THE INSPECTOR GENERAL


Bosnia, as well as the other countries on the Balkans, is full of paradoxes. The one that strikes me the most is the constant sociological and cultural regression in spite of all the efforts for “transition” in modern “European” society.

This regression is manifested by the disappearance of the middle class and the appearance of the ever-growing fissure between the new riche eminence grise and the working class, which is becoming poorer. (...) The class at the bottom, in this case the greater part of the nation, is deprived of the opportunity to state its attitude. They can only be speechless spectators of their infirmity and deterioration.

This sense of infirmity is what the performance wants to suggest.

(...) Avoiding the established principles of “a costumed inspector and a round bellied mayor...”, the dramaturge and I set off to update the material and purify it from the ballast of the text itself and of its rich tradition in the theaters throughout the world.

Thus, we’ve adjusted the material to my concept of the uncompromising reflection of the cruel reality. I have tried to make directness and simplicity look theatrical and allegorical. (...)