ONEHUNDRED MINUTES

of theatre time. 100 minutes that devour life. 100 minutes of Dostoevski’s heroes snatched from the safety of the novel, who with all impetuosity, unforgiving and total existential endeavour follow the intellectual, moral – ethic, philosophical and religious – mystical frame of the Brothers Karamazov. In the search for the origins of the new Europe, borderline situations of European history, decipherment of its signs and matrixes pitched in the thought code of the icon and the hatchet according to the principle of this basic duality, it composes the unique arithmetic of passion and the personal nervous system of the dramaturgic duality of good and evil, the crime and the victim. The fantastic reality discloses the source of creation, belief, the tool of operation, prayer, a child’s teardrop, a fist and a hand that writes ‘Beauty will save the world!’ in an icon. In the eyes is clairvoyance, in the mystical ecstasy a view of the world that can be understood only with love upon which the shadow of the hatchet always falls. The flight, exile, pain gradually progressing to insanity, the explosion of wild passion, the shivering of thoughts, metamorphosis and metempsychosis, total awareness, raised temperature, falling into time. With a pure child’s soul, tied into a child’s game, which will catch sight and express all the beauty of the world as well as its monstrous cruelty, as learned by a child when trying to understand the origin of all suffering. ‘In me there is currently so much strength that I can control everything, all sufferings – only so I can say to myself in every moment: It is I. In the thousands of sufferings: It is I!’ In the short history of my time. In the eternal movement or eternal stillness. In the landscapes of memory. In the increasing noise of the new millennium. In the story of the eye. In the desires of the eyes. In the caught, frozen, sculptured time. In the diagnosis of the moment.

ONE HUNDRED MINUTES. NO-WHERE: NOW-HERE.
This is the moment for which we do not know whether it is to long or to short for time. We have to wipe, clean, flatten, sometimes even rip apart in order to make room for the flow of air that brings the vision. The world’s harmony disclosed and prolonged in the theatrical moment – in one hundred minutes.