Who’s that man? That man, of course, is me. But at the same time it could be some person whose last name is Baryshnikov. I enter the space in which I perhaps once resided. I don’t allude to any particular historical period, although it is evident that my suitcase is worn. And the alarm clock is quaint, old. There are, thus, material things from the past. The show is not a story of my asso- ciation with Brodsky. I would say that I see that here more as the spirit of a po- et in conversation, both directly and be- hind the scenes. It is interesting that the show will not be performed in Russia becau- se Baryshnikov does not cross the border of his homeland, and nor did Joseph Brodsky. But do you enjoy coming back to Serbia? Yes. And I do so with great pleasure. I nurture incredible respect and admira- tion for the Belgrade Dance Festival. And, if, Aja Jung calls me, I’ll drop everything and come. How did the Brodsky/Baryshnikov show emerge? Hermanis is a demanding director. We spent several days in talks in Italy, then in Zurich, where he was preparing a show. We read Joseph’s poems to each other. We read all of them, sometimes I’d read, sometimes he would. And gradually we made our selection. The final choice is his, and he maintains the same princi- ple in all his shows: if the likelihood exists that at least one person in the auditorium does not understand what is happening on the stage, he ejects it. He wants every- one to be able to understand his work. What kind of music can be heard in the show? There is no music in this show. Just dry text plays. And a choir of crickets. A real choir of crickets was recorded, with a computer used afterwards to create some ulterior, artificial sound. We don’t even have choreographers. We decided we did not need them, because there is no dance, although there is movement. It is more scenic and intuitive than cho- reographically determined. This piece is much more than a wor- king engagement for you? It would be a pleasure for me to per- form this show in an empty hall. There’s some kind of spiritual chord that flashes and brings excitement. I remember Jo- seph reading these poems - I still have his voice on an old tape recorder with cassettes. There’s a moment when the sound of his voice is switched on... a very delicately selected moment. In a strange way, a longing emerges for that which
KO JE BARIŠNJIKOV Rođen je 1948. u Rigi. Nakon spek- takularne karijere u lenjingradskom Kirov baletu , došao je u Njujork, gde je ubrzo postao prvak Američkog baletskog teatra (ABT). Pet godi- na kasnije imenovan je za direkto- ra. Međutim, 2005. pokrenuo je svoj Baryshnikov Arts Center u Njujor- ku, kreativni prostor za predstavlja- nje i negovanje multidisciplinarnih umetnika iz celog sveta. Barišnji- kov je i glumac, bio je nominovan za Oskara, a širu popularnost ste- kao je i ulogom u popularnoj TV se- riji Seks i grad . Takođe, priznat je i kao fotograf.
Ko je taj čovek? – To sam, naravno, ja. Ali u isto vreme može biti i neka persona koja se preziva Barišnjikov. Ulazim u pro- stor, u kojem sam, može biti, nekada i boravio. Ne aludiram ni na jedno kon- kretno istorijsko vreme, mada se vidi da mi je kofer izlizan. I budilnik je ču- dan, stari. Postoje, dakle, materijalne stvari iz prošlosti. Predstava nije priča o mom druženju s Brodskim. Ja to ov- de, reklo bi se, pre prizivam duh pesni- ka na razgovor. I direktno, i iza kulisa. Zanimljivo je da se komad neće igrati u Rusiji jer Barišnjikov ne prelazi granicu otadžbine. Kao što je nije prešao ni Josif Brod- ski. A lepo je to što se rado vra- ćate u Srbiju? – Da. I to sa velikim zadovoljstvom. Gajim neverovatno poštovanje i div- ljenje prema Beogradskom festivalu igre. I ako me Aja Jung pozove, osta- viću sve i doći ću.
Kako je nastao komad „Brodski/ Barišnjikov“? – Hermanis je zahtevan režiser. Nekoliko dana smo proveli u razgo- vorima u Italiji, potom u Cirihu, gde je on pripremao predstavu. Čitali smo jedan drugom Josifove pesme. Čita- li smo sve redom, ponekad bih čitao ja, ponekad on. I postepeno smo pra- vili odabir. Konačan izbor je njegov, a on se drži istog principa u svim pred- stavama: ako postoji verovatnoća da makar jedan čovek u sali ne razume o čemu se radi na sceni, on to izbacu- je. On želi da svi mogu da razumeju njegovo delo. Kakva se muzika čuje u pred- stavi? – Muzike u predstavi nema. Ide samo suv tekst. I hor zrikavaca. Sni- mljen je hor pravih popaca, a pomoću računara stvoren je nekakav onostra- ni, veštački zvuk. Nemamo ni koreo- grafa. Odlučili smo da nam nije potre-
Barišnjikov u ulozi Apola, 1988. Baryshnikov dances in the role of “Apollo”, 1988
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