ALEGORIJE MESECEV – ATRIBUTI

The performance includes the oscillations created by the months within the framework of images and the vortex of relationships to nature and gifts. The project creates a layering of space in the way that the landscape changes over time (eg: A. P. Čehov). Individual months will be represented on stage by images from the active, festive, or working cycle with attributes and iconography of personification types of months from a series of literary and artistic images.
The project puts the body in the center of the action - wrapped in the mood of calendar "aberrations" and changes; in the intersection, every day with calendar tasks is interwoven between vita activa and vita contemplativa. Accents represent allegories of the seasons with their attributes. The protagonists build a story on stage, consisting of the remnants of time, thus creating worlds in which time passes more slowly (the fairy tale of parks and gardens). The tension between daily tasks and time t. i. rest and travel create gaps between the extremes of physical and psychological existence. The protagonists borrow the attributes of the seasons and extract a rich treasury of meanings of individual months: generosity in August, joy in March, carefreeness, diligence in September hope at sowing in October, and rejoicing in cold December. "The sun travels through twelve stars" (Arat) and thus the protagonists also travel in many personifications through the months: "He goes along the path dressed in a blue cloak and carries a waterfowl in his hand" is just one of the many images for February. The visual image of the performance is embedded in the scheme of the months also in relation to the journey of light (July turns away from the light of the sun - the day has begun to shorten; September divides the hours into equal parts - the equinox; August is a blazing heat that quenches thirst with water and fans with peacock feather fans). The concept of the natural order of the seasons began to change due to climate change, thereby shifting the structure of the world in which we live. Certainty wobbled on its axis. She started trembling at the resulting cracks in the structure of the seasons (villages, cities, forests, the wealth of fauna and flora), the image of the world and the months in them - "no month has in its natural and working image an unchanging space for all places and all times [. ..]" (Nataša Golob, Twelve Months, 23). The space of the month is variable and depends on the climate and location, but the time when spring is really spring and when winter is winter is priceless.