Viewing posts from: nikola skocajic

07.01.2012.

THE PASSION OF BRANKO BREZOVEC

Saloma, directed by Branko Brezovec; produktion: KotorArt (Montenegro) / EUROKAZ / MSU Zagreb / ZKM / Dom Kulture KKV (Dance studio) Sisak

By: Nikola Skojačić

Oscar Wilde subjected Salome of the Biblical chronotope to ideology. Miroslav Krleža, acting from similar ideological position, saves Salome from Wilde’s interpretation of social justice and turns such generic ideals to cynicism. Not only with its intertextuality but also with the form of his early one-act play, Krleža creates a basis for a modern reading. Branko Brezovec recognizes the post-dramatic potential of the text and gives Salome’s discourse even more supremacy than Krleža and places other characters that threaten to start a conflict into the second plane.

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22.12.2011.

STEREOTYPE AS POLITICAL IRRESPONSIBILITY

Ferrets, directed by Stevan Bodroža and produced by Montenegrin Dramatic Theatre (CDP) in Podgorica

By: Nikola Skočajić

Written by Bojana Mijović, Ferrets was created as a playwright exam during her second year at the Montenegrin Dramatic Art Academy in Cetinje. It premiered at the CDP two years later, in May of this year, directed by Stevan Bodroža from Belgrade. Since this is practically the first play by the Montenegrin playwright, we can be forgiving of the conventional structure and the reference material that does not go beyond required school reading. But there is no lenience in terms of the final message of her text and what it says.

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20.12.2011.

THE PROBLEM OF CONTEXT

2050 – A Day in November by Lorenz Hippe, directed by Ninoslav Šćepanović, Mostar Theatre of Youth (guest performance in Bitef Theatre in Belgrade, November 19, 2011)

By: Nikola Skočajić

It is well known to the cultural public of Bosnia and Herzegovina what is happening at the Mostarski teatar mladih (MTM, Mostar Youth Theatre), which, after being renamed from an independent to a public institution, has obviously become a burden for the city budget. As an outside observation, it is difficult to understand the bureaucracy regarding the way in which the City government handles the its staff collective, which has been fired, with suitable demonstrations of power which can be seen in employing the already employed City employees, as well as in less sophisticated methods –changing locks on theatre doors. While the Initiative of the Committee for Restoration of the Independent Theatre of Mostarski teatar mladih, with the ex-director of MTM Sead Đulić, has to work covertly on the street, the newly formed MTM is visiting Belgrade’s Bitef Theatre with Lorenz Hippe’s piece 2050 – A Day in November.

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28.11.2011.

THE CHERRY ORCHARD

Višnjik, A. P. Čehov, directed by Dejan Mijač, JDP, premiered on October 4, 2011.

By: Nikola Skočajić

It is easy to recognize the referential body with which Dejan Mijač, willingly or unwillingly, established a relation in the last play he would, allegedly, direct and for which, symptomatically, he had chosen Anton Chekhov’s last drama. However, regardless of the fact that Uncle Vanya, directed by Jürgen Gosch, played at the very same stage just over a year ago, we should take into consideration the said relationship of this domestic towards that guest production.

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