Umetniški ustroj Noordung. Filozofija in njen dvojnik

Not the sheer simple repetition without difference, but rather the complex repetition, which produces small internal difference – this is the basic mechanism of the true theatre, which can be detected in virtually all performances signed by Slovenian retro(avant)-garde theater director and postrgavity artist Dragan Živadinov. Živadinov's theatres of repetition – The Scipion Nasice (1983–1987), The Red Pilot (1987–1990) and The Noordung (1990–1995–2045) – are positioning itself strictly against the theatre of representation – trough the endless play of simulacrum, of difference and repetition. The dispositive of difference and repetition is also the essence of Živadinov’s life project Noordung:: 1995–2045, which is conceptualized in the manner of the complex 50-year theater repetition process, which every 10 years produces its own difference, which is a generic part of the repetition itself. In this way, it stages Nietzsche’s mysterious idea of the eternal recurrence, which, however, is nothing but another name for difference and repetition. The Noordung thus represents nothing and no one but itself and thus repeats the drama of the cosmos – which is also its deepest meaning.