In my documentary theatre projects I try to look at political and social issues through the optic of their manifestation in our everyday lives. The emphasis is the spectator’s political co-responsibility and the fostering of solidarity with and among the oppressed, precarious and often atomised citizens of this world. In this context bodies play different roles, both concrete and metaphorical: from violence, exhaustion, closeness, distance to performing and acting. I will use specific examples from my recent performances to show concrete consequences of the political problems we have dealt with while attempting to embody them and bring them on stage. I will be addressing the problem of staging the Other while questioning the boundaries of our responsibility.
SERVANT JERNEJ AND HIS RIGHT is a performance exploring the brutal exploitation of outsourced workers working over 300 hours per month only to get paid the bare minimum.
THE GAME is a performance that problematizes the systemic violence against people on the move passing through the Balkan migrant route. Slovenia systematically denies people on the move the right to apply for asylum and returns them back to Croatia avoiding the lawful procedures. Numerous reports of brutal violence of the Croatian police against the people on the move that extend to chain pushbacks at the Croatian-Bosnian border did not change the common migration policies of Slovenia and the entire EU.
FEVER places the question of the environmental catastrophe in the perspective of inequality and class struggle. The people most responsible for the state we are in suffer the least consequences. The show calls for the necessity of resistance and questions the relativity of violence in this most existential crises of all.
Frédéric Pouillaude: On Aesthetic Shielding: Walls, Windows and Screens
A wall is an anchored shield.
A window is a transparent wall: a transparent anchored shield.
A screen is a mobile window: a mobile transparent anchored shield.
Through this accumulation of fuzzy equations, I will explore the relations between aesthetic experience and protection devices, and so, the structural need of art for safe places. Then, considering the global inequality in which we live, I will ask why art is over-shielded here and over-exposed there, assuming that in these two excesses art is not far from dying.