NEOPIPLJIVO - hrvatski nastup na Praškom
kvadrijenalu scenografije i kazališnog oblikovanja prostora 2015.

Damir Bartol Indoš, Tanja Vrvilo: TOSCA 914

Jedan od ključnih sudionika takozvane hrvatske kazališne alternative, Damir Bartol Indoš ostao je vjeran svojim izvorima kao estetskim i etičkim postulatima gotovo četrdeset godina. Član skupine Kugla glumište, radikalnog izvedbenog kolektiva koji je krajem sedamdesetih i početkom osamdesetih godina prošlog stoljeća bio među rijetkim primjerima istinski radikalne alternativne kulture u kojoj su glazba i performans bili i inspiracija i sredstvo i cilj, Indoš je nakon otklona od Kugle nastavio samostalno preko vlastite organizacije DB Indoš Kuća ekstremnog muzičkog kazališta.

Umjesto navodno logičnog rasta u produkcijskom smislu, uspinjanja hijerarhijskom ljestvicom uspjeha i institucionalizacije, on je odlučio, metaforički ali i sasvim konkretno, ostati na mjestu. To, međutim, ne znači da unutar svoje umjetničke vokacije nije trajnozainteresiran za inovaciju, tragajući kontinuirano za novim temama i suradnicima ili poboljšanjima vlastite umjetničke proizvodnje. S obzirom da njegovo kazalište u pravilu uključuje priličnu količinu uporabljene ili rekonstruirane retro tehnologije, koja istodobno funkcionira i kao scenografija, rekvizit, glazbeni instrument i partner, u njegovom slučaju proizvodnja predstava i nije pogrešna riječ. S druge strane je izuzetno humanistički stav s kojim pristupa svojim temama, koje naziva zasluženima jer vjeruje da umjetnik mora osobnim stavom i angažmanom dobiti moralno ali i metafizičko pravo na ono što će mu poslužiti kao inspiracija ili temelj.

Nije to jedini paradoks vezan uz Indoša. Zakleti pacifist koji se kazalištem počeo baviti zato što, prema vlastitom priznanju, nije bio dovoljno hrabar da postane radikalno lijevi ili anarhistički terorist stvara predstave pune struganja metala, glasne ili preglasne buke strojeva pogonjenih energijom izvođača, zaglušujuće avangardne glazbe i govora na rubu laveža koji nenaviknutom uhu izaziva strah i zgražanje. Ujedno je i primijenjeni ekolog koji reciklira materijale, dijelove strojeva i odbačene tehnologije i od njih stvara svoje začudne, gotovo postapokaliptične scenske slike. Trajno inficiran teatarskim i teorijskim postavkama Antonina Artauda i antipsihijatrijom, disciplinom koja promovira drukčiji način odnosa prema psihičkim poremećajima i drukčiji tretman ne poremećaja nego onih koji ga podnose, Indoš je i opsesivno u potrazi za idealnim izrazom kazališta koje može izraziti frustracije i izazove suvremenosti jer njihov utjecaj ne može negirati ali ni ne želi na njega pristati. Opisanim konstantama Indoševe poetike treba pribrojiti i sportsku, čak i spartansku disciplinu i fizičku kondiciju bez koje bi teško bilo izdržati stupanj zahtjevnosti koji u svojim predstavama sam sebi postavlja.

Paralelizam etičkog temelja i estetičke realizacije, filozofskog obrazovanja i izvedbenog i autorskog iskustva, kod Indoša rezultira uvijek kritičkim stavom, koji on izražava posredno i afirmativno preko svojih zasluženih tema, dok su eventualna podudaranja s aktualnošću tek slučajna posljedica. Dokumentaristička trilogija Svaka revolucija je bacanje kocke, koju autorski i izvođački potpisuje s glumicom i filmologinjom Tanjom Vrvilo, bavi seatentatima na prvake austrougarske uprave u Hrvatskoj prije Prvog svjetskog rata. Upravo kad je svijet obilježavao stotu obljetnicu početka takozvanog Velikog rata i čuveni pucanj u Sarajevu, premijerno je izveden i posljednji dio trilogije naslova Tosca 914 o neuspješnom atentatu koji se dogodio samo mjesec dana prije sarajevskog u Hrvatskom narodnom kazalištu u Zagrebu na premijeri opere Tosca. Umjesto prigodničarskih historiografskih i geopolitičkih analiza, predstava nudi drukčiji rakurs i diskurs jer kroz navođenje činjenica propituje nužnost reakcije na političko i institucionalno nasilje. Ponovljeno nasilje za Indoša nije odgovor, ali jest umjetnička, osobna i kolektivna sloboda, ostvarena isključivo strogim umjetničkim i osobnim uvjerenjima strukturiranom glazbenom, scenografskom, koreografskom i izvođačkom raskoši krika (i) bijesa.

Tekst: Igor Ružić (web katalog Neopipljivo)
Youtube: INTANGIBLE: Damir Bartol Indoš & Tanja Vrvilo



INTANGIBLE - Croatian Exhibition at the 2015 Prague Quadrennial of Performance Design and Space.

Damir Bartol Indoš, Tanja Vrvilo: TOSCA 914

One of the key figures of the so called Croatian alternative theatre, Damir Bartol Indoš has remained true to his sources as aesthetic and ethical postulates for almost forty years. He was member of the Kugla theatre company, a radical performance collective from the late 1970s and early 1980s that was a rare example of truly radical alternative culture in which music and performance were the inspiration, means and end. After parting ways with Kugla, Indoš continued to work independently via his own organisation DB Indoš House of Extreme Musical Theatre.

Instead of taking the supposedly next logical step and growing in terms of production and climbing the hierarchical latter of success and institutionalisation, he decided to, metaphorically and quite literally, stay in place. This, however, does not mean that within his artistic vocation he is not permanently interested in innovation, searching continuously for new subjects and associates or improvements of his own artistic production. Considering that his theatre generally includes substantial amounts of used or reconstructed retro technology, which simultaneously functions as scenography, props, musical instruments and his partner, it seems quite fitting to use the term production in his case. On the other hand, he approaches his subjects with an exceptionally humanistic attitude, believing that the artist must, with his personal attitude and engagement, earn or deserve the moral and metaphysical right to the subjects he uses as inspiration or foundation.

This is not the only paradox surrounding Indoš. A sworn pacifist, who began doing theatre because, as he himself admits, he was not brave enough to become a radically left or anarchistic terrorist, he creates performances filled with scrapings of metal, loud or too loud noises of machinery powered by the energy of the performers, deafening avantgarde music and speeches on the verge of barking, causing fear and disgust to the unaccustomed ear. He is also an applied ecologist, recycling materials, parts of machinery and discarded technology, and creating from them his astonishing, almost post apocalyptic stage imagery. Permanently infected with the theatrical and theoretical propositions of Antonin Artaud and antipsychiatry, a discipline that promotes a different way of relating to mental disorders and a different treatment not of disorders, but of those afflicted by them, Indoš is obsessively searching for the ideal expression of theatre that can express the frustrations and challenges of today, because he cannot deny them, at the same time refusing to be reduced to them.

Among the constants of Indoš’s poetics is also certainly the athletic performative aspect, a Spartan discipline and physical fitness needed to endure the high physical demands of his performances that he himself has set. Indoš’s parallelism of an ethical foundation and aesthetic realisation, philosophical education and performative and authorial experience always results in a critical attitude, expressed indirectly and affirmatively via the subjects he
had to earn a right to use; potential correspondences with current issues are merely incidental. The documentary trilogy Every Revolution is a Throw of the Dice, which he created and performs in collaboration with the actress and film studies scholar Tanja Vrvilo, deals with the assassinations of high ranking officials of the Austro Hungarian administration in Croatia before World War I. It is precisely when the world was marking the 100th anniversary of the beginning of the socalled Great War and the notorious shot fired in Sarajevo and heard all over the world, that the last part of this trilogy entitled Tosca 914 had its premiere, thematising the unsuccessful assassination only one month prior to the one in Sarajevo, in the Croatian National Theatre in Zagreb at the premiere of the opera Tosca. Instead of thematic historiographic and geopolitical analyses, the play offers a different vantage point and discourse, raising the issue of the need to react to political and institutional violence.
For Indoš, the answer does not lie in reacting with violence, but in the artistic, personal and collective freedom, achieved only through rigorous artistic and personal convictions structured through the musical, scenographic, choreographic and performative abundance of the sound (and) the fury.

Text: Igor Ružić (web catalog Intangible)
Youtube: INTANGIBLE: Damir Bartol Indoš & Tanja Vrvilo