Zadovoljstva
Prvi pogled s prozora jutrom
Pronađena stara knjiga
Oduševljena lica
Snijeg, mijena godišnjih doba
Novine
Pas
Dijalektika
Tuširati se, plivati
Stara glazba
Udobne cipele
Shvaćati
Nova glazba
Pisati, saditi
Putovati
Pjevati
Biti dobrostiv.
Bertolt Brecht
OSTAVŠTINA
Jebi im mater, ali ispod glasa,
suptilno, onako kako su te učile,
pristojno i sputano i besprijekorno čisto,
vječno pasivno agresivno.
Neka sva prašina odgmiže pod ormare
neka se plijesan sakrije i broji do deset
a ti se, kao i obično,
kao i one,
pretvaraj da nema nečistog,
da nema mučnog,
da nema nasilnog,
da nema konfliktnog.
Da nema tebe.
Julija Savić
Naša nevolja je što smo pod velikim pritiskom sabijeni u narod. Mi smo narod – ekspres lonac. Ventil ekspres lonca je naše nebo. Mi, dragi Aprcoviću, tradicionalno živimo pod pritiskom od sedam atmosfera. Pritisak je deo našeg identiteta. Naša istorija je povest o periodičnim puštanjima narodne pare ‘radi oduška’ i povremenim eksplozijama narodnog ekspres lonca.“ „Nisam o tome razmišljao“, rekao je Aprcović. „Ima nečeg u tome. Zaista, kad bolje razmislim, ne sećam se razdoblja, bar ne dužih i bar ne vrednih pomena, u kojima nacionalni pritisak nije bio povišen. Stalno neki mitinzi, stalno neki protestni skupovi ili skupovi podrške, uvek neke barikade, uvek neke parade, uvek neki mimohodi. Ako slučajno nema rata, onda se snimaju filmovi o ratu. Uvek tako. Uvek neka uzbuna. Uvek neka povišena borbena gotovost!
Svetislav Basara, Basara’s “Mein Kampf”
The basis of drama is … is the struggle of the hero towards a specific goal at the end of which he realizes that what kept him from it was, in the lesser drama, civilization and, in the great drama, the discovery of something that he did not set out to discover but which can be seen retrospectively as inevitable. The example Aristotle uses, of course, is Oedipus.
David Mamet
During a party, Luis Buñuel, seduced by Carrington’s beauty and emboldened by the notion that she had transcended all bourgeois morality, proposed (with his characteristic bluntness) that she become his mistress. Without even waiting for her answer, he gave her the key to the secret studio that he used as a love nest and told her to meet him at three o’clock the next afternoon. Early the next morning, Leonora went to visit the place alone. She found it tasteless: It looked exactly like a motel room. Taking advantage of the fact that she was in her menstrual period, she covered her hands with blood and used them to make bloody handprints all over the walls in order to provide a bit of decoration for that anonymous, impersonal room. Buñuel never spoke to her again.
Alejandro Jodorowsky, The Spiritual Journey of Alejandro Jodorowsky: The Creator of El Topo
TEKA 