“Why? I do it for the sake of my father. Who is he? An engineer at Litostroj who retired when I was 13. A member of the Communist Party of Yugoslavia. A believer who hung a large picture of Josip Broz Tito in our living room. (And took it off immediately after the disintegration of Yugoslavia). A man who decided one day to stop brushing his teeth – and lost nearly all of them. His name is Vukosav Živković. He is neither a celebrity nor distinguished by any special skills or acknowledgements. He is my father and that’s enough. A father is simply always here. He is always present one way or another. Whether I am aware of him or not.” (Nataša Živković)
The performance For Father’s Sake starts where First Love’s Second Chance (Getting Over Heintje) ended, i.e. with mother leaving the stage of Duša Počkaj Hall. Father is present on stage only through his absence, but his absence is a lot more binding than actual physical presence. The project is a unique performative homage to her father: she searches for him in the voice and body, in a command, in a desire, in absence.
