ROCKING

We are following the movement of rocking. Rocking, we are telling the stories coming out of the movement of rocking. Telling the stories, rocking, we are searching for Compassion!




WHAT IS MILAN TO YOU?
MILAN IS MY DAD.
AND WHAT ARE YOU TO HIM?
I'M HIS SON.

RONDO
Vili and Indoš are the boys who are rocking, if they are not rocking they cry, sister Irma, they have to cry, they cry, they have to cry, if they are not rocking.

I DON'T SEE NO MORE
THOSE AMERICANS WHO LIVED HERE,
THEY AREN'T HERE NO MORE,
THEY'LL COME BACK,
THOSE AMERICANS


Original recipe for the cake from the short story "I don't see no more those Americans"


DID YOU KNOW THAT MIRKO
WHO USED TO LIVE HERE,
HE DIED, THAT MIRKO DIED,
DID YOU KNOW HIM?

STONE
Vili, do you want me to swallow this stone, which was here in front of me? Do you really want me to swallow the stone in front of me, do you want the stone that I am taking in my hand, that I am holding in my hand, that I am putting in my mouth, that I am keeping under my teeth. No, I will not swallow it, I am just joking, I'm just joking, I will not swallow it, no, no.

the smell of the smoke of wild thyme tea

COME HERE, I'LL SHOW YOU
A BLACK ONE WHO SAID
HE WOULD CUT MY BALLS OFF.


Rocking

Actors/performers

D.B. Indoš
Irma Omerzo
Vili Matula
Music
Srdan Sacher
Roy Ashis
Decor
Miljenko Sekulic Sarma
Light
Aleksandar Cavlek
Handmade cake and Thyme tea
Igor i Jasna Cvitkovic
Photo, video & lay out
Jasenko Rasol

CONCEPT

Idea for the guiding principles of the performance was and is to represent the different political experiences in correlation to healthy and ill individuals in society. Enumeration of the entire palette of "autistic, handicapped, retarded, childlike - infantile" questions outsiders find and answer which contain compassion and support for the uncommon, the critique and the correlation about the relations of unethical 'political' attitudes which the "rocker" cumulates-manipulates from the family side, neighbours and expansion on being together - with whom they come in contact.

In "Rocking" the right conditions for the realization of "transcendental symptoms" - symptoms of pain, pleasure, suffering, joy are given - from the moment from when they surpass the sphere of self-destructive acts.

Fitting communication, action, exchanging movements and words together we work in a common, global process removing stigma about mental patients; undertaking the thesis about the "great and clear eyes of the handicapped", we affirm individuals without consideration to origin, sex, race, religious beliefs, and what is primary for our performance that we abolish antagonism between "healthy" and "ill" individuals - society, invalidating guilt or offences of the ill for their illness in which one comes upon.













PRESS CLIPING

Igor Ružic:
Damir Bartol Indoš and the House of Extreme Music Theatre,"Rocking" with collaborators Irma Omerzo, Vili Matula, Srdan Sacher, Ashis Roj, at the Zagreb Youth Theatre (ZaKaeM), premier 8 February, 2001.

Bojan M., Croatian Radio, 13.02.01:
The benefit of your knowing skillful, autistic body movements which in immeasurably repeated repetitions, occuring along with incitations of childlike speech, in an expressionistic game with two other partners in the scene; actor Vili Matula and dancer Irma Omerzo, DamirBartol Indoš wanted to demonstrate that, without regards to conventionality which inhibit and seperate people, the 'normal' and 'others', every person has a right for utterance & expression, and that the suffering which originates already with the first parental beating is a starting point for every artist.

Writer Hrvoje Ivankovic:
EUROKAZ and the House of Extreme Music Theatre D.B. Indoš
Completely not typical for the opus of Damir Bartol Indoš, the performance "Rocking", presented at ZaeKeM's space "Miško Polanec", the doyen of Croatian performance this time, in his own scene, was the existence and inclusion of actor Vili Matula, dancer Irma Omerzo and musicians Srdan Sacher and Ashis Roj; he created a performance self referential in origin; in this artistic achievement the seemingly conventional scenes are multifaceted and interwoven with intimacy and quick-wit watching, and are layered, dramaturg fabric directly inferred - woven from fragments of dance, acting, psychotherapeutic training - intertwined with the displayed/exposure of the body, and exceptionally convincing in the realization of "Rocking" is the simultaneously irresistible wit along with endlessly painful, depressing content in the performance; pliable/yielding endlessly along with enlightenment - and (not less than) recognition.

Frozen Smile
Considering everything, "Rocking" isn't 'Little preamble of Indoš', or popularly reported 'We are here among You', because dramatically the conclusion is one of the best apects in the scenes which are endured on the boards. It reminds one that still neither psychiatry nor antipsychiatry are near solutions. Indoš is "Rocking"'s only accomplishment (that which is otherwise just another work for him) - further sensitive regaining of consciousness - one is drawn nearer to a world, or worlds, which open themselves in the performance, but his isn't clear because it can't be. Still affirmation that only ones individual world from which may only the public come, at least drawn nearer to, one finds one self drawn closer to the worlds of 'the other' and 'the different'. With "Rocking", in short, one leaves with a frozen smile, in spite of the domestic atmosphere of mint tea and cookies.

Journalist Nataša Govedic:
Three hits in artistic target center
"Rocking" is evidence that for a great performance all one needs are 'only' three talented individuals and their readiness in unsparing openess, and at the same time the most in what is artistic, but where in the world can you find this? - take courage!: Full of originality!: The performance of "Rocking" - a work in which is imaginary, scenographic and accomplished, I consider the utmost lasting, important and praiseworthy device happening in the local theatre scene: his enchanting characteristic precision in conceptual and realizational uniqueness - centered on togetherness, creativity, equality of bodies and texts, equality of performers and acting, equality of sexes, equality of healthy and ill children, even equality of expression of the isolated and expression of friendship. In the context of Eurokaz this is the only performance entered of exceptional quality.

Journalist Lidija Zozoli:
Dance: "Rocking" Damir Bartol Indoš at ZeKaeM
Binds and Pain Seperating

Demonstrating delirious energy and entanglement around a small picture of existence so much is literal and strong that the narrative circular movement works as a powerful, metaphorical reward that all people living seperate in solitareness endeavor even through errors or maltreatment on the path to creating identity.

Journalist Želimir Ciglar:
Two Performances on the Second Day of Eurokaz
Damir Bartol Indoš accomplished his very best performance in which included professional actor Vili Matula and dancer Irma Omerzo. Along side a vibrating space in which Indoš burns along with music backup from Srdana Sachera and Ashis Roj. Vili Matula and Irma Omerzo fit in well in "Rocking" benefiting everyone in their own revealing element. Three people on the edge, with high risks, carry over their own world not in its repeated explanations, but in offering the possibility that the public recognizes its own world. "Rockings" abundant in intimate details and great care and concern one for another.

Journalist Nataša Govedic:
"Great and Clear Eyes of the Handicapped
Fathomless age of tenderness

About "Rocking" from Damir Bartol Indoš, Irma Omerzo and Vili Matula - I already in this newspaper wrote about it, but now I would like to emphasize how excellent and original is this performance - in comparison from watching inside the Eurokazs' program - for me, among other things, it is undisturbedly, indeed, serene with intensity. It isn't only a word about "Rockings" content which swings above its names in a fathomless wish for complete, isolated rocking in the maternal womb (infantile) - for protection or simulation of an unconscious dance of adulthood; nor is it not only a word about "Rocking" which is mutually or independently, soothingly executed in the roles without interuption, unbroken childhood, in all directions from us. Questions which are put by Indoš, Vili and Irma (Why are you my friend? What for you is God? Whom are you afraid of? Clearly death? Re-establishing contact? What is violence? We laugh at being different?). So much are they direct and ethical - sometimes wittily or disturbingly unquenchable - excluding all economical and all trivial 'proven' communication. "Rocking" finds a public which will in autistic movements or moans know powerful trauma as an alternative significant articulation. Playing differences here isn't a creation of a new, scenic vocabulary.

Gordana Podvezanec:
Jam-session for Leonardo Retardo

"Rocking", a performance by Damir Bartol Indoš, Vili Matula and Irma Omerzo was a theatre happening which needs commentary on its commited, enthusiastic text of a local theatre house in their process of a work which can be called "avantgarde for all: enter without fear". The performance showed that in this theatre a new different 'burst' doesn't have to be painful, boring or loaded with private, vague associations for the broad populace. Performed at the ZekaeM space "Miško Polanec" comprised, and heart rendering, for the public it looked simple, precise and intelligent absorbing acting. With body movements which are unique for Indoš, such as he plays with his fingers; joining with the physical rocking motions are actor Vili Matula and dancer Irma Omerzo. Inserted interventions in the texts, circular dynamic movements are formed continually. All are in a jam-session of the highest teamworking performers. The three of them return us to pensiveness, of the being & space of infancy, in pictures for which the personages we are not sure - are they mother and father?, brother or sister?is Indoš' character crazy or a genius? Leonardo or Retardo? We needlessly ask. Within ones own different playing, different behaviour, different being/existence, Indoš finds TOLERANCE. The public is tested - can we accept? The faces in the audiences caught the thrown balls - their thoughtfulness suggested receival - the spasmodic, arbitary convulsive movements are energies of compassion with the Different and the Other, which, to be sure, leaves space for the Uncommon, but not of the casting out. From the acting we must think about equality which dances to another music, which hears another drum beating in the distance and which goes with it own sound. "I ask you what time is it because I wish to speak with you, not because what interests me is the time". The child which finds attention, not because it is different, but rather because it is a child; which places the questions, not because one is already confused, but because one is curious. Questions are raised for us about ethics and God, isolation and pain, SCHISM between grown-ups and children. The public the whole time is lulled & swings with the performers. At the end as a reward, the audience receives cookies, such as is shared by Mormons when one wishes that they will be accepted into the new community. And tea from 'mothers soul' - that one may have a peaceful spirit.

Journalist Dubravka Vrgoc:
The Movements Of Rocking

We are following the movements of rocking. Swayingly following the stories being spoken which is coming from the movement of rocking. Telling the stories, swaying, we are given to search for Sympathizing - by word of mouth the authors of the performance "Rocking" which, after a successful summer production at the Dubrovnik Festival 'Karantena', is continuing the show from Wednesday to Saturday in the evenings at the Croatian Natruralistic Musueum, in the program along with the theatre musical "Amadeo". In the production of "House of Extreme Music Theatre", Damir Bartol Indoš, Vili matula and Irma Omerzo, talk with, and to, the spectators 'stories from ones own yard'. Setting himself forward in rhythmic rocking, the others in the space begin duplicating - multiplying in number-joining the rocking, propelling the happening. All here are given over to the limitless power of this game - realizing oneself through unlimited repetitions - through physical and oral - the protaganists touch singlely, alone, making the appearances of , marginally, events in the happenings. The elliptical structure of the scenes expressions allow differences and variations, each time, by return, opening some new perspective. Unpretentious, on the border of fiction and reality, hemmed in clear intimacy, the performers break silence about commonness, without pathos, with seductive theatre speech. "Rocking" is one of those performances which easily conquers the viewers, reconstructing the shifts in touching the viewer - displaced from, or from reality, of fragments of a childs world. The authenticity expressed in the scenes from Damir Bartol Indoš, which already for years has attracted the public to performances of his genuiness on our theatre scene, along with the energies of Irma Omerzo and Vili Matula makes "Rocking" an exceptional theatre happening.

Journalist Nataša Govedic:
From ZeKaeM, this premier of "Rocking" is from the collaboration of Matula-Indoš-Omerzo
A child's distant great deal of truth:
In "Rocking" there isn't any religious kitsch or adolescent self-sufficiency. Reformistically powerful "Rocking" consists of utterances of a performances voice, witholding one's due, about children, and not the voice, mainly, from autonomous adults. The number of performances to see, which are, in a manner, neglected and passed over, is enviously growing, but those that should be counted and seen is the newest "Rocking" performed by Vili Matula, Damir Bartol Indoš and Irma Omerzo. Performed in a small space of ZeKaeM, "Rocking" in fact sets in motion for many what can be considered "great" themes - which are the root of present day evil in Croatian society: relations between parents and children, child abuse, the isolated & ill children, criticism of professed "normality" blended together with agressive and emotionally distant adults. In the roles of the adult people, who are continually enslaved in their logic and unrest - their disquietude expressed, along with all the arbitrary, abandoned children, in a brilliant performance led by a medieval Damir Bartol Indoš - the publicly known doyen on our local performance scene, but here he is engaged in a classic drama form, pronouncing in advance the prepared (even so, in the scenes still one hand composed the performance) texts. The other two performers, Vili Matula and Irma Omerzo, generously involve themselves in the emotional key scenes of the performance; parallel, executing scenes from adult life.

Experimental thoughtfulness
Simultaneously, Indoš' childlike perspective is with quality, but also a destructive model of parental humaness, along with concern for the Other - in the performance Matula and Omerzo supplied performances of interesting paradoxical perceptions. For example, from the situation that Vili Matula (in the show called 'Vili') can be to Indoš simultaneously a brother twin and father; as can Irma Omerzo (in the show called 'Irma' can be a sister and mother. Dramaturg wise, "Rocking" contains content entirely along a spiritual premise: the idea not to refuse the unavoidable human gift of concern for the weaker, at least holistically; but an ecological world about the mutual closeness of all creations in the world (including and correlating the closeness of a performer and the public) specifically the ideal of a "great human family". Important is the antipsychiatry apeal for embracing that which is conventionally considered "deviation" from repressive societal normality. From Indoš monologue, he appealed against smashing the 'odd, crazy person' and other ill people in asylums, or even their stuffing themselves with chemical balance substances for benumbing; instead, preposals for a medical model 'tolerating the different'. For me, from a theatrical and therapeutic viewpoint, it was the most interesting of Indoš' dispositions as a mentally ill person - as some one who naturally 'plays ones own game' - someone who doesn't worry at least someone who has a right to play ones own game; and how much society endeavors to persuade that person in playing something that is inconvenient, awkward or even insane. Standard thesis of antipsychiatry - a thesis toward which there doesn't remain mental illness rather there are diverse forms of social, not pathological (unremovable for a compatible society) manners, to be made aware of from this theatrical works center - a prerogative in the performance.

Intimacy
"Rocking" flirtingly works with paradoxical scenes, i.e. 'away from the acting' - the public is, we'll say, sheathed and after the performance offered, ceremonially, are sweet snacks, and the performers again sip 'mothers soul' tea which the whole time has stayed in a small kettle placed in the corner of their space, along with remarks which between themselves they discuss the performers, their friendship and their fictional context/framework of the performance. Commentary about this - it allows the acting a natural dimension of intimacy which, without it, it wouldn't be possible to watch from behind the windows of ordinary confinement about the family relations; without it, we wouldn't be able to take in the insights in such important details on everyday life. Interesting is the emphasis that Indoš, to be sure, communicates on aspects of pain and children (and adults) in isolation, but the convincing axis in the show is the magic, in fact, of Matula's not performing as an actor concerned about, among other things, performing - but it is Matula's execution of compassion. Concluding we can say this: Indoš has here a drama that finds compassion, Matula is that which gives it away and presents us with it. In volume, again, this piece isn't prone to the 'simple' nor is it scenic polish reaching out: it is a piece about the serious problems which are given, and about who has devoted serious solutions for solving them.