The sources for the proposed performance Fafarikul, are two books by writer and translator Đurđica Čilić, Fafarikul and The New End. These are books that mix anecdotes, memories, the ends and the beginnings of a life, and grabbing the loose ends of another life.
Fafarikul is a collection of a hundred stories, anecdotes and memories, a collection of errors, fears, defects, joys and detours that lead to the right path, details that seem unimportant but permanently and significantly engraved in our memory. It’s a collection of
memories of childhood, growing-up, and the moment we live in, of small deaths and great joys - about everything that’s present in one life that we recognize unrelated or connected to a geographical place. The New End is a novel of a fragmented composition that can be interpreted also as a collection of stories. It can also be considered as a continuation of Fafarikul, in which one of the many narrative lines which dominates is the relationship between the mother and the narrator. The author in a simple, warm, almost melancholy manner evokes the relationship with her mother, from the awareness of her illness until the inevitable end, and by writing down her story, she cathartically comes to terms with the end, because her mother continues to live in the stories. The author successfully builds a large story based on small, incidental life details. Through Fafarikul, the narrator leads us through her story and biography, from Polish poets to a student campus
on Sava River, a small Bosnian village, border crossings, sevdah and Pips Chips & Videoclips, and it’s intended as a performative blend of all these small and big stories and, on the other side of the spectrum, a post-dramatic music band. In this blend, the selection of stories, that is, their dramatization, follows the geographical, cultural and identity layers of the proposed text, while incorporating a drama libretto for a band that consists of the lead vocalist and three instrumental-vocal performers. The director of this performance, Ivan Planinić, opens the door to new and experimental forms in smaller theatre venues at Zagreb’s CNT.