“1981” directed by Tomi Janežič at Novi Sad Theatre

When the premiere performance of the play 1981, directed by Tomi Janežič, began at the Novi Sad Theatre/Újvidéki Színház, time stood still. A milky way of new theatrical movements opened up. The piece, which is the result of the workshop-like, laboratory work of the actors and the director, brings the abstract into the concrete, ravishingly orbiting the city of Novi Sad. The epicentre is the year 1981. However, numerous concentric circles radiate outward, reflecting the changes of generations and the rebirth of people within this chronotope. Numerous confluences of happy and unfortunate circumstances unfold before the audience; beautiful everyday life is spun, and human beings dissolve in plain sight, revealing the elemental in a person and the rawness of the human soul.

The gradually researching and group-questioning performance, which equally concerns the theatre and the auditorium, shows the ironies of faith, cases that turn out to be necessities, shifts of day and night, generations, systems, wigs, mise-en-scène solutions and film frames. The absolute theatrical soul and distinctive collective artistic consciousness stood entirely on the small stage of the Novi Sad Theatre, in the scenography of Branko Hojnik, in the reconstruction of the former celebrations hall of the Hotel Novi Sad (built in the same year 1981 as SPENS, the Bridge of Freedom and the Serbian National Theatre). This era was one of prosperity for both the city and the entire country—the zenith of development that began long ago, following the previous demolition of everything, after which everything would suddenly collapse again, in order to build anew. The city has a soul, much like every individual. It is born, develops, dies, and is reborn. Then there was a fierce collision of completely different shapes and dimensions of reality, cars and boats, trailers and tents, opposites in styles and colours of costumes, contrasts in the rhythms of disco and tap music, and diversity in melodies from cassettes and radio receivers.

1981 directed by Tomi Janežič at Novi Sad Theatre/Újvidéki Színház

The multi-layered directorial perspectives and acting performances are built on the basis of collective memory, placing on the stage wall – a colourful calendar and a picture of a leading statesman, on the dining table – a Teflon pan and smuggled clothes from Italy, in front of the audience – a group portrait of a Hungarian-Serbian family whose members have the same names like the actors playing in the play. The joyous speed of movement in the play is Terezia Figura, whose childhood is already reflected in the inscription on the tombstone, birth – dying – rebirth in descendants. Silvia Križan has a lethargic and sad expression in the piece. The synthesis, the symbiosis of contrasts, and the union of the opposites of the two sisters are unbridled, roaring laughter and incessant, bitter tears. A big, harmless look, a harsh seriousness and a slow walk, which is immediately followed by the joker’s smile of the inimitable Aron Balaž, who strips each moment of his stage appearance with his supernatural artistic skill and sensibility. The definition of ease of acting, artistic sincerity and immediacy is expressed by Boris Isaković in his acting. Acting tandem Balaž – Isaković, the collaborative scenes of these bards are such that you will laugh to tears. The subtlety of Jasna Đuričić will realize superb transformations. The strong technique and gentle expression of Emina Elor stand on the stage, along with the soft voice, fierce musical taste, and talent of Bence Salai. The two create a powerful stage marriage dynamic. The unpredictability of character and powerful acrobatics will give birth to Arpad Mesaroš. Dream worlds will be played by Gabriela Crnković. The hidden nature of Agota Ferenc, the youthful spirit of Gabor Pongo, the facial acting expression of Daniel Gomboš, the surprising dancing skill of Daniel Husta, and the meditative power of stillness of Deneš Debrei, all these and all of them are the creators of a rapturous, collective, fictitious creation based on the deepest truths about the world and people, about love and reciprocity.

1981 directed by Tomi Janežič at Novi Sad Theatre/Újvidéki Színház

The director himself sits among the spectators, unobtrusively, emotionally and intellectually leading the play. It emanates pure beauty and pure goodness hidden behind banal situations. He builds bridges—even broken ones—based on an inner artistic instinct, connecting people and worlds. Heals with meaning. He is the master of light, although the play is performed under full lights in the auditorium the entire time. His actors directly address the audience and correspond in the first and third person. As if they were performing songs. The director listens to Brecht, and Jerzy Grotowski, while he evokes a new theatre age with his ideas.

Janežič stood out from moralizing, political frameworks, leading roles, empty stories and space. The course of causes and consequences does not affect the actors, they are independent, and firm in their reactions, because each of them finds, deep within themselves, their character. Joy and sadness are mixed through stage sequences from beginning to end. The work and the body communicate and the extreme differences begin to resemble each other until they merge into one powerful theatrical whole. And the world is again as it was and how it is. Beautiful. In direction.

1981 directed by Tomi Janežič at Novi Sad Theatre/Újvidéki Színház

Ninety-nine red balloons rise high as we sink, all together, into the deep waters of life today. Time runs fast like on a treadmill. However, it seems as if there is no tomorrow when Donatella Rettore and Olivia Newton-John are heard in the background. The suit is the same for the wedding and the funeral, the collars are imported, the sneakers and glasses are for the mother to see her long-abandoned son. Everything is the costume design of Marina Sremac. As hours from the present and years from the past pass, the scene is deeper and more substantial, its gravitational field of meaning is so strong that it draws everything into itself. Through a small window with red velvet curtains, you can see the bright future of the new theatre, which began with this play.