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The author, Zlatko Paković, stood in the middle of the play and addressed the audience saying that he was convinced that “Srebrenica. When they kill us,” no theater critic will write a word, because – genocide – is a word. prohibited in public discourse, even among theater workers.
The play “Srebrenica. When the dead rise”: CZKD Photo: S. Č.This time, unlike most events dealing with the most tragic issues of local society, crimes, massacres, genocides, which were committed on behalf of the citizens of Serbia, were not visited by the so-called far-right, that otherwise they would mark the whole case with violent behavior, chanting slogans and nationalist protests in front of the space where such event would take place.
Apart from a couple of police patrols set up on the street corners surrounding the Cultural Decontamination Center, there was no indication of the usual reactions from the rightists, the ruling parties and the parallel “structures”.
The audience that attended the premiere was more or less related to the attitudes expressed in the play. And, due to the epidemiological situation, all those who, in their opinions and feelings, belong to or are committed in terms of facing the truth about the horrors committed by the authorities of the 1990s and the propagandists of the crimes, did not manage to reach the place and look, according to the author. the work of Zlatko Paković and the ensemble of actors he gathered for the performance of “Srebrenica. When they kill us, we get up.
Photo: S. Č.
These are the actors: Katarina Jovanović, Boris Milivojević, Ivan Jevtović, Vahid Džanković and Andreja Kargačin. They all had multiple roles, from members of the Bećković family, who in a real and paradigmatic sense inspired genocides and crimes, to mothers from Srebrenica and victims of crimes committed by the Serbian side in the war, who sympathize with the families of the members. of the Serbian army killed. Serbian side, because they were brutally murdered while hiding the criminal, Ratko Mladic. The murdered man accidentally saw the greatest Balkan executioner, from Topcider barracks to Leskovac. “Villains also kill their own”, one of the lines pronounced by the victims of the genocide in the play. “God forbid your hands go dry.”
“Rather with the people on the wrong side, than with the enemies on the right,” he shouted, as the “poison and blood elite” were called in the play. “Only good people can do great abominations,” was repeated several times during the show, in the same vein as the previous one.
During the play, the Danas newspaper also played a role with a front page revealing the atrocities of the criminal war policy, which is why a list of “self-chauvinist pigs” was called as such. Transferring the Bećković family to modern times, the director and author of the play placed them on the 39th floor of Belgrade above the water. From there, he was attacked for being unable to speak of the horrors of war and crimes because he allegedly did not feel them in his immediate personal experience.
Also in the audience was Ivan Medenica, the artistic director of Bitef, whom Zlatko Paković already marked in the call for the work, a few days ago, as someone who did not write a word about any of his works, although, as he said Paković, Lamented the lack of committed art in Serbia.
In the play, Medenica, along with playwright Biljana Srbljanović, is also marked, if it can be said, as a member of a callous elite, which is not on a par with explicitly negative, denial and inspiring crimes, but seems selfish and detached realistically existing problem and its manifestations.
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