Accompanied by one musician, Hasija Borić tackles the slippery terrain with great skill, a terrain over which more ink than blood has been shed, and still we don't know enough – the Bosnian killings, the political collapse and all kinds of fascist movements from 1992-1996 up to today. Within the show of just over an hour, which is based on the hyper-satirical texture of the Split-based magazine, Feral Tribune, which saw its beginnings as a feuilleton of Slobodna Dalmacija, Boric transforms herself into over 30 characters, and all the time dances on the blade-sharp border-line between political cabaret, which provokes a hysterical laugh at most, a bitter lump, dull tears, obscure cold and corrosive silence. Feral, which for the actress stands for the unquestionable 'intellectual and moral life' races through its silky dramaturgic stampede, settles between the 'former' and 'now', but above all it evokes the disappointed, robbed and wounded population deeply, and without being emotional. The deformed creatures of political old times are immanent to all present-day fascists; national zeal and killer blindness find their place in the present-day audience-member sitting next to you. There is no way out of the performance; every comment has no choice but to be political. Moreover, the mere presence of The Hasija Borić Travelling Theatre in Ljubljana translates into inexorable critique of our environment, which enjoys lamenting the 'hard times' so much, yet has not one political cabaret worthy of its mission.
Adapted from texts by the editors of Feral Tribune: Viktor Ivancic, Predrag Lucic in Boris Dezulovic.
("Dear to God, and not unpleasant to the Devil.")
