Marriage/Car – Jelena Bukvički
Children killer – Albin Salihović
Fonix – Jelena Grubac
Old romantic flame, male – Ivan Nikolić
Old romantic flame, female – Dijana Jovičić
Great president – Bojan Bajčetić
New bureaucracy – Aleksandar Djindjic
Theatre, male – Radivoj Knežević
Theatre, female – Dina Prelević
New romantic love, female, whore – Milena Jakšić
New romantic love, male – Zlatko Sampor
Transvestite – Mirceta Radović
Chancellor – Željko Aleksić
Soldier – Nenad Ljubojević
Director and set designer: Miki Milutinović
Choreography:Petar Pierre Rajković
Composer of songs: Boris Bunjac
Pictures and animation:Djordjije Milić
Video:Milan Manojlović, Nemanja Stratimirović
Sculptures: Dane Budimlija
Music selection: Vladislav Lazarević
Sound design: Goran Radetić
Lights design: Nenad Vasić
The duration of the play is 75 minutes.
The play ‘Anarchy in Bavaria’ produced after the early drama by Rainer W. Fassbinder, a famous German director, from a perspective of establishing a revolutionary coup, re-examines the contemporary society of ‘abundance and violence’ and production of fear, narcissism, xenophobia, the escape from freedom into a consumer hysteria, as well as the mechanisms of turning any kind of rebellion into a mass-media industry product for consumers (lifestyle).
Rainer Werner Fassbinder (1945-1982)
Born in Bavaria, Fassbinder started his professional career in 1968 at the Munich Theatre, but he made fame as a film director. He led the Anti-Theater and Theatre of Action in Munich for several years, where the play Anarchy in Bavaria was staged for the first time (1967). Fassbinder’s films offer an insight into post-war Germany or they deal with more recent German history, examine the exploitation of women, immigrants, people from the social margins and sexual outcasts. The characters in his films are usually victims, condemned to despair and suffering because of the hypocrisy of the society. Fassbinder’s opus is provocative and controversial, and he was frequently criticised for insisting on misery, suffering and social passivity of his characters. His doctrinaire political attitude, which Richard Dyer saw as ‘leftist melancholy’, seems very naive today. Fassbinder’s lasting value lies in his re-examination of contemporary society, dealing with issues of nowadays as well as with historical issues of Europe after the war. Fassbinder and his achievements are frequently compared to those of film creators of the post-war period such as Pier Paolo Pazolini and Derek Jarman.
The co-production realised by the Student Cultural Centre of Belgrade and magazine Pop Cult is the first production of Fassbinder’s text Anarchy in Bavaria on theatre stages of Serbia.
‘What we cannot change, we can at least observe and describe.’
Anarchy in Bavaria is aimed against a ‘hasty’ revolution, advocating ‘long run’, a revolution primarily changing the conscience of revolutionaries and citizens. Changes on the outside are not enough to change anything essential in the conscience of the West which is fixated on submission and authority.
Fassbinder’s Germany, whose contemporary he was, cold-war and divided with ‘the red’ on one side and ‘the black’ on the other exists no more. What has survived is his basic idea about the possibility of a sudden and radical revolution as well as the consequences it brings about. Revolution, coup or anarchy always represents a social experiment, and as any other experiment it frequently escapes control and yields uncertain results.
From the Anti-Theater Manifesto