Director and dramaturgy: Pascale Spengler
Cast: Kristian Al-Droubi, Vladislav Curcin, Valentina Sekeres, Jean-Benoit L'Héritier

When we have only words, attempt to reach the one who is like me and who can hear me, sometimes/very often is an illusion, an act of desperation. Alchemy of words, a play of words is not enough, it never was. What does that mean: immense ontological gap between beings, between sexes.
Sarah Kane speaks by choosing the theatre language. She uses a metaphor of violence so to evoke our terrible insufficiencies better. Her theatre wants to be a theatre of extremes because only through the extreme the truth of human being can be recognized. The performance "Initials SK", envisioned as a path, will invite the audience to enter the poetic and dramatic dreaming about work of Sarah Kane. That first approach to Sarah Kane is constructed as a canvas of echoes, fragments; it is created by quotes from her plays, interviews that she gave, texts by authors - Francis Ford Coppola, Heiner Muller, William Shakespeare, Samuel Beckett, Bertold Brecht, Antonin Artaud, Pier Paolo Pasolini - all this in an attempt to understand her theatre better by showing all filiations which feed it. In her texts Sarah Kane shouts the horror of our decapitated world: lack of love, rape, death, sex, psychic and moral torturing and other unspeakable terrors. How to qualify her theatre? Sarah Kane leaves us one crepuscule and brutal work, rear by the power of images her theatre delivers. She is radical in her artistic engagement. Her writing is extremely political, totally clear, with big emotional charge, without style effects. Her language is direct; it goes straight to the heart. She is violent because of the lucidity of views through which she observes her coevals and world that surrounds her. Her humor is black. Kane disturbs. She is special, shameless and divine. She quakes. She's asking questions. Her theatre is cruel, provocative and subversive because it is a lucid reflection of one devastated humanity, perception of one world in decay, anger in front of barbarism which sometimes happens within human relations. Performance "Initials SK" comes near with a lot of tenderness and attention to the one who sought out with the sensibility of own language and through it realization the relation with the world. www.foraides.org

Collectif de Theatre Les Foirades :: Collectif de Theatre Les Foirades is founded by group of artists in 1988. It's purpose is a research of new, contemporary dramaturgies, a setup of practice which will bring back the decisional place to the theatre in today world and revive connections with audience. The choice to found Le Collectif (community) lies in a wish to go out of hierarchy that glorifies the director and that each member who participates in theatre creation is equally responsible in joint performance where all participants are co-authors. The name "Les Foirades" refers to Samuel Beket "Pour en finir encore et autres foirades", who reflects on erroneous of language and disjunction between Dire (to say) and Faire (to work). For Les Foirades the scene language is basic, critic tool for building of one perceivable (physical) alternative to death of individual thought absorbed by unique and leveled thought of current world. It is against theoretical and for a concrete theatre. Le Collectif de Theatre Les Foirades doesn't put on a scene text as an object by itself, but often it develops a path lane around writer's universe, researching the influences that surround him and the influence that writer himself has on his time.

Human Theatre :: Human Theatre is independent theatre troupe founded in year 2000. Today HT consists of seven members, seven young independent artists gathered around the idea of articulation their hitherto life experience through the physical theatre as basic form of expression. The engagement with Pascale Spengler and possible contacts with European artists are big stimulus and encouragement for us in Human Theatre. Serbia was in European media characterized as country with enormous amount of 'monstrous' people. 'Pervasion' of country borders opens the possibility for 'strangers' to hear what we have to say. It's a possibility to talk to people who were one-sidedly and often partially informed about the reality we've been living. The essence is not in violence, but in what lies beneath the urge to hurt other being. The essence is in that what makes us humans. Particularly because this French-Serbian project is encompassed by work of Sarah Kane, who in her first 3 plays used violence - sadistic horror and love as main themes. We feel that our experience is worthy and useful for the initiation of humane communication, possible at the level below the anger and hatred inducted by violence.

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