The opening scene of this promenade
piece may be set in the Israeli-occupied territories, but the sight of
a military-ordered bulldozer ripping through a family home will have
resonated with many of the open-air audience in Derry last weekend.
This will be heightened by the fact that the performance took place in
a former military and naval base on the east, predominantly Protestant
bank of the River Foyle, yards away from one end of the new Peace
Bridge linking the two halves of this city long so polarised that its
inhabitants don’t even agree on its name. Bosnian director Haris
Pasovic, whose work dwells on identity, division and tribalism, has
found a fitting location for his first work to premiere in the British
Isles, as part of the UK City of Culture programme that has revitalised
Derry~Londonderry’s artistic sense of itself.
This is not an entertaining evening. Scene of oppression followed scene
in the main square of Ebrington: we saw the murder of Victor Jara in
Chile, Henry Kissinger discussing the destabilisation of Cambodia, and
of course Bloody Sunday, the Holocaust and the strife in the former
Yugoslavia. In an outdoor space of this scale, there is no need to
suggest an impression of brutal action: we could be shown the bulldozer
quite literally, or the bus taking away all the men of a community –
only the National Stadium in Santiago seemed too big a space to
re-create. The international cast is augmented by local community
choirs from each location the touring production will visit.
These scenes are interspersed with, and punctuated by, commentaries
from the figure whose writings give the work its title, Bertrand
Russell. Some of the Russell character’s lines are taken directly from
his writings, some paraphrased or updated in Pasovic’s text. Nor is
there any attempt to portray Russell with visual accuracy: he is played
with fierce conviction by young Sierra Leonean-Briton Cornelius
Macarthy. It is unremitting stuff, perhaps too much so for over two
hours standing in a chill autumn that has begun too early… although
such unpleasantness for an audience pales beside what is recounted
every minute. The piece will return in late October to Belfast for that
city’s festival, but its intervening tour takes it to Serbia, Croatia,
Slovenia and first, this weekend, to another bridge heavy with
historical significance: the Old Bridge in Mostar in
Bosnia-Herzegovina, now rebuilt after its destruction by the shells of
Croat forces in 1993.
Written for the Financial
Times.