GOODBYE, CUTE

The show is recommended for people from 16 years of age. The show does not use words.

“Goodbye, Lindita” is a story about the universal experience of losing a loved one. In the enclosed space of the house, the family experiences a silent mourning — until a series of mysterious events begin to blur the lines between memory and imagination, waking and sleep. Mario Banushi — an extremely talented young artist who creates a recognizable, precisely composed visual language on stage — together with a team of distinguished actors created a poetic reflection on loss, drawing on his own experiences and Balkan rituals and traditions related to farewell to the dead. Although not a single word falls in the play, we observe the inner journey of the protagonists and the attempt to face the eternal question: how to say goodbye to those we love the most.

Banushi's performance has a very personal dimension — it was created from the experience of loss. Its origins were the image of the deceased stepmother, surrounded by relatives in mourning, as well as the death of the artist's father, which occurred only three days later. Despite this personal source of inspiration, the stage world of the show combines elements of everyday life and surrealism. Banushi extremely aptly shows how families try to tame the pain by escaping into mindless TV viewing. At other times, the show evokes associations with Magritte's paintings: the door unexpectedly turns into a coffin, and an arm emerges from the wall — as if the dead were trying to reach the living. The finale, on the other hand, brings a mysterious image of a body emerging from a dark tunnel, which is confronted by a warm, maternal figure. Michael Billington, The Guardian

The author's design of Banushi reveals an extraordinary sense of rhythm and image. The director guides the audience through a poignant landscape of his own pain and imagination, but leaves the impression that he himself has not yet set the ultimate goal of this journey. Are these stage impressions only a form of self-therapy, or is there something more behind them? The play does not give an unequivocal answer, but one thing is certain: we will hear about Banushi more than once. Andrej Chanji, seestage.org

Honorary patronage