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I have read Shakespeare’s ",{"type":307,"marks":316,"value":317},[311],"King Lear",{"type":307,"value":319}," three times in different periods of my life, with different value systems, in different moods, at different speeds, and for different reasons. Most recently, about a month ago, when I knew that here at the festival I would be watching a five-and-a-half-hour production of it.",{"type":304,"children":321},[322,324,326],{"type":307,"value":323},"A few days ago I saw a post saying that when a person goes through a difficult period, and their psyche decides that it cannot process the events and chooses ignoring them as a coping and regulating mechanism, it results in memory loss. I do not remember my first ",{"type":307,"marks":325,"value":317},[311],{"type":307,"value":327}," at all, even though I held a seminar on it. From the second reading I remember being amazed by Shakespeare’s wonderful style, by what a great poet he was, and by how close his relationship was with nature, by how free he must have been in his creative work, living, writing, and reinventing his life knowing neither God nor man. I remember delighting in the connections between his plays, reading the storm scene alongside Hungarian translations of his sonnets, and falling in love with his empathy toward nature and with the sensitivity with which he may have lived his life in his sixteenth- and seventeenth-century world. And I wished for myself that same obsessive dedication, discipline, and sensitivity. My third reading, somehow, I imagine comes closest to last night’s interpretation. Or perhaps my reading influenced my experience of the performance, and no matter what kind of production it had been, I would have seen in it only what I was already capable of seeing? That is an interesting question. I would gladly converse about it.",{"type":304,"children":329},[330,332,334],{"type":307,"value":331},"I wrote down three plus one themes for myself last night, and as I sit here in the middle of my bed, I arrive at the conclusion that they all radiate around the same thing, and that in truth the performance was about one thing only, and that in 2026 this is what Shakespeare’s ",{"type":307,"marks":333,"value":317},[311],{"type":307,"value":335}," is about. I will try to reconstruct the line of thought exactly as I arrived at it. Welcome to my mind:",{"type":304,"children":337},[338],{"type":307,"value":339},"My first and strongest experience from Jernej Lorenci’s direction, one that I will carry in my memory for a long time, is the warmth with which Edgar (Timon Šturbej) embraces his father Gloucester (Marko Mandić) in the fourth act. Edgar, the half-naked Edgar, who goes mad in the homelessness of his unjust exile, strips completely naked in an earlier act and turns himself inside out into red in an expressive, symbolic, and shocking way. Gloucester, who in an earlier act was so misled by his other son that he hurled every accusation imaginable at Edgar, Gloucester, who according to his own value system at least tries to save, out of humanity, whoever and whatever can be saved, but is then tortured for treason and, in perhaps the most authentically Shakespearean theatrical gesture I’ve seen so far, has his eyes gouged out. This embrace exists between two people who have truly travelled through the private hells of their own lives, who independently passed through the most intense phases of the tragic spectrum of human emotions. The embrace with which the son embraces his father. The embrace that contains forgiveness, remorse, the memory of hatred, rebellion, betrayal, and contempt. Because we know that it does not matter whether Edgar actually betrayed Gloucester in reality; if Gloucester experiences betrayal, then betrayal has been experienced. And we also know that it does not matter whether Edgar is justified in going mad from injustice; if Edgar goes mad, then he goes mad. And in the embrace, on both Edgar and Gloucester, their theatrically lived tragedies are still present, visible and unforgettable: the wool blanket, the half-pulled-down underwear, the cellophane covering the body from head to toe, the horns, the paints. And in the embrace there is the love that a child arrives at in life toward their parent. I imagine this embrace as one of the stations of human life. Edgar’s loving gaze moves me to the bone. I want to scream guilt, remorse, anger, accountability into outer space: my God, this cannot be avoided, this must be done in this lifetime.",{"type":304,"children":341},[342],{"type":307,"value":343},"Its mirror-embrace is the moment when Lear’s (Janez Škof) gaze clears as he recognizes Cordelia’s (Ivana Percan Kodarin) face. But I will write about that when I grow up, and when I know more precisely what it means. That is the second thing.",{"type":304,"children":345},[346],{"type":307,"value":347},"The third thing I wrote down for myself immediately after the performance is almost a kind of meta-consequence of the previous two, something that asks for my empathy toward both Lear and Gloucester, though of course it does not justify the decisions of Goneril (Tamara Avguštin), Regan (Mina Švajger), or Edmund (Domen Novak). My first memory of having my throat tighten at the sight of an elderly person goes back almost twenty years, then becomes more intense while I live in Budapest, deeper when I move to Bucharest, becomes entirely everyday when I find myself crying in Barcelona at the sight of an elderly person sitting alone, and a few years ago, when I moved to a small Transylvanian town, it became obvious that I had to deal with this reaction. For now I only write down: “old age again,” and in moments like these I never think about my own old age, not about mortality, not about the fact that we will all die one day, and when I see an elderly person I do not think, oh, they are so close to death. Rather, like when you walk into a cloud of smoke and your eyes, mouth, and entire chest fill with smoke, I become filled with the infinite loneliness that I imagine behind their lives. I imagine what catastrophically miniature, unnoticed, thoughtless, and bitter decisions might have led to a life reaching this point, so close to its end, alone. What clashes of values between generations and cultures, what personalities shaped by different political eras, what lack of curiosity, lack of mutual trust, and lack of love for life may have led to the old age of Lear and Gloucester? And this brings me to the fourth thing, perhaps the thing that gathers everything else together.",{"type":304,"children":349},[350],{"type":307,"value":351},"My response strategy to the anxiety I feel when I see lonely elderly people is to talk with them, to listen to their stories, and to listen to the older generation that is closer to me, to ask questions and listen, to let them think aloud in front of me, to tell stories. And this is not about my Samaritan personality, but about the faith I have in the people living on this earth, and about the fourth thing.",{"type":304,"children":353},[354,356,359,361,364,365,368,369,372],{"type":307,"value":355},"The fourth thing being a typically Shakespearean dramaturgical technique. Or rather, the chicken-and-egg question, whether in version a.) there was first an intense life experience, and it became clear to Shakespeare that everything is about this; or in version b.) he engineered it for himself and thought: hmm, this is a clever way to twist the audience’s minds and say something smart, funny, and cunning about life and human relationships. ",{"type":307,"marks":357,"value":358},[311],"As You Like It",{"type":307,"value":360},", ",{"type":307,"marks":362,"value":363},[311],"Twelfth Night",{"type":307,"value":360},{"type":307,"marks":366,"value":367},[311],"The Merchant of Venice",{"type":307,"value":360},{"type":307,"marks":370,"value":371},[311],"Measure for Measure",{"type":307,"value":373},". Disguises, mistaken identities, identity exchanges, late recognitions all circle around the same hot porridge, around who and what a certain person really is if we strip away their role, decoration, title, profession, rank, and honors, if we place them into a circle at the opposite end of the spectrum, what is revealed about them. They circle around the hot porridge of what it means to see the Other, to be seen, and to allow ourselves to be seen. What it means to see ourselves. 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