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“The short history of Fire” is a story of a Man and his Shadow. With the invention of Fire the Shadow became a distinguishable creature. Before, it was steady and immobile, completely dependent of the Man and the Sun. But the Fire gave the Shadow its independence. It became denser and more alive, acquiring movements and qualities that, although not completely independent from the Man’s, seem like an exaggeration of his own. Since it can come alive only by night, when the sunlight doesn’t stand in his way, it is inevitably connected with the other characteristics of the night – it is a being of darkness, of the Unknown, of deepest fears, frustrations, demons and thoughts that are not allowed in the daylight. And still, the Shadow cannot exist without the Man. It is a part of him. It is an substantial form of everything that is dark and inexplicable in the Man. It is a part of reality but still pushed away from our daylight self. Our view of the Shadow we relies mostly on the theory of Carl Gustav Jung.  We believe, like him, that only through accepting his dark side, a Man (or a Woman) can become whole. This applies also to humanity as a totality – it is becoming obvious (again) that we cannot exteriorize and project the “evil” and “unacceptable” sides of our nature forever on the Others. This applies to both the people who see the Other in the dark-skinned migrant, but also the “liberal citizen” for whom the Other is the marching neo-Nazi. We have to accept that being a human we all bear our share of responsibility of the doings of humanity.

We believe that there is a need for art - especially theatre - to deal with eternal and general questions of human nature, since there has been an overwhelming rise in productions that deal with daily politics. Although it is needed and good for theatre to deal with it we must remember it's fundaments lay in rituals and human conflicts with Gods or the general faults of their nature.