Directors: Tomislav Medak & Goran Sergej Pristaš Authors and performers: Pravdan Devlahović, Ivana Ivković, Aleksandra Janeva Imfeld, Ana Kreitmeyer, Tomislav Medak, Goran Sergej Pristaš, Nikolina Pristaš, Zrinka Užbinec Dramaturgy: Ivana Ivković Stage: Slaven Tolj Costume design: Silvio Vujičić Video: Ana Hušman Light design: Alan Vukelić Sound design: Ivan Marušić-Klif Sound technician: Jasmin Dasović Company manager: Lovro Rumiha Inspired by the work of Auguste and Lois Lumiere, Samuel Beckett, Vlado Kristl, Jean-Luc Godard and Harun Farocki. Coproducers: Steirischer Herbst, University of Zagreb – Student center – Theatre &TD; Supported by: Zagreb City Council for Education, Culture and Sport; Ministry of Culture of Republic of Croatia In 1 poor and one 0 BADco. returns to the scene of the first film ever shot – Workers Leaving The Lumiere Factory: the factory gates. The first moving images ever made show workers leaving their workplace. The movement of the workforce from the place of industrial work into the world of film: the starting point for the problematic relationship between cinema and the portrayal of work. From its outset cinema tended to leave the manual labor out of the picture, focusing rather on atomized stories of individual workers once they have left their workplace: their romances, their transgressions, their destinies in the course of world events. Cinema starts where work ends. Starting from these initial images, 1 poor and one 0 sets about exploring the multiple ways of leaving the work behind. What happens when you get tired? When is the work we devote ourselves to exhausted? What comes after work? More work? What happens when there is no more work? What is the complicity between the history of contemporary dance and the history of post-industrialization? 1 poor and one 0 is a twofold performance: while the performers develop the manifold forms of dissolution of the working subject before the audience, the audience is slowly drawn into a process of transformation: from the popular medium of cinema to the political theater of populism. Theater exhausted in moving images, images exhausted in the theater of movement. A change of perspective. First the body. No. First the place. No. First both. Now either. Now the other. Sick of the either try the other. Sick of it back sick of the either. So on. Somehow on. Till sick of both. Throw up and go. Where neither. Till sick of there. Throw up and back. The body again. Where none. The place again. Where none. Try again. Fail again. Better again. Or better worse. Fail worse again. Still worse again. Till sick for good. Throw up for good. Go for good. Where neither for good. Good and all. – Samuel Beckett, Worstward Ho, 1983 Little by little we are replaced … by uninterrupted chain of images, enslaving one another, each image at its place, as each of us, at our place, in the chain of events on which we have lost all power. – Dziga Vertov Group, Here And Elsewhere, 1972 This circulation of value in the cinema-spectator nexus is itself productive of value because looking is a form of labor. – Johnathan Beller, Cinema, Capital of the 20th Century, 1994 The first camera in the history of cinema was pointed at a factory, but a century later it can be said that film is hardly drawn to the factory and is even repelled by it. Films about work or workers have not become one of the main genres, and the space in front of the factory has remained on the sidelines. Most narrative films take place in that part of life where work has been left behind… In the Lumière film of 1895 it is possible to discover that the workers were assembled behind the gates and surged out at the camera operator’s command. Before the film direction stepped in to condense the subject, it was the industrial order which synchronized the lives of the many individuals. – Harun Farocki, Workers Leaving the Factory, 2001