Along with football, probably the three most important secondary things in the world – television, terrorism and theater become one in T-FACTOR – more than a game, less than theater, opposite of spectacle. An event which it is not, just like democracy which it is not, T-FACTOR links the tradition of a classic theatrical performance with an interactive experience. On the one hand, using the strategies of Brecht’s educational pieces and Boal’s forum theater, and on the other presenting two well-known television faces, T-FACTOR became a training ground for investigating the lines between activism and passivity. By taking the audience’s right to take a seat, but also giving it the right to vote, T-FACTOR recreates in the theater the postulates of democracy, while at the same time pointing out the dramaturgical mechanisms of democracy itself.
As the final part of the T-trilogy, it originated from the experiences and fragments of the plays T-FORMANCE and I FUCK ON THE FIRST DATE. In each of the mentioned plays, the viewer was presented with a number of tasks, whose solving made him uncover something about the world he lives in, as well as his own relationship towards the state of things. The very course of the performance was completely determined by the decisions of certain audience members who were, thus, reminded many times of their own out-of-theater, everyday responsibility for things taking place around them.
T-FACTOR was performed in a coproduction of the Perforacije Festival.