We live in a time in which the words tolerance osti. Ali ne samo za one čije su ruke macbethovski obojene ovakvim zločinima, već i za nas u čijim je rukama razumijevanje prošlosti, kao i utemeljenje nove povijesti. and empathy are met everywhere. Paradoxically there are increasing numbers of wars and conflicts, and the distancing of individuals from other or different people is ever greater, the gap ever deeper. How is this possible, has history, that well-known teacher, taught us nothing?
...read more
We live in a time in which the words tolerance osti. Ali ne samo za one čije su ruke macbethovski obojene ovakvim zločinima, već i za nas u čijim je rukama razumijevanje prošlosti, kao i utemeljenje nove povijesti. and empathy are met everywhere. Paradoxically there are increasing numbers of wars and conflicts, and the distancing of individuals from other or different people is ever greater, the gap ever deeper. How is this possible, has history, that well-known teacher, taught us nothing?
It seems that there is no longer a person who has not been hit by the events that surround us. Sometimes just a day is enough for everything to be turned upside down.
The longest day in the year was when in World War II the Lebović-Zajdner family was taken away to the concentration camps in Auschwitz and Dachau. From this horrific maelstrom only three members of this family returned. One of them was the grandfather of Isidora Spasić.
These memories of a crime show the need for the loss to be understood and made good, and also to show that the sacrifice was not mere news, number, statistical information. Incidentally, in Auschwitz, Isidora Spasić’s grandfather was “A.12750”.
A study of the intimate family story gave birth to the work Longest Day in the Year, a collage composed of fragments of memories, consisting of photographs and written accounts. Through a personal experience, universal answers to questions about the concept of crime are sought. Are its consequences handed down from generation to generation? Does crime fade over the course of time? What kind of trace has been left on people directly or indirectly connected with it? Is there a condign penalty, and if so, does it provide any consolation?
Finally, the question of responsibility is raised. Not only for those whose hands are stained incarnadine Macbeth-like with such crimes, but for us, in whose hands are the understanding of the past and the foundation of a new history.
* The work was created in Italy, as a result of which the original captions are in Italian.
production: Omen Theatre
