The tragic story of two unhappy lovers,
"Romeo and Juliet" has been the inspiration for many artists,
from poems by Arthur Brooke and the play by William Shakespeare,
to the opera of Vincenzo Bellini and Charles Guno, to the ballet
by Tchaikovsky and Prokofiev. However, Romeo and Juliet are
not static characters. They develop under the pressure of external
circumstances and their experiences become very different at
the end of the play from when they first met. Starting from
death, from the end, through a mysterious course of fate to
the first look, the Mimart thatre establishes a connection
between the flexibility of characters and the flexibility of
bodies, not in terms of game, but in terms of body speech.
The retrospective principle enables a change and the re-creation
of events through time.
The Renaissance consciousness in the play here assumes
another form of shift toward human principles, bringing the
story retroactively back to the beginning - the meeting -
the moment - the look - the love. The work on Romeo and Juliet's
abreaction of events leads to the timeless meeting of two
young people through Thanatos and Eros. The final moment
of this project is love, as a reconstruction of optimism,
which is lacking here and now.
Nela Antonovic |
