 |
|
|
|
T h e...N A T I O N A L...D R A M A...A N D...T H E A T R E...S E L E C T I O N |
 |
Sterijino Pozorje Festival |
|
Novi Sad |
|
May 26th - June 4th 2007 |
|
|
P
H
O
T
O
A
L
B
U
M
|
|
 |
|
|
|
TUESDAY - MAY 29th 2007 |
Small Stage, Serbian National Theatre
|
|
19:30 |
|
|
|
Milena
Markovic
SIMEON
THE FOUNDLING (NAHOD SIMEON)
Serbian
National Theatre and Sterijino Pozorje
Festival, Novi Sad
|
 |
|
|
|
Director,
set designer TOMI JANEZIC
Composer BORIS KOVAC
Assistant directors
SPELA TROST
BORIS LIJESEVIC
Dramaturgy
BRANKO DIMITRIJEVIC
MILAN MADJAREV
Costume
designer MARINA SREMAC
Light designer JAKA SIMENC
Sound designer TOMAZ GROM
Video material
GVOZDEN DJURIC, JOVAN MILINOV
Stage speech RADOVAN KNEZEVIC
Choreographer NANDAN KIRKO
Set design consultant SAMO
Set design assistant ZELJKO
PISKORIC
Premiere:
May 25th 2006 |
|
|
|
|
Mother, whore who abandoned her child
Widow, who has seen the world |
JASNA
DJURICIC |
|
Simeon the foundling, bastard child |
STEFAN
STEREF |
|
Jovan, sad monk |
JUGOSLAV
KRAJNOV |
|
Milun, monk struggling with demons |
DUSAN
JAKISIC |
|
Oca, head of the monastery |
NENAD
CIRIC |
|
Gipsy woman, wet nurse |
JOVANA
STIPIC |
|
Trbulja, village mistress |
DRAGINJA
VOGANJAC |
|
Trbulja's husband, once a man |
BORIS ISAKOVIC |
|
Tako, little girl who wants to see the world |
JOVANA
MISKOVIC |
|
Tako's brother |
RADOJE
CUPIC |
|
Gas station attendant |
MILOVAN
FILIPOVIC |
Monks |
ALEKSANDAR GAJIN |
|
STRAHINJA BOJOVIC |
|
IGOR PAVLOVIC |
|
BORIS LIJESEVIC |
|
Woman |
GORDANA
DJURDJEVIC-DIMIC |
Singing girl |
MIRJANA POPTESIN |
Tramp |
OLIVERA STAMENKOVIC |
Singer / Narrator |
FRIC BAHUN |
Simeon as boy |
GRIGORIJE JAKISIC |
Simeon as baby |
MAKSIM FILIPOVIC |
Gipsy boy |
RASTKO KIRKO POPOVIC |
Chef in the monastery |
MILIVOJE MLADJENOVIC |
Gipsy choir |
MILAN MITIC and Company |
JELENA GAVRILOVIC, JELENA BOJAT, SRDJAN DJURANOVIC, |
NENAD MILOSEVIC, IBIS CERIMAGIC |
|
The "Water Flows" Orchestra |
BOGDAN
RANKOVIC
(clarinet & sax)
ALEKSANDRA KRCMAR
(violin)
JELENA FILIPOVIC
(viola)
IVANA PAVLOVIC
(harp)
SINISA MAZALICA (double bass)
ARTJOM ZAGREBELJNI (horn)
IVAN BURKA (percussion) |
|
|
|
|
| SERBIAN NATIONAL THEATRE, NOVI SAD |
|
|
|
The roots of the Serbian National Theatre reach back to 1861, when, on the meeting of the Serbian Reading-room, held in Novi Sad on July 16 (28), with Svetozar Miletic as a chairman, the decision of founding the Serbian National Theatre was made. Novi Sad became the cradle of the Serbian theatre, and was, with good reason named “The Serbian Athens”. The theater’s actors were also the cultural missionaries, who made a fundamental influence to the cultural identity and conscience of the nation. The principals aims of the Serbian National Theatre are to promote and preserve the national and international theatrical and cultural heritage, and to present the most valuable contemporary creative practice. Therefore, we stage large, ambitious production. The Serbian National Theatre has represented our culture throughout the country - we have played in more than 300 venues with around a thousand performances - and abroad, with about a hundred performances in Hungary, Poland, Czech Republic, Slovakia, Romania, Ukraine, Russia, Bulgaria, Italy, Netherland, Belgium, Luxembourg, Iraq, Egypt, Slovenia, Macedonia, Croatia, Bosnia and Herzegovina... The theatre has presented its work - and gained many awards - at the main festivals in Serbia, and at many European festivals too.
SNT in the year 2007 - There are the three most important and constant issues that the Serbian National Theatre deals with in its mission: the care for the world classics (the play Uncle’s Dream by Dostoevsky, directed by Egon Savin, was, in many critics opinion, the greatest theatrical event in 2006) the care for the national drama (paying special attention to the works of contemporary authors - Simeon the Foundling written by Milena Markovic, directed by Tomi Janezic in co-production with Sterijino Pozorje, Me, or somebody else by Maja Pelevic, directed by Kokan Mladenovic - both written especially for the SNT - and Crime against wild animals by Dusan Spasojevic, directed by Boris Lijesevic, in this season); to present our theatre to the world, and to follow the latest world poetical trends. Serbian National Theatre with its diverse Drama, Opera and Ballet repertoire aims to achieve its mission. The Opera ensemble had a very successful guest performance in Cannes, with Rigoletto directed by Vojislav Soldatovic and at the prestigious opera festival in Miskolc, with The Resurrection directed by Bozidar Djurovic. The ballet ensemble had also successful performances, such as the performances by Forum for new dance The language of the walls choreographed by Guy Weizman and Rony Haver, and The Divine Comedy choreographed by Stasa Zurovac. Serbian National Theatre is a member of the European Theatre Convention, a theatrical association which engages 32 European theatres. At the same time, our Theatre is one of the initiators and co-founders of the international theatre Festival Theatre without frontiers, with partners from Eger (Hungary), Sfântu Gheorghe (Romania), Nantes (France), Szczecin (Poland) etc. The realization of this program starts in September 2008, in Novi Sad. The goal of this unique festival, based on performances made by partners on an agreed subject and of interest to the members of the association, is to find a common, mutual European dimension of different cultures and languages. The last year’s premiere of William Shakespeare’s Troilus and Cressida directed by Laurance Calame, a co-production of Serbian National Theatre from Novi Sad, Theatre Carouge and Company 03 from Geneva, was based on the same motives. This was a great theatrical event, whose greatest values were bilingualism, the interaction of two different cultures and a mutual conception of warfare as preposterousness. This was a very important moment and a precious experience; no Serbian theatre had ever preformed, day after day, for two weeks in Geneva. This year Serbian National Theatre will continue in the same manner. In April, a showcase will be performed for the members of the European Theatre Convention (ETC) and the Theatre Without Frontiers (TWF), which while lasting will show the most successful and most attractive productions from the last year. Then it will be on the tours in Turkey, Slovakia, Romania etc.
The long-term goal of the Serbian National Theatre is to transform the bulky, immobile and aging institution into an impressive, dynamic and modern one. The Serbian National Theatre has all the necessary prerequisites to reach such a high set goal: a clearly defined mission, an established model, tradition, significance, identity, great artistic potentials (in all three ensembles: actors, singers, ballet artists, a good team of playwrights), infrastructure, exceptional technical and spatial possibilities and solid and firm financing.
Milivoje MLADJENOVIC, SNT General Manager |
|
|
|
P
E R F O R M A N C E...... |
|
|
|
|
| A B O U T...T
H E...T
E X T |
|
|
|
|
About Simeon the Foundling
Incest is, essentially, an autoerotic act, an act of narcissism, and Simeon the Foundling, in search for his mother, actually wants to find his own identity.
“I want to find my mother, to learn who I am and what I am, I want to know, not to be told by others, I want to know it myself”.
It is the very obsession with himself, his narcissism, what becomes his hamartia, his tragic fault which leads him into the world of sin and destruction. It is no accident that his desire to find his mother coincides with the awakening of his sexuality. He leaves the monastery - the world where he belongs, the world which belongs to Father, the inhibiting father, a world of the authority, awareness and law, a world opposed to instinctive impulses - only to return to the river where he originally came from, on whose banks he makes love to his mother, satisfying his need to return to her womb, into the river representing death or return to a new life.
(...) Simeon the Foundling carries in his body blood of a whore, milk of a gipsy woman, semen of a father who loved boys and water from the river in which his mother left him to die...
“You bastard, who knows whose blood runs in your veins...”. “He is not alright and he won’t be alright, the sins of his parents can be seen in him.”
Children carry the burden of their parents’ sins and they pass them on to their own children - the vicious circle is continued; Simeon abandons his own child, leaving it to its destiny, which will probably turn out to be a mere repetition of the family history. He sacrifices himself to atone for his sin; his punishment is ten-year-long imprisonment in the blindness of a cell, like Oedipus who, by blinding himself, refuses to see, to take the responsibility.
And after everything, in death, like in life, he is still looking for his mother... “Whirlpool is my home, in whirlpool you will find me... “
Ilinka CRVENKOVSKA
About Simeon the Foundling again
It all started with the traditional poem Simeon the Foundling, which begins with an old monk who fishes out a lead chest from the Danube and takes out a boy, who is still alive. The child is named Simeon the Foundling and is raised at the monastery, but when the boy has grown up he wants to find his real parents, primarily the mother... Sterija was inspired by this poem to write his drama Simeon the Foundling. Extremely economical in regard to the dialogues, Sterija skilfully weaves his story about the Foundling, introducing another incest and providing the characters with more convincing motives for their behaviour. Here Sterija, whose comedies have earned him the title of Serbian Molliere, seems to be more like Shakespeare, who came before him, or Lorka, who will come later (...) This drama written by Milena Markovic is the latest version of Simeon the Foundling. Milena draws elements of her plot from both the traditional poem and Sterija’s drama, while she writes a new, modern and exciting theatrical text, avoiding easy solutions, “first balls” and superficial effects. The result is a post-Modernist, poetical drama, whose deconstruction would provide a detailed picture of our contemporary reality: Simeon the Foundlings and their miserable mothers are everywhere around us.
Branko DIMITRIJEVIC |
|
|
|
REPORT
OF ARTISTIC DIRECTOR......
AND SELECTOR...... |
|
|
|
|
Working with the well-known motif from the Serbian literary tradition, Milena Markovic has written a drama packed with lyricism with a distinctively intimate feature and the philosophical treatment of human destinies. The tragic character of the protagonist, Simeon, does not end with the incestuous relationship with his mother stemming from a fatal misunderstanding, but his fate spills over into the outside world, affecting his relationships with other characters as well. Director Tomi Janezic emphasizes the intimate level of the play, without neglecting its stage potential; on the contrary, he constructs a rich stage spectacle which, paradoxically, has an ascetic, ritualistic, sacred feature.
Ivan MEDENICA |
|
|
|
A
U
T
H
O
R |
|
 |
M
I
L
E
N
A
M
A
R
K
O
V
I
C |
|
|
Biography
/ Milena Markovic
Milena Markovic was born in 1974 in Zemun. She graduated from the Faculty of Dramatic Arts in Belgrade, Department for Dramaturgy, with her graduation drama Pavilions or Where Am I going, Where Do I Come from, And What’s for Dinner for which she received a special award from the MBH Theatre in Vienna in December 2001 (at the same theatre the text was directed by Zijah Sokolovic). Pavilions: The Yugoslav Drama Theatre (YDT), directed by Alisa Stojanovic (2001); The Macedonian National Theatre, Skopje (Macedonia), directed by Srđan Janicijevic (2001); Jaka Ivanc at the Slovenian National Theatre in Ljubljana graduated in Theatrical Direction by the play Pavilions (2002). The Tracks: YDT, directed by Slobodan Unkovski (2003); Teatar Polski, Wroclaw (Poland), directed by Rafal Sabara (2003); White, White World, Belef, Belgrade, directed by Rahim Burhan (2003); The Doll Boat: YDT, directed by Slobodan Unkovski (2006); Simeon the Foundling: Serbian National Theatre - Sterijino pozorje, directed by Tomi Janezic (at the Sterijino pozorje Festival in 2006).
Milena wrote the one-act play The Forest is Shining for the Zurich theatre Schauspiele.
Poetry collections: The Dog That Ate the Sun (2001), The Truth Is in the Heat (2003).
She directed The Threepenny Opera by B.Brecht in Bor with amateur actors and actresses. Director Oleg Novkovic later directed a documentary about that under the title The Miners’ Opera. The same director filmed the feature movie Tomorrow Morning after her screenplay: Award for Screenplay at the Alexandria Festival; Second Prize at the Festival of Screenplay in Vrnjacka Banja (2006).
She was the first author to receive the Borislav Mihajlovic - Mihiz Award (2005) for Dramatic Work (Borislav Mihajlovic - Mihiz Fund and ‘Srpska citaonica’ Irig). She also received the Sterija’s Special Award for Drama Text of The Tracks (2004).
Sterijino pozorje Festival participations: Pavilions, YDT, directed by Alisa Stojanovic (2001); Pavilions, Macedonian National Theatre, Skopje, directed by Srđan Janicijevic (2003); The Tracks, Teatar Polski Poznanj, directed by Rafal Sabara (2004); Simeon the Foundling, SNT-Sterijino pozorje, directed by Tomi Janezic, the Festival premiere 2006. |
|
|
|
|
LIFE IS NO CAKE WITH ICING (the authoress’s self-portrait) |
|
|
A change is not automatically a transformation, and I am satisfied with that
People usually think I am different, that I am not like others, that I am no ready-made product. For me, on the other hand, all people are interesting, and “Otherness” is not something I find in appearances but what I look for in every living creature. For this is a wonderful world. I don’t see the changes I undergo as transformations, but as development; I stay really faithful to myself and my principles, and regarding this my favourite pastime is sitting in a boat. Saying this is no attempt to play games with my image. I never play like that; everything is a matter of life and death with me. The only games I like to play are the wholes in bottles, tear the tarpaulin, knock down if they won’t lie, knock down the library...
The only thing that makes me satisfied is what I’m doing now, that’s all I’m satisfied with. I am also satisfied with the film Tomorrow Morning, which director Oleg Novkovic made after my script.
Topics I deal with
My first play performed on stage was The Tracks. It was on at the Yugoslav Drama Theatre, directed by Slobodan Unkovski. The drama speaks of love and horrible childhood images, of the innocent who become guilty, of death and love. Unkovski approached the story through stylization; this stylization is his vision - every director is entitled to one, that’s the art of directing, and text as such can be dramatically realized in different ways. While I was writing The Tracks my focus was not on the problem of crime, because I don’t deal with crime as such, but rather the process of evil, which lives in everyone. Crime is the subject of crime literature and scandal press. But why dwell on my drama which was written five years ago. Since then I have written the dramas White, White World directed by Rahim Burhan for Belef, The Forest is Shining, which premiered in Zurich last year, then The Doll Boat the Yugoslav Drama Theatre is currently working on, directed by Slobodan Unkovski, then Simeon the Foundling for the Serbian National Theatre, where the play was directed by Tomi Janezic. In addition, I have participated in creating the feature-documentary film The Miners’ Opera of director Oleg Novkovic, for which I wrote the screenplay.
Freedom as political choice, and what are fairy tales actually
And yet, I primarily consider myself to be a poet. Poetry is what I like best and that’s why I favour it. But, it doesn’t mean that poetry helps me live. I am never really sure what it means to truly live; mostly people spend their time balancing between living and not living their lives. Thinking about myself, I come to the conclusion that I belong to those who are free; that’s my political choice, and my politics is the one supporting freedom, brotherhood and equality.
I write poetry, like everything else, by putting all my organs to the task. If the heart is bloody you don’t wrap it up in decorative paper. There is nothing more magnificent than the organs. Generally speaking, when they stop, the owner dies. Life is no cake with icing.
Some of my texts are based on fairy tales, but I don’t see fairy tales as something innocent. Disney’s fairy tales can be innocent. I don’t like Disney, now at my age. Fairy tales are the cruellest stories about the initiation into the world of adults. They are bloody, ritualistic, and full of symbols.
What I’d like to direct, or who the others are
As an authoress I like when director and I understand each other, I like to be able to trust him/her, and I’d like to direct only other people’s plays, because it is very problematic for an author to direct his or her own play. So I’ve directed Brecht’s The Threepenny Opera with an amateur cast in Bor; there’s a film about that.
When they ask me if I watch the others, I say: ‘I’ve seen Milan-Barcelona’. They are the others.
My latest play is Simeon the Foundling. On the historical plain, this poetic drama means nothing; it was based on a traditional poem. On the mythical plain - as it is a story about Oedipus - it speaks of a tragic mistake. On the symbolical plain it speaks about a man who has achieved wholeness. It’s primarily a drama about the joy of life and the desire to live, not about an abandoned child, for we are all abandoned children. Both the ones who believe, and those who don’t...
Milena MARKOVIC (Pozoriste, May 2006) |
|
|
D
I
R
E
C
T
O
R |
|
 |
T
O
M
I
J
A
N
E
Z
I
C |
|
|
| TOMI JANEZIC,
(1972) has graduated in Theatrical and Radio Direction at the Academy for Theatre, Radio, Film and Television in Ljubljana in 1998 with the play Emptinessand graduation paper in 1997 entitled Director and Actor(1992-1998). He received his Master’s Degree in 2001 with his theatrical project Dibuk (after Anski’s drama) - the method of physical actions and the master’s thesis on Director and Actor (1998/99, 1999/2000, 2000/2001) - Issues and Work on Actions. He has furthered his education at different symposiums, seminars workshops in Slovenia and abroad, especially in the field of different performance techniques (Mikhail Chekhov, Lee Strasberg, Jerzy Grotowski and Tomas Richards, Odin teatar, psychodrama...) |
|
|
|
|
ART IS NOT A JUDGEMENT BUT AN EXPERIENCE |
|
|
Ever since your plays were first performed in our country, the people from the world of theatre have been trying to make a connection between you and a certain poetics, in direction or pedagogy. You deny that very often. How do you feel about that?
Everyone’s work is defined by a number of elements: by the environment you grew up in, where, who with... the art you grew up with, the music you listened to, what you watched, what made an impression on you, where you went to school and who with, what you read... When you trace somebody’s work you can look for different influences and things that define it, but in other respects you cannot pigeonhole an artist or a man. I am Slovenian, but how important is that now? First of all I am a man. Therefore, it’s only the question of what is important to someone? For one person the most important thing is being Serbian, for another - the fact that they have studied with Stanislavski, for some other person something else is important. If you ask me whether the performing techniques are the most important thing in my life, my answer is no - I have never been involved with performing techniques for the performing techniques per se, but because I was interested to find out how things work, what acting is, what creating is, how the creative nature works, what creative process is. I had a lot of questions; I wanted to taste, to experience. I don’t categorize great artists. Where do you put Tarkovski? On the other hand, you cannot say that he wasn’t defined by Russian film and all the conditions and factors existing there. Essentially, it is both relevant and irrelevant. But what I can say is that my perception of him is an immediate sensation, the same as Japanese haiku, Picasso’s paintings, Michelangelo’s sculptures or frescoes. Or the same way I am affected when I read Thomas Man, or Hemingway, Chekhov, our Kosovel, or your Simovic. Or how I feel when I watch somebody acting: Boris Kovac, or Marlon Brando, or your great actors.
There was a scene of chaos in ‘Lear’, when the natural order is disturbed, the world turns upside-down and the things sink into their complete opposites. In ‘Simeon the Foundling’ you are preparing a scene like that.
It’s not the same, but if a parallel is to be made it should be with the scene when Simeon finds out what happened to his mother, who she is, or when she recognises him as her son. That’s the moment when things could get distorted. In Lear I explored the confrontation of something art(ificial) and something natural, or maybe better to say confrontation with the nature itself; I wanted to put the opposites together. Actually, the Foundling is a story about uniting different principles - male and female, or if you will, sacred and profane, spiritual and corporeal, religious and secular, rational and instinctive, young and old, power and love, justice and mercy, eros and tanatos, high and low, light and dark, left and right, rational and irrational, etc. Human nature is twofold. A man strives for uniting what cannot be united by his volition, the things that can be united only by mercy. Opposites excite us. Maybe that’s the reason why the drama leaves such a strong impression. Maybe drama has something to do with it. Maybe that’s why it is so upsetting and disturbing. In aesthetical sense, when you contrast things, that’s where the dialog and communication between the confronted things start. That’s where (our) life actually begins - a dynamics, something starts to move. I can imagine that in different ways - visual, musical, dramatic and directing, or some other. Maybe, in a way, the creative process itself has its origin in opposites, in the desire to unite them.
Tomi JANEZIC - Boris LIJESEVIC (Pozoriste, May 2006) |
|
|
|
|
Scenes of the end of the world
Faced with the great poetical/dramatic work of Milena Markovic you feel the need to fall silent, at least temporarily. But as the job of a critic is not to be silent... ‘Simeon the Foundling’ by Milena Markovic truly is a tragic/ironic story about post-cataclysmic times, about the consequences of civilization crashes, which are not brought upon us by the will of gods but by the will/acceptance of mortals (sinners and victims); this poetical drama truly is a picture of the end of (this) civilization and its remnants floating on the Raft of the Medusa, a scene of the world analogue to a biblical one, after the Last Judgement, the Deluge, or the Fall of the Tower of Babylon... Or perhaps - the plague in You, to mention just a few archetypes upon which Milena Markovic bases her authentic, cruel, terrifying story of these parts, the story about -us actually. The most immediate inspiration comes from Sterija’s tragedy of the same name, whose source was a traditional poem, based on the motif of incest/sin and a revelation which is reached through ‘recognition and self-punishment’. A bit further source of inspiration is the classical myth about Oedipus. Our Oedipus, Markovic’s (and Sterija’s) Simeon the Foundling, “runs away from what he loves, to find what he fears”, as correctly and lucidly noted by Svetislav Jovanov (in his book “Reversed Eros”). In shortest: it is about a quest for identity.
Milena Markovic’s dramatic discourse in this particular case is a fragmented, counterpoised stream in the form of dialogue, cut, commented and underscored by songs; while the scenes, as for the genre, cover a wide range of registers - comedy, melodrama, tragedy. Her language is allegoric and has a poetic charge even when it is ‘pure prose’, metaphoric even when it speaks of everyday stereotypes. This procedure on the level of form and language allows the imaginative superstructure of the play to be highly surprising and distanced.
Slovenian director Tomi Janezic, in a complementary stage discourse which perfectly recognises, follows and interprets the intonation, emotion and the semantics of the text, reveals a fascinating, almost biblical scene of what used to be a ’garden of love’ and is now nothing but a graveyard or pieces of life ripped apart, on the Serbian National Theatre’s so called small stage. There is water (the mythical river), fire, and smell (of the stew, incense) on the stage designed by Janezic...
Horizontally the space is dominated by a huge cross (symbolical and concrete: road, bridge, dining table), of “public” and intimate spaces. A comparison with von Trier’s Dogville cannot be escaped in visual and symbolical sense, but the text leaves no space for elaborating these comparisons. Let it stay on the level of indication, a proposition for contemplation.
Geese, goats, horses, dogs, fish... circus performers, monks, Gipsies, bikers, tramps,... make the huge set composition which Janezic uses to build powerful, simultaneous stage images, while the rays of light focus on the close-ups of the protagonists and emphasise the key dramatic scenes.
Music by Boris Kovac, performed live by three orchestras: ethno sound (especially when the choir takes the role of classical Choir) underscored with Kurtweillian sharp tones (evocative of Brechtian theatre). And long passages of audible silence.
Jasna Djuricic (Mother, the whore who abandoned her child, Widow who has seen the world) in the very first scene - parting with the child who she puts down into the river in a petrol can cut in half - elevates the emotional charge of the play into unexpected heights... Pain - unbearable.
After that we cry and laugh with the monks (Jugoslav Krajnov, Dusan Jakisic, Nenad Ćiric, Aleksandar Gajin, Strahinja Bojovic, Igor Pavlovic, Boris Lijesevic) and the baby, then with the Foundling as a boy (Maksim Filipovic and Grigorije Jakisic, actors’ children, so small but already actors themselves).
Emotionally pronounced and sung curse of the Gipsy wet nurse (Jovana Stipic), who, like a Sphinx, knows the Foundling’s secret... Simeon the Foundling, a bastard, a passionate adventurer on the road to revelation, with Trbulja, the village mistress (extraordinary, like some “Mother Courage” who, instead of a pram, pushes her husband’s wheelchair - Vladislav Kacanski in his best edition - his first love, Draginja Voganjac) will learn how to make love to a woman and still get sent off with a curse; he will meet Tako, a girl who wants to see the world (Jovana Miskovic convincing in the role of the melodramatic heroine), taste the “idyll” of a marriage and then fly away without looking back, straight into the arms, “the womb” - of his own mother.
This encounter, out of the blue, this victory of Destiny, given by Jasna Djuricic and Boris Lijesevic (bastard child Simeon the Foundling, “pretty as girl Sima Simeon”) is performed with eyes only, but in a scene so powerful that a shudder creeps over the audience...Director by profession, in this play a director assistant, Boris Lijesevic had to act as a substitute in the lead role and he brought his character with certain natural convincingness and sensibility he personally has, and in the last song “I Want to Disappear” he stood shoulder to shoulder even with Jasna Djuricic.
Milena Markovic was commissioned to write the text “Simeon the Foundling” by the Serbian National Theatre, who wanted to commemorate Sterija’s anniversaries a bit unconventionally. The play is made in the co-production of the SNT and Sterijino pozorje, which has now, for the first time in its history, produced a play. It’s a great and important play, both artistically and as a production.
Darinka NIKOLIC (Dnevnik, June 6th 2006) |
|
|
|
.The
management preserves the right to change
the schedule.
|
Copyright
: Sterijino Pozorje 1998-2007.
|
|
|
|
|
|
