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As I have already written in previous entries, before attending performances I do not read synopses at all, and often I do not even know the title of the show I am going to see (see below). In fact, rather amusingly, I cannot remember the names of the theatre halls either, so somehow I remain suspended in this childlike, naïve, floating state—infinitely enjoyable for someone who spent her half life compulsively researching everything in advance.",{"type":304,"children":316},[317,319,322],{"type":307,"value":318},"Of course, afterwards everything reveals itself. Such as the fact that Jonas Hassen Khemiri is indeed Swedish. And I do not believe that nations necessarily have styles—surely they do not—but still, something must be there, because that was my first thought. Have you seen ",{"type":307,"marks":320,"value":321},[311],"The Bothersome Man",{"type":307,"value":323},"? Not Swedish, Norwegian. Directed by Jens Lien from a screenplay by H. V. Schreiner. For some reason, I thought of that as well.",{"type":304,"children":325},[326,328],{"type":307,"marks":327,"value":312},[311],{"type":307,"value":329}," deals with its characters' stories episodically, almost like a Netflix miniseries, stories that only tangentially connect to one another. As if the author had a handful of good stories and characters and simply wove them together into a play. The characters are completely ordinary people, and somehow both performances of yesterday seemed connected by this endless everydayness. A young job seeker (Petja Labović), a homeless man (Kristijan Ostanek), a kiosk worker (Minca Lorenci), a doctoral student and substitute teacher (Blaž Dolenc), and a recently fired unemployed woman (Ana Urbanc). These characters appeared in one another's episodes in various ways.",{"type":304,"children":331},[332,334],{"type":307,"value":333},"I do not know whether it was because someone in the row behind me was snoring loudly in their sleep, or whether something simply ran out of steam that had organically sustained the humorous, elegant freshness offered at the beginning of the performance until the \"intermission,\" but by the time the homeless man's sister wakes up in the hospital and the recently fired unemployed woman is being escorted out of the ward, I noted to myself: ",{"type":307,"marks":335,"value":336},[311],"the living characters have turned into actors delivering text.",{"type":304,"children":338},[339],{"type":307,"value":340},"And I truly do not know, I cannot put my finger on the moment when this happens. Perhaps it is not a moment at all but a process. Maybe the text cannot sustain itself. Maybe the text cannot sustain all the coming and going on stage. Maybe the space is too small. Maybe it is too large. Maybe there is too little music. Maybe I am tired. Maybe there is too much text. Maybe there are too many subtitles. I do not know, but by the melted-cheese-and-pasta scene I have completely checked out, even if the actor sits down right next to me.",{"type":304,"children":342},[343],{"type":307,"value":344},"In any case, because of this—or despite it—the final moment, the substitute teacher's monologue about life being a wonderful fall, a joyful ephemeral saying-yes to the belief that somehow everything will work out, and that even that everything will come to an end, and that within this we can calmly be free—this monologue somehow remains on the border between kitsch, cliché, and a true theatrical moment. Of course, I can easily push it within myself toward the side of a true theatrical moment because I like the company, but the truth is that it depends on me. Though, by the curtain call, the gentleman sleeping behind me wakes up as well and even stops sniffling and yawning. So it is entirely possible that—to borrow a sports expression—the actors bring the performance back.",{"type":304,"children":346},[347,349,352],{"type":307,"value":348},"Regarding the second performance, I am delighted to discover afterwards that it is also a production by the playwright Katarina Morano and director Žiga Divjak, the same duo behind ",{"type":307,"marks":350,"value":351},[311],"Anhovo",{"type":307,"value":353},", which I saw the day before yesterday. And it is good for me that I did not know this before entering the theatre, because then I would already have been carrying the strong positive experience of their previous production and would have come in with expectations. Instead, I was simply able to enjoy, laugh, identify, love, empathize, etc.—and only afterwards tell myself: \"Ah, yes, that makes perfect sense.\"",{"type":304,"children":355},[356,358,361,363,366,368,371],{"type":307,"value":357},"Throughout the performance I sit in the front row—where it is not easy to read subtitles placed at the very top of the stage—and remain convinced that the title of the play is ",{"type":307,"marks":359,"value":360},[311],"And Then Eventually We Got Divorced",{"type":307,"value":362},", while in reality the title is ",{"type":307,"marks":364,"value":365},[311],"Why We Got Divorced",{"type":307,"value":367},", which is slightly different. What I like about the title I ",{"type":307,"marks":369,"value":370},[311],"invented",{"type":307,"value":372}," is that it somehow describes a moment from the end, a moment we perhaps never even see, yet this title is the first thing we know about the performance. In other words, the first thing we learn about the performance is a moment we will never actually witness, but toward which the performance itself is moving. Of course, the original title does this too; only in my mind mine feels more temporally situated, less PR-oriented, more theatrical. But the essence is the same.",{"type":304,"children":374},[375],{"type":307,"value":376},"During the performance I wrote down two things.",{"type":304,"children":378},[379,381,383],{"type":307,"value":380},"The first is that I have seen several—not many, but several—naturalistically furnished stage environments at the festival so far. Room realism can of course still be truthful, inspiring, and original. Yet while watching ",{"type":307,"marks":382,"value":365},[311],{"type":307,"value":384},", I realize that the concept here is precisely to build the room literally out of nothing. The dramaturgy of the piece—contrary to the linearity suggested by the title—is reversed, and this operates in opposition to what is happening physically on stage.",{"type":304,"children":386},[387],{"type":307,"value":388},"To make it clearer: from the very first moment there is an old Opel standing in the middle of the stage, surrounded by field elements. After ten minutes my eyes have become so accustomed to it that I do not think about it again for the rest of the performance. As the performance progresses forward in time, the actors gradually carry in their belongings, the flooring, the walls, the furniture, personal objects, clean clothes, trash, etc.—they literally inhabit the space of their shared life.",{"type":304,"children":390},[391],{"type":307,"value":392},"At the same time, the dramaturgy moves in the opposite direction. Beginning with the most intimate, colloquial, everyday conversations, the relationship of the couple gradually grows colder and colder, angrier and angrier, more and more alienated before our eyes, until we arrive—or return—to complete unfamiliarity: the state of their very first meeting. And this is where the car returns—the car that has been on stage the entire time—the place where they first met, and around which they built their life together.",{"type":304,"children":394},[395],{"type":307,"value":396},"What a brilliant idea, isn't it?",{"type":304,"children":398},[399],{"type":307,"value":400},"The text of the performance is incredibly funny, and I recognize so many of my own patterns, the mechanisms of my friends, and of the young and not-so-young families around me. It is also deeply tragic, in the sense that—even though it is difficult to know and see while you are inside it—if these things are not addressed, if there is no sharing of burdens, no teamwork, no partnership, no attentiveness, no presence, no self-love, then they inevitably carry something toward its end.",{"type":304,"children":402},[403],{"type":307,"value":404},"I can see and sense the audience around me identifying with it, seeing themselves in it, and in my heart I am rooting for every single spectator, for myself, for my friends, and really for everyone, that they may find the way back to themselves and to those milestones of love that people place along the road of their lives as points of reference. 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