MONTAЖ$TROJ embarked on an artistic inventory of social changes taking place in Croatia in the last twenty years, by attempting to renew the original play FIRE-TECHNICS. Keeping the universal metaphors, FIRE-TECHNICS 2.0 discussed without nostalgia everything which was destroyed and which no longer exists, simultaneously bringing forth a portrayal of multiple transitional, post-socialist, war and post-war traumas of our society. Just like young men used to be recruited off the streets, the new line-up was made up of a young generation born during the Homeland War.
What started out as a reconstruction, transformed into a play about the potential disaster of an entire generation, the one born in the 1990s. FIRE-TECHNICS 2.0 discusses the decaying values of a young generation which finds it easier to imagine an end to the world than an end to capitalism since it has no perspective, ambition or social awareness. The performers of FIRE-TECHNICS 2.0 belong to this very generation that, gathered together in the play GENERATION 91-95. By repeating the motifs of Aeschylus’ "Prometheus Bound", FIRE-TECHNICS 2.0 determines that there is no bearer of light – Prometheus – because nobody wants to sacrifice themselves for another, and the ruffian, Zeus, is an invisible danger all around us. FIRE-TECHNICS 2.0 reaches into the past, notes the present and points the audience’s attention to what has yet to happen.