September 17th – Thursday / 20:00
Zijah Sokolovic’s Teatar Malih Stvari, whose thematic layer Sokolovic named “Interplays 0-24” is unique vivisection of the day, that layer of the day into which man does not invest his consciousness while living it or which he hides from the others. We could identify his theatre using a different formulation: it’s the chronicle of the day, a mirror in which we reflect like with a kaleidoscope, and we recognize ourselves as if we sympathize with ourselves for the first time. We see ourselves in that stratum of life realizations that we use to fulfil that day; we see ourselves like in a concave mirror. And we laugh. We laugh to our trivial objectification, to that part of us which transpires between big things, for which we believe that those big things are the real face of our duration in time. At the same time, we leave the “interplays” to time to bear them with itself like a redundant residue to again, next day, do the same thing, and so on forever.
Zijah Sokolovic stops those moments in their passage; he develops them into sequences or motifs, he organizes them chronologically, without a dramatic parable, maintaining them on the same plane, the plane of the story in which, once, were placed moments of those things to which our ancestors gave specific validation for our duration. Zijah Sokolovic removed that layer of life validation, dropped his creative probe for a layer or two lower into our reality and there actually found the meanings that reflected the actual reality, the reality whose threads of cobwebs we pull through – and last.
The theatre of Zijah Sokolovic belongs to the comic theatre. He can be viewed through the Aristotelian scheme too, that comedy speaks of base things. Still, there is a particular distinction: Aristotle’s ‘base things’ are those that stand in conjunction with ‘high things’, those in which man displays his dignity in facing obstacles that he must overcome to devise his durations.
The ‘little things’ of Zijah A. Sokolovic do not possess such a correlation. They are free, tied, quite often, for our vegetative life composition. And that is the sphere of the full liberty of man, and maybe, a comical cadence, and it arises there where the man faces his absolute freedom, unadulterated by anything.