Artist: Damir Bartol Indoš and Tanja Vrvilo
Perforations 2011

When, in 1977, Guy Debord and his partner Alice Becker-Ho began to play their version of chess based on Von Clausewitz’s theory of warfare and the specific campaigns of Napoleon, the world was a different place than it is today. Debord’s patented ‘Kriegspiel’ did not became more popular than chess, though at first it was also expected to overtake Monopoly, but in small social circles, is still considered a fascinating combination of game and theoretical insights. Each match of this game is a kind of performance – something that Damir Bartol Indoš knows very well. In this new production from The House of Extreme Musical Theatre, which borrows the name of Debord’s invention, Indoš and Tanja Vrvilo repeat 55 moves in a game from 1977, and this consecration of the father of society of spectacle leads to an anti-spectacle in their distinctive style. Accompanied by unrestrained electronic music by Helge Hinteregger, the performers do battle with models and words, pronouncing Latin and Sanskrit palindromes.

A living legend of Croatian alternative theatre, Damir Bartol Indoš has, for a few decades already, been a truly unique phenomenon not only on the domestic performance scene. Looking to the horizons of the philosophy and origins of performance, he builds his performance strategy around impossibility of political engagement. Regardless of whether they are primarily movement, gesture, music or text, his works are always both games, and at the same time, far more serious.

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