What do an American woman recognizing herself in the Croatian identity, an Iraqi TV-reporter with the world's most expensive shoes, a controversial artist who ends up in the psychiatry ward due to his heroic exposure to danger and an embittered veteran in a desperate action to realize his denied rights have in common? To be more precise – what do Julienne Eden Bušić, Chris Burden, Muntadhar al-Zaid and Robert Kralj share? What is the connection between taboo, tajna (secret), taik, technology, television, territory, theater, theory, Tito, transition, tourism, trenutak (moment), tolerance and tactics? This shamelessly named performance offers that exact link: the T-factor. T-factor avoids definitions. T-factor acts much like pornography: you know it when you see it!

The second part of the T-trilogy I FUCK ON THE FIRST DATE, is an exclusive "dinner" performance for 33 viewers in which terrorism is served with food and drinks. I FUCK ON THE FIRST DATE deals with the T-phenomena of contemporary society; the porous barriers between political activism, terrorism and pop culture, as well as the media treatment of them. In this performance, held on the highest floor of a corporate building with a view of the nighttime panorama of Zagreb, the visitors, for an exclusively high price of 200 Kuna, heard the female performers intimately singing into their ears, songs in Chechen, Russian, Palestinian, English and Croatian, as well as seen them dancing, declaiming and, finally, "blowing themselves up" in ecstasy. Communication with the participants in these projects was of extreme importance, because it was not limited to the performance duration, but occurred outside of it, in real or virtual spaces. Thus, buying the tickets themselves was a type of performance: the audience had to come to a "date" with the organizers of the play under a high-rise in Ilica St., the same high-rise Julienne Bušić threw political pamphlets off of in 1970.


Concept and direction: Borut Šeparović / Dramaturgy: Jasna Žmak / Performers: Ana Stunić, Petra Zanki, Roberta Milevoj / Stage design: Slaven Dellale / Internet support: Vedran Gulin, Netipični d.o.o. / Photography: Damir Žižić / Public relations and executive production: Dinka Bujas / Production: Montažstroj