Predstava 40–60 je produkt ustvarjalnega srečanja cirkuškega umetnika Milana Manića (star 40+) in pionirja ter veterana uličnega gledališča Gora Osojnika (star 60+). Avtorja, režiserja in izvajalca sta navdih za predstavo iskala in našla v klasičnem delu gledališča absurda Čakajoč Godota in kultni češki animirani seriji A Je To! Temu sta dodala ščepec odnosa do uporabe naravnih materialov in kritičen pogled na razmerja v sodobni družbi, saj se zdi, da je današnji svet v veliki zmešnjavi in brez zdravega razuma!
Kot pravita, sta lika/karakterja, ki se v nadrealističnem okolju spopadata z nalogami, ki jima jih daje neobstoječi šef, in skupaj gradita spomenik potrošništvu, ustvarila na osnovi osebnih eksistencialnih občutij. Tako kot Beckettova Vladimir in Estragon se namreč tudi onadva v sodobnem svetu in/ali družbi pogosto počutita odtujena ter izgubljena. Ker pa sama absurdnosti te(ga) nikakor ne sprejemata, oziroma ne čakata pasivno na (od)rešitev, sta dodala še malo Pata in Mata, za katera so najrazličnejši izzivi, s katerimi sta soočena, in ki se jih lotevata proaktivno ter z velikim optimizmom, v bistvu nove (pre)izkušnje.
Kljub temačnosti/težkosti teme je predstava, ki je bila zasnovana za uprizoritev v javnem prostoru in cirkuškem šotoru, zato dinamična in svetla.
V vizualnem smislu avtorja pretežno uporabljajta sodobne cirkuške izraze (kratke ekvilibristične strukture), v sinergiji z impresivnimi tehnikami uličnega in fizičnega gledališča.
The performance 40–60 is a product of the creative encounter between circus artist Milan Manić (aged 40+) and street theater artist Goro Osojnik (aged 60+). The authors, directors and performers were inspired by the classic work of the theater of the absurd Waiting for Godot and the iconic Czech animated series A Je To! To this they add a pinch of attitude towards the use of natural materials, and a critical view of the relations in modern society, for it seems that today’s world is in a big mess and lacks a common reason!
The protagonists, two Beckettian characters, truly feel somewhat alienated from the real world in a surreal setting – a wasteland with just one semi-dry tree as scenery, while surrounding them is the grandeur of capitalism where consumption is the equivalent of success.
They wait, hoping that salvation day will come, when we will find the strength to work together, alleviate pressures, end wars and hegemony, and enjoy the benefits of technological development that will bring nirvana and the proverbial promised land.
Really?
This is probably just wishful thinking while, in reality, we are all waiting for the famous Godot, believing he will come. Well, not today, but tomorrow for sure…
In the visual sense, the authors predominantly use contemporary circus expressions (short equilibrist structures) in synergy with the impressive techniques of street theater and physical theatre.