and specifics of the public and political sphere. Through the questions of populism, dilemmas of freedom of speech and polarised society, it doesn’t actually question the political system, but the play of subtle strategies with which fascism successfully addresses and unifies crowds. But the performance doesn’t create a zombie-like monstrosity; it eschews caricatures and brutality of fascist violence and focuses more on satirisation of its own attempt of stage representation of fascism and thus returns to the distress of an individual which the right-wing option channels more successfully.
The Opposite in its monologues incessantly moves through the zones of emotions and distress, released from the political choice which we recognise in different existential experiences, the performance individualises the 'enemy' (fascist), which enables empathy with neofascists, and thus with wonderful preciseness sheds a light on two things: that the left perhaps doesn’t solve problems because it detects them wrongly, and just like the alt-right homogenises and dehumanises the adversary, and at the same time shows that we don’t need 'brutal emotions' but rather supportive (rational) empathy and compassion, the ability to listen; otherwise the polarisation of groups increases, and at the same time, the 'explosion' becomes an increasingly more serious threat. Here now a distinction must obviously occur; the anger must not deteriorate into hate and killing, marching into death 'protects' no one (and solves nothing), but – and this is the key moment of the warning to the left – first we have to have an interest in the protection and solution of the conflict and not in the 'elimination of the enemy' from the system. Along with the enthralling conceptual realisation and acting, the performance has an exceptional dramatic arch, which brings the audience from a relaxed fun to the reflection of their own political position and a powerful emotional experience. A performance that would require a research approach; it’s not possible to analyse everything that it includes in a short review. An exceptionally thoughtful and refined, simply brilliant work of art.
Boris Nikitin’s concept […] offers several interesting content and thematic starting points. Among them is the question about the borders of the freedom of speech in modern art where, according to Nikitin, pretty much everything can be said. The text is thus conceived as a play about how this space of freedom gets appropriated, as the director states, by alt-right and neofascists. [… I]n the relation to the text [it is] that much more interesting to follow the acting interpretation of the characters. They are brilliant in using different techniques, contrasting stylising, rhythm and exceptional stage presence to embody the mass of the linguistic material in an interesting way. The organisation of the acting material, from the subtle flipping the intentions to the spatial organisation of the scenes, and the musical and visual dramaturgy in the performance as a whole, shows the director to be a very interesting author as well.