Zelo slojen, močan in vzvišeni in poln etosa.

A groundbreaking performance titled TO=TO by the Fifth Ensemble, directed by Goran Sergej Pristaš and Nikolina Pristaš, unfolded during the Rijeka Summer Nights festival. The production, inspired by the Danish writer Inger Christensen’s poem To, delves into themes of creation, equality, and the collective shaping of space. The play challenges traditional hierarchies and predefined roles within theater, emphasizing instead the process of co-creation and mutual attention among participants. The performance builds upon the ensemble's earlier work, Four, Five, Six Seasons, which explored time not as a linear progression but as a shared experience shaped by community, rhythm, and emotional resonance. TO=TO continues this philosophical inquiry, focusing on the act of creation itself, worlds, language, community, and the very nature of theater. It questions whether theater should rest on outcomes or on the ongoing process of interaction and transformation. Inspired by Christensen’s poem, the piece centers around the indefinite pronoun “to,” which refers to the complexity and multiplicity of existence. Christensen’s work suggests that the world is not singular but layered, with variations and contradictions inherent to its structure. This ambiguity mirrors the ensemble’s approach, which avoids fixed interpretations and instead invites audiences to engage directly with the unfolding narrative. The title TO=TO serves as a dual reference: both to the original text and to the specific context of the performance. By placing an equal sign between two identical terms, the production underscores the value of what exists without needing further validation or explanation. As one of the actors noted, she never felt more than enough, a sentiment that encapsulates the ensemble’s ethos. Their presence on stage is not about proving themselves but about being present, fully and equally. The production also reflects on societal structures and individual agency, questioning how labels are imposed based on perceived utility. In the context of theater, this raises broader concerns about representation and inclusivity. The Fifth Ensemble, originally formed under the People’s Theatre program, has long grappled with these issues. Its current exploration of equality through the lens of TO=TO becomes a question of whether true theatrical equality can ever be achieved, or if it remains an aspiration. Christensen’s poem also touches on the resilience of life amidst social structures and paradoxes. The production echoes this theme, suggesting that while the world was created by divine hands, it is left to human beings to shape and redefine. The space and time given to humanity are not static but open-ended, inviting continuous reinterpretation and transformation. This openness aligns with the ensemble’s commitment to diversity and the fluidity of meaning. Through its layered narrative and collaborative spirit, TO=TO offers a profound meditation on existence, identity, and the role of art in society. It challenges audiences to reconsider their assumptions about theater, community, and the very nature of reality. As the performance concludes, the audience is left with a lingering sense of possibility, an invitation to see the world not as it is, but as it could be.