Correcting Rhythm 2017 /// HNK Zagreb, Croatia

Someone makes the decision,
And someone suffers the consequences of the made decision.
Someone attacks to correct the rhythm,
And someone allows to be attacked correct the rhythm.

– Goran Ferčec: Correcting Rhythm

Correcting Rhythm theatre production rooted in crisis of cognitive framework the dramatic situation, the explosion of analysis, observation and presentation in terms of suspended causality. A disrupted rhythm is precondition the rerun of analytical obsession. Everything is there, everything in totality, all proportions in respects, and nothing emerges out of anything. The rhythm of body with that rhythm of the society with these rhythm of planet – perceived as arrhythmia. Relative events. The explosion happened. The murder happened. How do we show what we encountered here? What can we say what was there before? What happened next? How do we show it? How?

… we have to do with a temporal form where I await myself in the future, where I ‘make an appointment with myself on the other side of that hour, of that day, or of that month.’ Anguish is the fear of not finding myself at that appointment, of no longer even wishing to bring myself there.

– Jean-Paul Sartre

Forty years after Pavao Pavličić wrote his short story The Good Spirit of Zagreb we return to the topic of a man’s obsession with the rhythm of a city, the rhythm of crimes, in Goran Ferčec’s text Correcting Rhythm.

The production sets off with an inquiry of the very building of the Croatian National Theatre and the inner organization of a space that becomes an observatory of the square below it, the city, territory and cosmos that surround it. The seldom-used Sound Studio transforms into a cabinet that houses a collection of wondrous apparatuses and evidence of an event the production traces.


The production gathers an exceptional team of collaborators: the writer Goran Ferčec as the author of its text, visual artists Marko Tadić as set designer and Silvio Vujičić as costume designer, Austrian composer Radu Malfatti and Alen Sinkauz and Nenad Sinkauz as authors of music and sound. The artistic team of the production is also comprised of director Goran Sergej Pristaš, choreographer Nikolina Pristaš, dramaturgs Ivana IvkovićTomislav Medak and Diana Meheik.

Performed by BADco. members Ana Kreitmeyer and Nikolina Pristaš and by members of the Drama of the Croatian National Theatre Livio BadurinaMislav Čavajda and Duško Gojić, with music performed by member of the orchestra of the Opera of the Croatian National Theatre Ivan Bošnjak.


Correcting Rhythm is the culmination of the year-long project Nothing Inert in the World – the observatory of everyday rhythms, that BADco performance collective developed during 2017 in collaboration with visual artist Marko Tadić, Croatian National Theatre, Dubrovnik Summer Festival, Vladimir Bužančić Gallery, Institute Tomislav Gotovac and Croatian Television.

The project explores rhythmo-analytical research – conducted according to the writing of Henri Lefebvre – in several dispositives of watching: in the theatre, in the gallery, in public space and in the TV studio, and presents insights in formats of the theatre production Correcting Rhythm, the exhibition by BADco. and Marko Tadić Dispositives of Watching, the reconstruction of Tomislav Gotovac’s performance in public space Adapting to objects on Marshal Tito Square – Marshal Tito Square I love you! on the occasion of its twentieth anniversary and the TV performance Is there life in the TV studio?.

The research and production work on this series of works has been contextualized through the presentations of artists titled How Work Works and the symposium The Turn organized at the Croatian National Theatre and including a number of artists and theoreticians from Croatia and abroad: Ramsay Burt, Bojana Cvejić, Anders Paulin, Una Bauer, Nataša Govedić, Adrian Pezdric, Gregor Kamnikar, Mila Pavićević, Sergiu Matis, Radu Malfatti and a number of young students of dance and dramaturgy who joined us in workshop during the production.