Riječ reditelja

OLIVER FRLJIĆ (otvoreno laže): Vratiti se u Bosnu nakon što sam je napustio u aprilu mjesecu 1992. bilo je kao vratiti se u paralelnu stvarnost. Jednostavno, sve te godine koje sam izbivao nisam imao mogućnosti naviknuti se na sve nenormalnosti koje su građanima Bosne postale norma. Ponovni susret s Bosnom srušio je sve one ideje autentične Bosne koje sam godinama, svim  strašnim vijestima koje su iz nje dolazile usprkos, čuvao negdje skrivene. Zapravo, susret s tom realnom Bosnom bio je toliko brutalan i toliko je ubijao sve ono što sam želio da Bosna bude, da sam odlučio slijediti tragove one druge, fikcionalne Bosne. Nakon kraćeg traženja ponovno sam pročitao Andrićevo “Pismo iz 1920.” i ta njegova, književna Bosna učinila mi se strašnija od stvarne Bosne. Previše je precizno opisivala današnju Bosnu. To je u njoj bilo najstrašnije. Scenska Bosna koju sam tijekom rada na ovom projektu stvorio pokušava konkurirati ovim dvjema Bosnama – onoj Andrićevoj i onoj stvarnoj. Ne znam u čemu bi im trebala konkurirati, u svojoj užasnosti ili kao alternativa užasima tih dvaju Bosni. Ali to su već pitanja na koje odgovore može dati samo predstava sama.

OLIVER FRLJIĆ (openly lies): Being back to Bosnia after having left it in April 1992 was like coming back into a parallel reality. To put it simply, during all the years I have been away I had no way of getting used to all the abnormalities that have become the social norm to the citizens of Bosnia.

Revisiting Bosnia demolished all the ideas about authentic Bosnia that I have kept hidden away

for years, in spite of all the dreadful news about it. In fact, my encounter with the real Bosnia was so brutal and was killing everything I wanted Bosnia to be, that I decided to follow the footsteps of the other, fictional Bosnia. After a quick search I read A Letter from 1920 by I. Andrić one more time, and this fictional Bosnia seemed more terrifying to me than the actual Bosnia. It described today's Bosnia in the most precise way. This was the most frightening thing about it.

Bosnia which I created while working on this project and which was presented on stage , is trying to compete with these two Bosnias – the one that I. Andrić described and the real one. I do not know what it is that 'Bosnia on stage' should compete in; its horror, or as an alternative to the horrors of the two Bosnias. However, these are the questions that only the play itself can give the answer to.