- 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 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.