BADco. vas poziva na zagrebačku premijeru našeg najnovijeg projekta! 03., 05. i 06. 10. 2013. 19:30 @ POGON Jedinstvo, Trnjanski nasip bb, Zagreb Cijena pojedinacne ulaznice 40 kn (25 kn za studente i umirovljenike, 20kn za grupe). Prodaja karata: četvrtak 03. listopada (rasprodano), subota 05. listopada (rasprodano), nedjelja 06. listopada 2013.

"Smatram da se u kinu možemo bolje povući, jer sjedimo u nepoznatom prostoru okruženi nepoznatim ljudima, ali kad sjednemo da gledamo televiziju s obitelji... tada stvari postaju napete."

- Rainer Werner Fassbinder

U televizijskom razgovoru iz 1989. o raspadu Sovjetskog Saveza Heiner Müller i Alexander Kluge vraćaju se na Brechtovu rečenicu "Nafta se opire petočinki". U toj rečenici sažet je problem pred kojim se nalazi epski teatar. Kako kroz dramski materijal prikazati historijske procese sa svim njihovim unutarnjim kontradikcijama, napredovanjima i nazadovanjima koji nadilaze likove i njihove međusobne odnose? To isto pitanje - što je prikazivanju organizirajućih načela današnjice adekvatan dramski materijal - problemski je ulog i predstave Dodatak histerije, ubrzanja… Nafta jest i dalje problem epskog prikazivanja, ali ona je iz današnje perspektive i nevidljivi supstrat kolanja energija i materije u suvremenom društvu. Podloga za trajnu ekspanziju proizvodnje i konzumacije u cilju akumuliranja kapitala koja prijeti da planet dovede do antropogenog uskuhavanja. Žitka tekućina koja nas nepregorivo vezuje uz očuvanje trenutnog načina života. Povlačenje kočnice lokomotive povijesti Benjaminova je metafora revolucionarnog prekida nepodnošljivog razvoja moderne. Metodološko pitanje katapulta za metafore, dakle formalnog registra u kojem dramsko zbivanje može uprizoriti historijske procese, okosnica je razgovora između Heinera Müllera i Alexandera Klugea. Scenski postaviti kompleksnost povijesnih previranja i društvenih odnosa nije pitanje teatarskog dokumentiranja zbilje, već brehtijansko pitanje funkcionalne transformacije sredstava kojima predstavljamo tu zbilju. Polemizirajući s tendencijama u današnjem teatru, tu Müllerovu intuiciju mogli bismo prevesti u kritiku da politički ulog teatra nije u tome da prikaže drukčiju društvenu zbilju, već da postojeću društvenu zbilju prikaže pod drukčijim uvjetima. Predstava je postavljena u alternativno televizijsko okruženje, u drukčiji ciklus kolanja slika i društvenog komentara zbilje. Ako je televizija bila suputnik zlatnog doba društva blagostanja, posttelevizijsko vrijeme novih ekranskih tehnologija suputnik je njegovog razaranja. Posttelevizijsko vrijeme, u kojem se medijatizirani horizont društvenog trenutka atomizira, istodobno je i stanje nove agonije tzv. srednje klase, novo melodramatsko stanje kojim dominira opći osjećaj nezadovoljstva jednom naizgled temeljito blokiranom društvenom zbiljom koju treba mijenjati - iako iz svakodnevnog iskustva ostaje nedokučivo kako je mijenjati. Naboj tog agonijskog rastrojstva i predreflektirane ideologije nemoći ova predstava gradi i razgrađuje, dovodeći izvedbom intenzitet tog naboja do nužnosti njegovog prekida: "Kada sva ta masa stvari ne kola sve brže i brže, postojeće stvari pretvaraju se u duhove vremena." Koreografija i izvedba: Pravdan Devlahović, Ana Kreitmeyer / Darija Doždor, Nikolina Pristaš i Zrinka Užbinec Koncept i dramaturgija: Tomislav Medak Oblikovanje dramskog materijala: Goran Sergej Pristaš Dramaturgija: Ivana Ivković Produkcija: Lovro Rumiha Softver za algoritamsku video montažu ALVES: Daniel Turing Dizajn kostima: Silvio Vujičić Oblikovanje svjetla: Alan Vukelić Oblikovanje zvuka: Jasmin Dasović Scenografija: Miljenko Sekulić Sarma Rekvizita: Ana Ogrizović Glazba: Alban Berg, Wozzeck Prijevod: Tomislav Medak Fotografije i video: Dinko Rupčić Asistentica produkcije: Marta Klepo Odnosi s javnošću: Ana Kovačević Oblikovanje tiskanih materijala: Dejan Dragosavac Ruta U predstavi koristimo razgovor Alexandera Klugea s Heinerom Müller pod naslovom Pjesnik kao katapult za metafore. Zahvaljujemo Alexanderu Klugeu na dopuštenju da ga upotrijebimo. Predstava je nadahnuta djelom Douglasa Sirka, Rainera Wernera Fassbindera, Pine Bausch, Michaela Heinricha, Timothyija Mitchella, Nannija Balestrinija i kolektiva Midnight Notes. Predstava je pripremana u umjetničkom centru SKOGEN u Göteborgu, Švedskoj, u Centru za kulturu Novi Zagreb, Centru za kulturu i informacije Maksimir i POGON - centru za nezavisnu kulturu i mlade. Projekt je podržan od: Gradskog ureda za obrazovanje, kulturu i sport Grada Zagreba i Ministarstva kulture RH. Predstava je dio projekta TIMeSCAPES – slike i izvedbe vremena u kasnom kapitalizmu - partnera BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Beč), Teorija koja hoda – TkH (Beograd) i Film-protufilm (Zagreb). Platforma TIMeSCAPES je podržana od programa Kultura Evropske unije. Hvala: AVC Zagreb

A Pound of Hysteria, Acceleration...

- melodrama -

BADco. invites you to the Zagreb premiere of our newest project! 03., 05. and 06. 10. 2013 19:30 @ POGON Jedinstvo, Trnjanski nasip bb, Zagreb Tickets 40 kn (25 kn reduced, 20kn groups). Ticket sales: Thursday 03. October(sold out), Saturday 05. October(sold out), Sunday 06. October 2013.

"I believe cinema allows us to withdraw as we sit in an unfamiliar place surrounded by unfamiliar people, but when we sit down to watch television with the family ... that's when things get tense."

- Rainer Werner Fassbinder

While discussing the disintegration of the Soviet Union in a 1989 televised interview, Heiner Müller and Alexander Kluge return to Brecht's sentence "Petroleum resists five acts". That sentence sums up the problem that faces epic theater. How can dramatic material depict historical processes with all their inner contradictions, progressions and setbacks that transcend characters and their relationships? The same question - what dramatic material is an adequate means of representation of the organizing principles of today’s reality - is the speculative problem of A Pound of Hysteria, Acceleration... BADco.'s new performance attempts to find the answer in the historical dialogue of two artists, the playwright Heiner Müller and the film director Alexander Kluge. At the end of the eighties two artists speculate about politics and social upheaval, yet today that speculation resounds as a document of our own present. Oil remains a problem of epic representation, but from today's perspective it is also as an invisible substrate of the circulation of energy and matter in modern society. The basis for permanent expansion of production and consumption for the purposes of accumulation of capital that threatens to bring the planet to an anthropogenic boiling point. A viscous fluid that incombustibly fetters us to the preservation of our current lifestyle. Grabbing for the emergency brake of the locomotive of world history is Benjamin's metaphor of revolutionary rupture in the unbearable progress of modernity. The methodological question of a catapult for metaphors, a formal register that enables dramatic representation of historic processes, is the foundation of a conversation between Heiner Müller and Alexander Kluge. Staging complexities of political turmoils and social relations, of circulation of matter and affect, is not a matter of documentary representation of reality through theatre but a Brechtian question of the functional transformation of means we use to represent that reality. If we were to argue with a certain tendency in contemporary theater, Müller's intuition against the documentary material into criticism: the political stake of theatre is not to present a different social reality, but rather to stage the existing, melodramatic social reality under different terms. A Pound of Hysteria, Acceleration... is set in an alternative television environment, in a different cycle of circulation of images and social commentary of reality. If the television was a companion to the golden age of welfare state, the post-television age of new screen technologies is a companion to its dismantling. And that post-television age is marked by a new agony of the so-called middle class, a new melodramatic condition dominated by a generalized feeling of discontent with what seems to be a completely blocked social reality that screams for change - although what change that may be remains completely intransparent from the everyday experience of that reality. This performance reconstructs and deconstructs the affective charge of that agonized confusion and ideology of helplessness by performatively pushing its intensity to its needed point of interruption: "When all that mass of things does not circulate ever faster and faster, existing things turn into ghosts of time." Choreography and performance: Pravdan Devlahović, Ana Kreitmeyer / Darija Doždor, Nikolina Pristaš and Zrinka Užbinec Concept and dramaturgy: Tomislav Medak Recasting of dramatic material: Goran Sergej Pristaš Dramaturgy: Ivana Ivković Production: Lovro Rumiha Software for algorithmic video editing ALVES: Daniel Turing Costume design: Silvio Vujičić Light design: Alan Vukelić Sound design: Jasmin Dasović Set design: Miljenko Sekulić Sarma Props: Ana Ogrizović Music: Alban Berg, Wozzeck Translation: Tomislav Medak Photography and video: Dinko Rupčić

Production assistant: Marta Klepo

Public relations: Ana Kovačević

Graphic design: Dejan Dragosavac Ruta The production includes a conversation between Alexander Kluge and Heiner Müller titled The Poet as a Catapult for Metaphors. We thank Alexander Kluge for the permission to use it. The production is inspired by the works of Douglas Sirk, Rainer Werner Fassbinder, Pina Bausch, Michael Heinrich, Timothy Mitchell, Nanni Balestrini and the Midnight Notes collective. The production was rehearsed at the artist-run platform SKOGEN in Gothenburg, Sweden, the Culture Center Novi Zagreb, City Center for Culture Maksimir and POGON - Center for Independent Culture and Youth. Supported by: Zagreb City Council for Education, Culture and Sport; Ministry of Culture of Republic of Croatia The production is a part of TIMeSCAPES – Images and performances of time in late capitalism - a partner project of BADco. (Zagreb), Maska (Ljubljana), Science Communications Research (Vienna), Walking Theory (Belgrade) and Film-protufilm (Zagreb). With the support of the Culture Programme of the European Union. Thanks to: AVC Zagreb