the Banquet is a gastronomic installation which explores various layers of the theatre language in a defined social situation. 1. the social situation referred to is a banquet, that is an event dominated in all its layers by only one part of body - the mouth. the mouth eats, drinks, talks, vomits, sighs, smiles, screams... the mouth conceals. the mouth is part of the body that cannot be separated, cut out, caught. In other words, the mouth is the theatre: the theatre as a meeting point of various art, social, psycological, linguistic phenomena: the mouth as black box consisting of numerous elements, liable to service most different manifestations. 2. Dealing also with the process of experiencing conditioned by particular manner of watching (which is usual in the theatre), the Cell (Emil Hrvatin's previous project) was pervaded by eyes, the Banquet, on the other hand, starting from the mouth, is concerned with the process of experiencing a theatre event under circumstances of simulated race. theatregoers are devouring the performance and watching food. the banquet is to be watched with the eyes of the Cell: nothing is more erotic than watching somebody while s/he is eating, except when you know that that person knows you are watching her/him. 3. the anatomy of nausea starts with loved body and ends with your own one. In the modern physical theatre the cult of body transforms into a disgust with your own body. A beautiful body is a body of a sixty-year old woman. 4. Even if an installation of fine arts is actually something very theatrical, thus evoking fine arts critic's contempt and theatre artist's intensified interest simultaneously, a theatrical event never happens in it. the Banquet was designed as an autonomus fine arts object which can be used through its visual and tactile sensations, being at the same time the sene of the event for which it is not easy to define the limits of artistic and social. Needless to repeat that the spectator is again in the position of an equal partner of the show. 5. Greenaway's, Judy Chicago's projects, events/exhibitions such as Dinner Party a la Perestroika, Feed & Greed, Arcimbold's effect etc. made food one of basic patterns of baroqueness in postmodernism. Food became an object of aesthetization par excellence. Even cannibalism, the ultimate stage of gluttony is served as a serious philosophical-aesthetic problem. Postmodernism is dead and with it also the aesthetizability of the banquet. the Banquet leaves your mounth dry and speechless. the BANQUET is a gastronomic installation for a couple living hired lives in a shelter after the end of war. the BANQUET is an obscene entertainment place of newly-emerged rich. the BANQUET menu offers guillotined heads of those who wanted to know too much, but know too little. the BANQUET - when only your own shit is left on a plate. DESCRIPTION 1. Space the space is separated in two parts:inner and outer. Inner part consists of tables which are 1 meter high. Spectators sit arround the tables which are coming up to their necks. Tables are prepared for a dinner with plates, fork and knives etc. In the middle of each table there is an axis: a table turns arround it, on the top of the axis there is a source of termic sensation (a heater or a ventilator). the tables are enlighted through the plates which are semitransparent. Tables in the middle are fixed and are basic space for actors. In the outer space there is another group of spectators/voyeurs. they sit behind pannels and look to the inner space through tubes, which they can move in desirable direction. Tubes have lamps which enables spectator to focus the light on the part they want to look at. the space is adaptable for different types of venues (theatre, gallery, restaurants...). Approximate minimum is cca 100m2 (10x10m or 12x8m, the shape of the set can vary - a circle, rectangular, triangle...) 2. Performance the performance is done as a banquet organized by two former lovers, Merteuil and Valmont. they used to be obsessed with passion and desire to be stronger than the other, but they are exhausted of their obscene games. they live their posthuman, empty life, they are cynical and nihilistic and the only direction towards they can manage to go is a destruction and self-destruction. But, surprisingly, destruction turns into the most beautiful ritual of their life. they start to enjoy their end, enjoy in such a way that their bodies started to disobey them and to turn against them. their bodies have to fall down. the actors use the space in dynamic way. the fixed part in the middle is the area of their conflict, the mobile tables are places of their doubts. In these doubts they come in interaction with spectators. the fiction they play is the part of the ritual done for spectators. they exit from fiction from time to time, being aware that they become more and more clowns of spectators' entertainment. their acting is physical, strong, surprising and in its basis pleasant. Textual basis for the Banquet are Quartett by Heiner Mueller, Plato's Symposium and Marinetti's Futurist Cookbook. A new kind of european multiculturalism is established: languages of the performance are slovene and italian, partly english. the relationship between Italian and Slovene can vary according to a language spoken by audience. An extra translaiting voice is a part of the performance. 3. Food During the performance the food is served. there are four categories of spectators: FIRST CLASS, BUSINESS CLASS, ECONOMY CLASS and WORKING CLASS - food is served according to the class position. Spectators in outer space belong to a CLASS STRUGGLE category and they do not consume the food. Actors also take into account the social structure and pay more attention to spectators from first and business class. In their conflicts they fight for a support from a certain class.