I'm actually not into festivals, in the sense that I suspect these days they are mostly city-branding project which have taken the concept far away from the idea of anything festive. Faki is different. For one thing, this is its 22nd year - a long lifespan for a festival, and one which seems to exist as much as anything else due to its inevitability, i.e as a simple routine. 'Should we do another festival?' never seems to be a question, and hasn't been for 21 years. It's a bit like asking 'should I have a birthday this year?' - you will have one anyway, even if you're in denial about it.
As the festival carries on, a diversity of approaches to the festival theme of physical theatre is revealing itself in the curation of Nathko Jurdana. The kaleidoscope is mirrored in the responses to the performances themselves, many of which are open to multiple readings. Physical theatre thus becomes a rich site for discussion and interpretation, bringing alive the graffiti-soaked walls of the former pharmaceutical factory Medika with discussions on power, impulse, and desire.
Two shows to write on today - the playful performance experience Peep Diary and the earnest tragedy of Anne Frank as told in Hey Kitty. Both are exceptional approaches to the form, with different advantages. As we move into the last real day of the festival, with Sunday featuring only a panel discussion with myself and Belgrade-based critic Radmila Djurica and Jurdana, the accumulation of ideas, meetings, and expressions reaches breaking point, and in doing so forms a complete picture of the festival - a significant cultural event and a resounding success by any measure.
Peep Diary
It's a cynical audience at Faki. People here are beat-up and jaded, in the best possible way. It's a feeling that pervades the building, too, and it also infects audiences. I've seen the most naive, beautiful offers in the theatre fall flat on their face here, simply becuase they are met with the full force of Faki's powerful, demonstrative 'meh'.
There are definitely times when this quality is really great - it has its downside, however. So it was that a young child and I were (with a few exceptions) pretty much the only spectators to really take up the offer of Peep Diary, an immersive spectacle where the audience controls the light with their cellphone torch.
From this simple* but ingenious frame, a delightful spectacle blooms. The three performers (Alice Monti, Fabio Castello, and choreographer Elena Copelli) begin in crouched positions behind frames covered in bubble-wrap, chanting softly. After being offered instructions, the audience enters the space to find them. Soon, they emerge from their cocoons, and begin to play with the lights, the space, and each other.
As the festival carries on, a diversity of approaches to the festival theme of physical theatre is revealing itself in the curation of Nathko Jurdana. The kaleidoscope is mirrored in the responses to the performances themselves, many of which are open to multiple readings. Physical theatre thus becomes a rich site for discussion and interpretation, bringing alive the graffiti-soaked walls of the former pharmaceutical factory Medika with discussions on power, impulse, and desire.
Two shows to write on today - the playful performance experience Peep Diary and the earnest tragedy of Anne Frank as told in Hey Kitty. Both are exceptional approaches to the form, with different advantages. As we move into the last real day of the festival, with Sunday featuring only a panel discussion with myself and Belgrade-based critic Radmila Djurica and Jurdana, the accumulation of ideas, meetings, and expressions reaches breaking point, and in doing so forms a complete picture of the festival - a significant cultural event and a resounding success by any measure.
Peep Diary
It's a cynical audience at Faki. People here are beat-up and jaded, in the best possible way. It's a feeling that pervades the building, too, and it also infects audiences. I've seen the most naive, beautiful offers in the theatre fall flat on their face here, simply becuase they are met with the full force of Faki's powerful, demonstrative 'meh'.
There are definitely times when this quality is really great - it has its downside, however. So it was that a young child and I were (with a few exceptions) pretty much the only spectators to really take up the offer of Peep Diary, an immersive spectacle where the audience controls the light with their cellphone torch.
From this simple* but ingenious frame, a delightful spectacle blooms. The three performers (Alice Monti, Fabio Castello, and choreographer Elena Copelli) begin in crouched positions behind frames covered in bubble-wrap, chanting softly. After being offered instructions, the audience enters the space to find them. Soon, they emerge from their cocoons, and begin to play with the lights, the space, and each other.
