Overdone and Gone
The performance “Overdone and Gone / On self-tempting” represents a minimalistic theater essay which scrutinizes the themes of ideological extremes and self-determination between the freedom and love that follow it. This somewhat romanticized motif acts as a trigger for deeper theatrical study of the modern-day, the relation of the individual towards the (im)possibility of living in the self-imposed utopia, opposed to reality.
Should we accept the motifs of fragmentation, crippling and destruction as the essential metaphors of today’s visual rhetoric, each and every idea of extreme belief (with the exception of the totalitarian and fundamentalist) would seem absurd. Creating the need for compassion and love as a normative, the performance decomposes humanity in an elegiac mood and further defines the terms like: shapelessness, hideousness, extremity, monstrosity, love and hope.
With an original choreographic method, based on a particular objectivity of the body and geometric mise-en-scene, the performance “Overdone and Gone” establishes the (ex)change of identity gender relationships; the bodies displayed are turned into chimeras and still nature. Remaining in their own isolation, the bodies are peculiarly gracious, horrifying and elegant at the same time.
The implicit take on is embedded in the first place into the very choreographic procedure of the show, reminding us that there is the time in the course of which the disfigured human body is on display in front of the audience not only as a stage metaphor, but the (testified) reality as well.
The citations used are those of Mikhail Bakunin, “Poem over Poem”, then from “The Second Epistle to the Corinthians” and the Bob Dylan’s song “A Hard Rain’s A-Gonna Fall”.
Choreography: Dalija Acin
Performers: Ana Ignjatovic, Ana Dubljevic and Ljiljana Tasic
Dramaturgy: Sasa Bozic
Composition: Rastko Lazic
Text and Photos: Dalija Acin