PANDUR.THEATERS is an international theatre organisation, created in 2002 by the director Tomaž Pandur and dramaturg Livia Pandur. The non-institutional theatre network Pandur.Theaters produces international theatre projects in co-operation with theatre with theatre festivals, theatres and other production and co-production partners. Blending various forms of artistic expression into a unique stage language, Pandur.Theatres gathers artists from different parts of the world in a multi-cultural and multilingual theatre laboratory. The productions of Pandur.Theaters are the essence of the theatre for the new millennium, ‘a theatre, which connects, inspires, awakens and transforms, opens the channels for the currents of new mental and emotional patterns. In the cultural and political sense, Pandur.Theatres is a creative space with no borders’, a model for the European theatre of the future.
War and Peace, this panoramic epic history, thus ceases to be only a great testimony of an enormous historical change and becomes the material of our current, highly topical questions. Tolstoy’s historical skepticism and pessimism, his groundless fervent anti-Masonic attitude, his harrowingly naive faith in people power, a faith that completely marginalizes the role of the individual, these are all distant and meaningless notions to us today, unnecessary for the understanding of War and Peace. Tolstoy was fanatically obsessed with the idea of a rational and moral society and quite convinced that it was possible to transform it by means of a non-violent moral revolution, so that even Gandhi himself said later that his idea of non-violent resistance had arisen from his reading Tolstoy.
“In the very beginning there is no past from which we descend. There is only the future which has to be completed with patient endurance of the present. And that is my story. Euripides´ story is his and does not belong to me, it speaks of some other woman. In view of Jason … maybe … This memory resembles him, Jason on the ship-deck … Although in my memory he is much more beautiful. When my soul has summoned him from the past, he became more beautiful, because of the light with which it enlightened him. „I know you stranger“, he said, „because I saw you once in my heart“. I was too touched by the word „heart“, and never noticed he called me a „stranger“. But that is what I always was, for him and for others.”
of theatre time. 100 minutes that devour life. 100 minutes of Dostoevski’s heroes snatched from the safety of the novel, who with all impetuosity, unforgiving and total existential endeavour follow the intellectual, moral – ethic, philosophical and religious – mystical frame of the Brothers Karamazov. In the search for the origins of the new Europe, borderline situations of European history, decipherment of its signs and matrixes pitched in the thought code of the icon and the hatchet according to the principle of this basic duality, it composes the unique arithmetic of passion and the personal nervous system of the dramaturgic duality of good and evil, the crime and the victim.
The age of idols. The new Babylon of mental flaws. These images are archaic projections, preceding words and morals. You see the Imperial Theatre of Sex, the supreme Temple of the western eye. The pagan past, never dead, burns again in our mystic hierarchies of stardom.
A pre-French Revolution salon. The entire history of Western world in a shelter in the eve of the cataclysm of the Great Change. Outside, the world is cracking across the heavy stitches, forged through millenniums. Inside, silk is cracking under the touches of fear and beauty. Soon nothing will ever be the same. The Outside and the Inside will definitely become two remote Universes, while the human existence will be transformed into an eternal journey in the quest for their connection point.
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