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KAZALIŠTE MARINA DRŽIĆAMARIN DRŽIĆ THEATREKOVAČKA 1, 20000 DUBROVNIK—HR

ANA LEDERER

LUCIJA LJUBIĆ

LIA DRAGOJEVIĆ

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MIRAN BRAUTOVIĆ / PALM PRODUCTIONS

ALFA 2 D.O.O.

150

KAZALIŠTE MARINA DRŽIĆA DUBROVNIK—HRMARIN DRŽIĆ THEATRE DUBROVNIK—CROATIA

NIJEDAN DIO OVE KNJIGE NE SMIJE SE UMNAŽATI, FOTOKOPIRATI NITI NA BILO KOJI DRUGI NAČIN REPRODUCIRATI BEZ NAKLADNIKOVOG I AUTOROVOG PISANOG DOPUŠTENJA.

NOT ANY PART OF THIS BOOK CAN BE MULTIPLIED, COPIED OR REPRODUCED IN ANY OTHER METHOD WITHOUT THE PUBLISHER'S AND AUTHOR'S WRITTEN PERMISSION.

FACEBOOK.COM/KMD.DUBROVNIKINSTAGRAM.COM/KMD–DUBROVNIK YOUTUBE.COM/KMDDUBROVNIK

SUTONEVENFALL

DUBROVNIK 2019.

PREMIJERA — 18. TRAVNJA 2019.

PREMIERE — 18TH APRIL 2019

SUTONEVENFALL

IVO VOJNOVIĆ REDATELJICA DIRECTOR — IVICA BOBAN

SCENOGRAF STAGE DESIGNER — MARIN GOZZE

KOSTIMOGRAFKINJA COSTUME DESIGNER — DORIS KRISTIĆ

SKLADATELJ MUSIC COMPOSER — DAMIR ŠIMUNOVIĆ

OBLIKOVATELJICA SVJETLA LIGHTING DESIGNER — VESNA KOLAREC

OBLIKOVATELJ VIDEO PROJEKCIJA VIDEO DESIGNER — IVAN LUŠIČIĆ LIK

JEZIČNA SAVJETNICA / ASISTENTICA REDATELJICE LANGUAGE CONSULTANT / ASSISTANT DIRECTOR — SRĐANA ŠIMUNOVIĆ

INSPICIJENTICA – ŠAPTAČICA STAGE MANAGER — ANITA BUBALO

IGRAJU ACTORS

MARA NIKŠINA BENEŠA — IZMIRA BRAUTOVIĆ

MADE — MIREJ STANIĆ

ORE — GLORIJA ŠOLETIĆ

PAVLE — NIKA LASIĆ

KATA — SRĐANA ŠIMUNOVIĆ

LUCO ORSATOV VOLCO — HRVOJE SEBASTIJAN

SABO ŠIŠKOV PROKULO — BRANIMIR VIDIĆ

LUJO LASIĆ — MIJO JURIŠIĆ

VASO — ZDESLAV ČOTIĆ

KMD SE ZAHVALJUJE NA POMOĆI U REALIZACIJI PREDSTAVE: — DUBROVAČKIM LJETNIM IGRAMA — DRŽAVNOM ARHIVU U DUBROVNIKU — UMJETNIČKOJ GALERIJI DUBROVNIK — DAVORU MOJAŠU

76 SUTON

N. LASIĆ

EVENFALL

98 SUTON EVENFALL

N. LASIĆ, I . BRAUTOVIĆ

11

IVO VO�NOVIĆBIOGRAFI�A

U Dubrovniku je 9. listopada 1857. rođen Ivo Vojnović, sin Koste (Konstantina) grofa Užičkog i Marije Giusepine Serragli, Dubrovkinje firentinskog podrijetla. Gimnaziju je pohađao u Splitu, a maturirao je na Klasičnoj gimnaziji u Zagrebu, gdje je završio studij prava i potom započeo raditi kao prislušnik kod Sudbenog stola. Objavljivao je izvješća o kulturnom životu Zagreba u zadarskom

"Narodnom listu" (1877. – 1880.), a u "Pozoru" je objavljivao dramske i operne kritike (1881. – 1884.). U "Viencu" 1880. objavio je u nastavcima pripovijetku Geranium, a 1885. prvu knjigu – pripovijetke Perom i olovkom (pod pseudonimom Sergije P.). U Hrvatskom narodnom kazalištu u Zagrebu 15. veljače 1890. praizvedena mu je komedija Psyche. Radio je kao pristav kod Kotarskog suda u Križevcima (1884. – 1889.), kod suda u Bjelovaru (1889. – 1891.), kratko i kao perovođa Zemaljskog namjesništva u Zadru, potom kao perovođa pa kotarski komesar kod Kotarskog poglavarstva u Dubrovniku (1891. – 1898.), kao kotarski poglavar u Supetru na Braču (1903. – 1907.), u Zadru… Drama Ekvinocijo praizvedena mu je 1895. u Hrvatskom narodnom kazalištu u Zagrebu, gdje je radio kao dramaturg od 1907. do 1911. godine. Drugi dio Dubrovačke trilogije – Suton – objavljen u zagrebačkom časopisu "Život", a praizveden u Hrvatskom narodnom kazalištu u Zagrebu 8. svibnja 1900. godine, u režiji Gavre Savića. U istom časopisu objavljen je 1901. Allons enfants, a 1902. izašla je Dubrovačka trilogija u izdanju zagrebačke "Zabavne biblioteke". Pod zajedničkim nazivom Suton 28. travnja 1903. u Hrvatskom narodnom kazalištu u Zagrebu praizvedena je Dubrovačka trilogija. U Europi toga vremena Vojnović je jedan od najizvođenijih hrvatskih pisaca, a djela su mu prevođena na talijanski, francuski, njemački, engleski, češki, poljski, mađarski, grčki, slovenski i makedonski jezik.

Austrijske vlasti uhitile su ga 1914. u Dubrovniku, a utamničile u Šibeniku pod optužbom za veleizdaju, potom je oslobođen optužbe i određen za internaciju, ali je zbog bolesti ostao u šibenskom zatvoru. Interniran je u zagrebačkoj bolnici 1915., a 1916. je oslobođen pa se mogao slobodno kretati. Od 1919. do 1922. boravio je u Parizu, a zatim većinom u Nici i Monte Carlu. Od smrti majke 1922. do 1928. boravio je u Dubrovniku, gdje je osamljen i zaboravljen stanovao u hotelu Petka u Gružu. Povremeno je putovao (Zagreb, Beograd, Split, Prag), iako je bio sve bolesniji. Umro je 30. kolovoza 1929. u Beogradu, u sedamdeset drugoj godini, potom je svečano prenesen u Dubrovnik i 2. rujna pokopan u obiteljsku grobnicu na Mihajlu.

13

IVO VO�NOVIĆBIOGRAPHY

Born in Dubrovnik on 9th October 1857, Ivo Vojnović, the son of the Count of Užice i.e. Konstantin and Maria Giuseppina Serragli, the citizen of Dubrovnik of Florentine descent. He attended Grammar School in Split, but obtained diploma of Classic High School of Zagreb, where he also graduated from The University of Zagreb – Studies in jurisprudence and later on, he started working as a trainee of the Royal Court Table. He published the reports about the cultural life of Zagreb in "Narodni list", Zadar 1877 – 1880 (Zadar National Paper) in Pozor (Pozor) he published a short story in serial – Geranium (Geranium) and in 1885. the first book – story Perom i olovkom (By Means of Pen and Pencil, under the pseudonym Sergije P.) In Croatian National Theatre in Zagreb, on February 15th in 1890 his comedy Psyche (Psyche), had a premiere. He continued his judicial career in Križevci (1884 – 1889), Bjelovar (1889 – 1891) and shortly, as a notary public in Zadar (1889 – 1891).Later on, he also served at The Court of Dubrovnik (1891 – 1898) and Supetar on the island of Brač (1903 – 1907) and in Zadar.

His drama Ekvinocijo (Equinox), had its premiere in 1895 in Croatian National Theatre in Zagreb, where he was employed, as a dramaturge from 1907 to 1911. The second part of later work Dubrovačka trilogija, Suton (The Trilogy of Dubrovnik – An Evenfall) was published in Zagreb journal Život (Life) and performed for the first time in Croatian National Theatre in Zagreb on May 8th in 1900, directed by Gavro Savić. He also published in Zagreb journal Život (Life) in 1901 Allons Enfants and in 1902 Dubrovačka trilogija (The Trilogy of Dubrovnik) is published, edited by Zabavna biblioteka (Entertainment Library). Under the common title Suton (An Evenfall) on 28th April, 1903 in Croatian National Theatre in Zagreb Dubrovačka trilogija (The Trilogy of Dubrovnik) was performed as a premiere. In Europe of that time, Vojnović was one of Croatian writers who was widely performed and his works were translated into Italian, French, German, English, Czech, Polish, Hungarian, Greek, Slovenian and Macedonian.

He was captured in 1914 in Dubrovnik and imprisoned in Šibenik, under the accusation of treason and after that, released from the accusations and determined for internation, but due to his illness, he remained imprisoned in Šibenik. He was admitted to hospital of Zagreb in 1915 and in 1916, he was released and he could freely move. From 1919 to 1920, he stayed in Paris and mainly in Nice and Monte Carlo. From the death of his mother, from 1922 to 1928 he stayed in Dubrovnik, where he was isolated

14 15

and forgotten and lived in hotel "Petka" in Gruž. From time to time, he travelled (Zagreb, Belgrade, Split, Prague), although he was ever becoming ill. He died on the 30th August 1929 in Belgrade at the age of 72, and afterwards, he was ceremoniulsy transported to Dubrovnik and on September 2nd, he was buried in the family grave on Mihajlo Graveyard.

S. ŠIMUNOVIĆ

1716 SUTON

H. SEBASTIJAN, S. ŠIMUNOVIĆ, I . BRAUTOVIĆ, B. VIDIĆ, G. ŠOLETIĆ, M. STANIĆ

EVENFALL

19

D�ELA Perom i olovkom, Crtice Sergija P. Zagreb 1884.

Ksanta (pod pseud. Sergij P.), Zagreb 1886.

Psyche Zagreb 1889.

Gundulićev san Dubrovnik 1893.

Ekvinocij Zagreb 1895.

Dubrovačka trilogija Zagreb 1902.

Ekvinocijo Beograd 1905.

Smrt majke Jugovića Beograd 1907.

Dubrovačka trilogija Drugo definitivno izdanje, Novi Sad 1909.

Novele, I. knjiga: Perom i olovkom Zagreb 1910.

Gospođa sa suncokretom, San mletačke noći, Triptyhon Zagreb 1912.

Smrt majke Jugovića, Četvrto pjevanje Dubrovnik 1912.

Lazarevo vaskresenjeDubrovnik 1913.

20 21

Odabrana djela Vinkovci 1998.

Mala trilogija Dubrovnik 1999.

Lapadski soneti Zagreb 2002.

Izabrana djela I–II Zagreb 2003.

Akordi Zagreb 1917.

Geranium Zagreb 1918.

Imperatrix Zagreb 1919.

Stari grijesi Zagreb 1919.

Maškarate ispod kuplja Zagreb 1922.

Ekvinocijo treće definitivno izdanje, Dubrovnik 1922.

Čudo sv. Vlaha Dubrovnik 1928.

Prolog nenapisane drame u pet pojava Beograd 1929.

Pjesme. Pripovijetke Sabrana djela Iva Vojnovića, knjiga prva, Beograd 1939.

Stari grijesi, Lapadska priča, Psihe, Komedija Sabrana djela Iva Vojnovića, knjiga druga, Beograd 1940.

Gospođa sa suncokretom. Imperatrix Sabrana djela Iva Vojnovića, knjiga treća, Beograd 1941.

Pjesme. Pripovijetke. Drame Zagreb 1964.

Izbor iz djela. Lapadski soneti. Geranium. Ekvinovijo. Dubrovačka trilogija Zagreb 1995.

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WORKS By Means of Pen and Pencil, Lines by Sergije P. Zagreb, 1884

Xant (under the pseudonym Sergij P.) Zagreb, 1886

PsycheZagreb, 1889

The Dream by Gundulić Dubrovnik, 1893

Equinox Zagreb, 1895

The Trilogy of Dubrovnik Dubrovnik, 1902

Equinox Belgrade, 1905

The Death of The Jugović Mother Belgrade, 1907

The Trilogy of Dubrovnik Second Final edition, Novi Sad, 1909

Short Stories, Book I: By Means of Pen and Pencil Zagreb, 1910

Sunflower Lady, The Dream of Venice Night, Triptyhon Zagreb, 1912

The Death of the Jugović Mother, The Fourth Song Dubrovnik, 1912

The Resurrection of Lazar Dubrovnik, 1913

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Selected works Vinkovci, 1998

Small Trilogy Dubrovnik, 1999

The Sonnets of Lapad Zagreb, 2002

Selected Works I–II Zagreb, 2003

Acords Zagreb, 1917

Geranium Zagreb, 1918

Imperatrix Zagreb, 1919

Old SinsZagreb, 1919

Masquerade under The Roofs Zagreb, 1922

Equinox the third final edition, Dubrovnik, 1922

The Miracle of St Blaise Dubrovnik, 1928

The Prologue of an Unwritten Drama in Five Scenes Belgrade, 1929

Poems, Short Stories Collected works by Ivo Vojnović, the book first, Belgrade, 1939

Old Sins, The Story of Lapad, Psyche, Comedy Collected works by Ivo Vojnović, book two, Belgrade, 1940

The Sunflower Lady Imperatrix Collected works by Ivo Vojnović, book three, Belgrade, 1941

Poetry, Short stories, Dramas Zagreb, 1964

Selected works The Sonnets of Lapad, Geranium, Equinox, The Trilogy of Dubrovnik, Zagreb, 1995

27

IVO VO�NOVIĆ NA POZORNICI KAZALIŠTA MARINA DRŽIĆA

GUNDULIĆEV SAN. Pjesničko viđenje.Red. Dujam (Duje) Biluš 1. 2. 1945.

EKVINOCIJO. Drama u četiri čina.Red. Berislav Zamberlin29. 9. 1945.

MAŠKARATE IZ POTKUPLJA. Drama u tri čina.Red. Vatroslav Hladić26. 9. 1946.

EKVINOCIJO. Drama u četiri čina.Red. Vatroslav Hladić12. 10. 1947.

NA TARACI. Treći dio DUBROVAČKE TRILOGIJE.Red. Branko Gavella13. 8. 1953. Dubrovačke ljetne igre.

MAŠKARATE ISPOD KUPLJA. Pokladni scherzo u tri čina.Red. Bogdan Bogdanović19. 10. 1955.

EKVINOCIJO. Drama u četiri čina.Red. Bogdan Bogdanović19. 10. 1957.

EKVINOCIJO. Drama u četiri čina.Red. Bogdan Bogdanović16. 4. 1964.

MAŠKARATE ISPOD KUPLJA. Tri časa jednog pokladnog scherza.Red. Zvonimir Bajsić8. 11. 1969.

PROLOG NENAPISANE DRAME. / U pet pojava./Red. Ivica Kunčević26. 2. 1971.

28 29

EKVINOCIJO. Drama u četiri čina.Red. Ivica Kunčević22. 12. 1971.

SUTON. /Drugi dio DUBROVAČKE TRILOGIJE/Red. Miše Martinović29. 1. 1977.

NA TARACI. /Treći dio DUBROVAČKE TRILOGIJE./Red. Joško Juvančić12. 10. 1979.

MAŠKARATE ISPOD KUPLJA. Tri časa jednog pokladnog scherza.Red. Ivica Kunčević25. 3. 1988.

Ivo Vojnović / Davor MojašSIRENERed. Davor Mojaš28. 2. 2003.

SUTONRed. Joško Juvančić09. 10. 2007.

Ivo Vojnović / Davor Mojaš / Srđana ŠimunovićGLUMICE II. KATEGORIJERed. Srđana Šimunović13. 4. 2018.

N. LASIĆ, M. JURIŠIĆ

31

IVO VO�NOVIĆ ON THE STAGE OF MARIN DRŽIĆ THEATRE

THE DREAM OF GUNDULIĆ. Poet's ViewDir. Dujam (Duje) Biluš1. 2. 1945

EQUINOX. Drama in Four ActsDir. Berislav Zamberlin29. 9. 1945

MASQUERADES UNDER THE ROOF. Drama in Three ActsDir. Vatroslav Hladić26. 9. 1946

EQUINOX. Drama in Four ActsDir. Vatroslav Hladić12. 10. 1947

ON TARRACE. The third part of THE TRILOGY OF DUBROVNIKDir. Branko Gavella13. 8. 1953, Dubrovačke ljetne igre.

MASQUERADES UNDER THE ROOF. Three-Act Carnival SketchDir. Bogdan Bogdanović19. 10. 1955

EQUINOX. Four-Act DramaDir. Bogdan Bogdanović19. 10. 1957

EQUINOX. Four-Act DramaDir. Bogdan Bogdanović16. 4. 1964

MASQUERADES UNDER THE ROOF. Drama in Three Acts about one Carnival SketchDir. Zvonimir Bajsić8. 11. 1969

PROLOGUE OF UNWRITTEN DRAMA in Five ActsDir. Ivica Kunčević26. 2. 1971

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EQUINOX. Four-Act DramaDir. Ivica Kunčević22. 12. 1971

EVENFALL / The second part of THE TRILOGY OF DUBROVNIKDir. Miše Martinović29. 1. 1977

ON TARRACE / The Third Part of THE TRILOGY OF DUBROVNIKDir. Joško Juvančić12. 10. 1979

MASQUERADES UNDER THE ROOF. Drama in Three Acts about one Carnival SketchDir. Ivica Kunčević25. 3. 1988

Ivo Vojnović / Davor MojašSIRENSDir. Davor Mojaš28. 02. 2003

EVENFALLDir. Joško Juvančić09. 10. 2007

Ivo Vojnović / Davor Mojaš / Srđana ŠimunovićSECOND CATEGORY ACTRESSESDir. Srđana Šimunović13. 04. 2018

I . BRAUTOVIĆ

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IVO VO�NOVIĆUTJEHA

Zašto me gledaš, tvrda hridi mojakroz tamne rupe zarašćene vrijesom?Jel’ to pogled, što sred muklog bojanečasnih dneva vidjeh planut krijesom? sunčane zrake, kanda mač zablista?Ti znaš da ljubim tvoje skute blagei puste gaje kuda lovor lista,i kam, i bor, i prah te zemlje drage

što vihar nosi, jer ga plač ne kvasi! –Zar san Slobode još ti ne da spati? –Ah! zbori, viči, psuj, iščupaj vlasi,

s groznog čela, al’ vjeđe sklopi da ti,Edipe stari, bol ne gatam veći!…

– "Ne žali mene, slijep sam!" – Kam zaječi.

(1898.)

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IVO VO�NOVIĆCONSOLATION

Why are you gazing at me, my hard stonethrough dark holes, overgrown with heather?Is it the view, which amidst the bitter battle,in non honourable days, I saw burning,

fired by the sunbeam, just like a shiny sword?You know, that I love your mild clothesand desert forests, full of leaves of laureland stones, and pines, and my dear soil powder

borne by the wind, not shed by the tears.The dream of freedom stops you sleeping,Oh! Speak, Shout, Curse, Pull Your Hair out,

From the terrible brow, and close your eyes,so old Oedipus won't suffer greater pain!....

"Do not regret me, I'm blind" – The stone echoed.

1898

3938 SUTON

N. LASIĆ, I . BRAUTOVIĆ

EVENFALL

INTERVJU S REDATEL�ICOM IVICOM BOBAN

43

ŽARKO DRAGOJEVIĆ Ponovno ste u Dubrovniku za koji Vas vežu mnoge uspomene, kako je boraviti zimi u gradu i još k tome režirati Suton?

IVICA BOBAN Ja obožavam Dubrovnik, a posebno ga volim izvan sezone kada nema turističke gužve kao u ljetnim mjesecima posljednjih godina kad se doslovce ne može proći Stradunom. Radim s izvanrednim glumcima Kazališta Marina Držića i uvjerena sam da ćemo napraviti izvanrednu predstavu.

ŽD Kolika je aktualnost Vojnovića i Sutona u današnjem vremenu?

IB Drama se događa tridesetih godina nakon pada Republike, a radnja se zbiva u saloči mitskoga doma Beneše. Sam po sebi događaj nije aktualan, ali je Vojnović duboko i snažno opisao dramu jedne žene, odnosno djevojke i njezin odnos s majkom. Dakle, na dubljem planu riječ je i o tome da mladi u društvu tada, jednako kao i danas, nemaju budućnosti.

Mara Beneša kao glavno lice drame i njezina kći Pavle nose taj dramaturški luk i napetost cijeloga komada. Mara je u svom fanatizmu zaustavljanja života i življenja u prošlosti, i u predrasudama, uništila već svoje druge dvije kćeri, a sada zatire i Pavlinu ljubav s pomorskim kapetanom Lujom Lasićem. Oni žive u beskrajnom siromaštvu, nemaju doslovce ništa za sutrašnji obrok, čak ni stijenja za lukijernar.

U toj situaciji kapetan Lujo Lasić nudi otkup njihova palaca, ali Mara ga odbija bez obzira što je Lujo Lasić postao pomorski kapetan te na taj način postao cijenjen i priznat u društvu. Za Maru Benešu i još dvoje staraca koji se pojavljuju u drami (Luco i Sabo, izdanci plemenitaškog roda), on je još uvijek kmet. Ako malo dublje uđemo u značenja i slojeve same drame, onda je ona u nekom prenesenom smislu suvremena. Živimo i danas u zemlji u kojoj se zbog raznoraznih predrasuda, političkih i društvenih prepirki o prošlosti, ne posvećuje dovoljno pozornosti mladim ljudima koji odlaze i emigriraju u Irsku ili bilo kamo gdje mogu preživjeti.

I . BOBAN – FOTOGRAFIJA IZ ARHIVE DLJI

44 45

ŽD Kako je bilo ponovno surađivati s dubrovačkim ansamblom?

IB Nisam dugo radila u Kazalištu Marina Držića, ali s većinom sam glumaca radila Vetranovićevu Suzanu Čistu i Orfeja. To su Branimir Vidić, Hrvoje Sebastijan, Mirej Stanić, Glorija Šoletić. A davno prije radila sam i Dubrovački škerac i Noru. Osim njih u podjeli je još Nika Lasić koja je donedavno bila moja studentica i jako sam voljela s njom raditi, jer je bila talentirana već i na akademiji, a kao gost je tu još jedan moj bivši student, Mijo Jurišić iz Splita. Jako mi je drago da je u podjeli i Srđana Šimunović s kojom sam puno surađivala, ona ovaj put igra Katu. Glavnu ulogu Mare Beneše povjerila sam Izmiri Brautović koja nije imala prigode do sada igrati u toj vrsti dramskog tragičnog repertoara.

ŽD Među kolegama ste poznati kao osoba koja okuplja mlade te uvijek pruža prigode za suradnju. Koje poruke im odašiljete?

IB Mislim da je mlade bitno angažirati prvenstveno radi njih samih jer tako imaju mogućnost susreta s publikom odmah nakon studija, a jednako tako s ansamblom u kojemu igraju i stariji glumci i njihovi kolege. U tom spoju mladih i starih na djelu je posebna sinergija i razmjena. Mladi uče iz iskustva, znanja i vještina od starijih, a sami unose u proces rada svoje inovativne ideje i mladenačku energiju. Ja sam kao profesor emeritus još uvijek u stalnom kontaktu sa studentima. Mnoge su moje studentske predstave, u početku ispitne produkcije, kasnije zaživjele i odigrane su u teatrima po 200 i 300 puta. Uvijek sam pozivala mlade ljude i željela da oni steknu to iskustvo, a i da ih poslije angažiraju teatri. To sam radila na Dubrovačkim ljetnim igrama. Primjerice, Hekubu je ostvarila ekipa od trideset mladih ljudi i studenata Akademije. Moj asistent u toj predstavi bio je i Darko Rundek koji je ujedno radio i glazbu. Ako je na probama zanimljivo i istražuje se, to onda ostaje upisano u predstavu i uvijek se nekim kapilarama proširi i na publiku.

ŽD Dubrovačke ljetne igre ostavile su traga na mnogim generaci-jama, a tako je i danas. Što Vi pamtite kao najznačajnije trenutke?

IB Šezdesetih godina bili su moji počeci na DLJI, tada me doslovce Kosta Spaić iz gledališta povukao u Oluju i tada sam koreografirala svadbenu predstavu u tom komadu. Bilo je to 1962., a kad je Kosta

1964. preuzeo festival kao umjetnički ravnatelj, on je sam režirao Dubrovačku trilogiju (Allons enfants u Kneževu dvoru, Suton u Sponzi, a obnovio je i Gavellinu predstavu Na taraci u Gružu). Iste te godine bila sam kurtizana u Dundu Maroju i godinu poslije u Othellu sam radila koreografiju. Također sam plesala i glumila Emicu u Taraci. Na kraju svog profesionalnog puta dobila sam prigodu režirati Othella na Lovrjencu i predstavu Marin Držić

– Viktorija od neprijatelja u gradu, i sada me dopao Suton. Držim da je baš Suton, taj središnji dio Vojnovićevog triptiha, pravo remek-djelo. Vojnović je točno i precizno u jednom činu drama-turški ispleo događanja i izvanredno profilirao likove. On je s Dubrovačkom trilogijom, Maškaratom ispod kuplja i Ekvinocijem ostvario takav opus za koji mislim da je zaista vrh naše dramske književnosti, i utro je put modernom dramskom izrazu u nas. To se sve događa u vrijeme kad stvara i Čehov, i Vojnović mu je doista ravan. Piše kratke rečenice koje podsjećaju na precizno tkanje u kojemu se ne kaže baš uvijek sve što se misli, ali je u tim stankama upisano cijelo značenje odnosa i lica. Vrlo je zanimljivo to raditi i istraživati. U isto vrijeme nastaju i Ibsenove Sablasti, kao i Strind-bergova Sablasna sonata. Ja stvarno mislim da Vojnović stoji uz bok tim svjetskim velikanima. Taj određeni danse macabre drame Suton u kojem se plete odnos mladih naprama fanatizmu i tvrdo-kornosti starih, prije svega Mare Beneše i staraca, izvanredno je napisan i, ponavljam – potpuno je suvremen.

ŽD Kako vidite Dubrovnik danas i nekad u teatarskom smislu, bilo na igrama ili u KMD-u?

IB Nesretna sam jer se više u Dubrovniku ne može stvarati kao od šezdesetih do osamdesetih godina kad su se sve predstave radile u Dubrovniku, a nisu se radile u Zagrebu pa se premještale u Dubrovnik. Radili su se neki performansi i razna druga događanja. Radila sam sama puno kazališnih povorki s pozdravima kroz grad, besplatne predstave za djecu. Hodali smo, primjerice, gradom i okupljali roditelje i djecu te na kraju odigrali predstavu na Gundulićevoj poljani. To je danas naprosto nemoguće. Nemoguće je bilo što postaviti na javnom trgu bez ozvučenja. Još od Hekube sam se borila i pronašla sam prostor ispod Minčete, a zatim trčala svaku večer u kino Jadran te molila glazbenike da se strpe još pola sata s početkom sviranja dok ne završi predstava. Za Četvrtu

46

sestru sam pobjegla u razrušeni hotel Belvedere, što je bio idealan prostor za predstavu, ali je opet bio izvan grada. Dubrovnik danas nije više grad-teatar u kojemu smo, primjerice, slušali Enesa Kiševića ili Ibricu na skalinima, u kojem su se čule ponoćne serenade na svakom gradskom kantunu, gdje su predstave igrane po svim prostorima… Grad je sad zauzet kafićima i turistima. Lovrjenac je još uvijek idealan prostor za teatar zbog svoje otvorenosti prema zvijezdama i zbog svoje "utrobe", pa se u njemu može igrati bilo koji teatar, s metafizičkim značenjem ili pučki i puteni. I što je najvažnije, ondje se može mirno raditi i pripremati predstavu. Izvanredan prostor je još uvijek i Park Muzičke škole u koji smo smjestili Marina Držića – Viktoriju od neprijatelja. Beskrajno mi je žao što je ta predstava skinuta s repertoara Igara jer su ljudi u gradu i publika neobično voljeli tu predstavu i gledalište je uvijek bilo dupkom puno.

ŽD Mislite li da su onda klasici poput Vojnovića premalo zastuplje-ni na scenama u Hrvatskoj?

IB Mislim da je velika šteta, posebno u odnosu na Zagreb, da se gotovo uopće ne igra Držić, a ja sam uvjerena u ovo: ako je predstava dobra, nema jezične barijere i sve se razumije. Taj jezik je tako fascinantan i bogat i valjalo bi ga njegovati. Ista stvar je i s Vojnovićem i mislim da bi dužnost svakog teatra, a posebno Igara, morala biti da se kontinuirano igraju i Držić i Vojnović.

INTERVIEW WITH THE DIRECTOR IVICA BOBAN

5150

ŽARKO DRAGOJEVIĆ You are in Dubrovnik again in which there are a lot of memories for You. How do You feel about being in Dubrovnik during winter and directing Evenfall?

IVICA BOBAN I adore Dubrovnik, especially out of summer season, when there are no crowd of tourists, as it is evident during last several years, when You utterly cannot move on Stradun. I am working with exceptional actors of Marin Držić Theatre and I am convinced that we will produce an extraordinary performance.

ŽD Nowadays, Vojnović and his Evenfall is still actual, isn't it?

IB Drama takes place in the 30s, after the fall of The Republic of Dubrovnik, and the scene is in the saloon of the mythical home of Beneša family. The event itself is not actual, but Vojnović depicted so profoundly and strongly the inner drama of a woman, i.e. the girl and her relationship with the mother. Namely, deeply, it is evident that the young of that time, as well as today are without their future.

Màra Beneša, as a main character and her daughter Pavle, carry that dramatic arc and excitement of the whole piece. Màra has already fanatically stopped the progress by living in the past and prejudices. Thus, she has already destroyed the lives of her other two daughters and now she denies Pavle's love with Master Mariner Lujo Lasić. They live in endless poverty, they do not have anything to eat and not even a candle to light

In that situation, Master Mariner Lujo Lasić offers to purchase his pallace, but Màra refuses regardless the fact that Lujo Lasić has become a captain and therefore praised and respected. For Màra Beneša and another two old men appearing in drama (Luco and Sabo, of noble origin), he is still bond-man. If we deeply go inner, into the meanings and strata of the drama itself, then it is in some metaphorical meaning, very modern. We are still living in a country in which, out of some prejudices, political and social disputes about the history, we don't pay enough attention to the young who are leaving and emigrating to Ireland or anywhere just to survive.

ŽD How have you collaborated again with Marin Držić Theatre ensemble?

52 53

IB I haven't worked with Marin Držić Theatre for a long time, but with the majority of the actors I worked the play Sussana the Clean One, Orpheus by Vetranović. They are: Branimir Vidić, Hrvoje Sebastijan, Mirej Stanić, Glorija Šoletić. A lot time ago, we worked on Dubrovnik Sketch and even Nora. Besides them, there are Nika Lasić, who was my student recently and I liked working with her at The Academy, beacause she is very talented. Mijo Jurišić from Split is also here, as a guest, also my former student. I'm glad also that Srđana Šimunović is here with whom I collaborated, her role is Kàta. The main role has been reserved to Izmira Brautović, not being engaged in this type of tragical repertoire so far.

ŽD Your are said by Your collegues, to like gathering young people around You, and offering them the occasion to cooperate. What messages are You sending to them?

IB I consider, that it is very important to engage the young, firstly for themselves, because thus, they obtain the possibility to encounter the audience immediately after the studies, as well as with the ensemble, where they play with older actors and the colleagues. In this mutual cooperation of the young and the old, special synergy and exchange happens. The young learn from the experience, knowledge and skillfullness of the older. They, themselves introduce into the process their own innovative ideas and the energy of youth. As a professor emeritus, I am still in contact with the students. Numerous my plays, at the beginning were just examination production and later on continued living and existed on the stage even 200 and 300 times. I have always invited young people and wanted them to obtain experience. The theatres consequently would employ them later on. I did so on Dubrovnik Summer Festival, f.e. Hecuba was realized by the group of thirty young persons and the students of The Academy. My assistant in the play was Darko Rundek, who composed the music, too. If the atmosphere is interesting on the rehearsals, where research is being done, it is reflected on the performance and it spreads through some passages to the audience, too.

ŽD When talking about Dubrovnik Summer Festival, it had a great impact on many generations and we still feel it today. What do you remember as the most significant moments?

IB During the sixties, when I started on Dubrovnik Summer Festival, Kosta Spaić drew me, just from the audience, into The Tempest and I was a choreographer of the wedding performance in that piece. It was in 1962 and 1964. when Kosta took over The Festival, as an art director and directed The Trilogy of Dubrovnik (Allons Enfants in Rector's Pallace, Evenfall in Spoza Palllce and also renovated Gavellla's On Terrace in Gruž). That very year, I acted as a courtesan in Uncle Maroye and the year later in Othello and I created choreography. I also played and danced Emica in On Terrace. At the end of my professsional career, I was given the chance to direct Othello on the Lovrijenac Fortress and Marin Držić The Victory of the Enemies in the City (of Dubrovnik) and now I has won Evenfall.

I consider that Evenfall, this central Vojnović triptych is a master piece. Vojnović has accurately and precisely in one act dramatur-gically connected the events and analysed the characters accu-rately. With Trilogy of Dubrovnik, Masquerades under the Roof and Equinox, he realized such an opus, I consider it to be our best drama literature, which paved the path to our modern drama expression. It happens at the time of Chekhov's creation and they two, are of the same quality. He writes a short sentences, similar to a precise knitting, the meaning not being transparent. But in those pauses, the meanings, relationship and characters were written. It is very interesting working on that and constantly researching. At the same time, Ibsen created Ghosts as wel as Strindberg Ghost's Note. I really think that Vojnović is not inferior to them. That dance macabre of drama Evenfall in which young phanatism versus rigidity of the old was described, specifically Màra Beneša and the old man who was depicted so exceptionally. It is completelly modern.

ŽD What is Your view of Dubrovnik theatre life of today: either Dubrovnik Summer Festival, or Marin Držić Theatre?

IB I am unhappy, because in Dubrovnik, one cannot create as it was the case in the sixties and eighties, when all performances were prepared in Dubrovnik, not in Zagreb and then transferred to Dubrovnik. Several performances were done and for some other events. I prepared many theatre procession with Greetings Troupe

54

followed by free entrances for children. For example, we were walking through the town and gathered the children and their parents. We finally performed the play together on Gundulić Square. It is today just impossible.

It is impossible to put anything in the public square without sounding system. Even from Hecuba I had battled and found the place under Minčeta Tower, and then I ran every evening to the cinema Jadran and I asked the musicians to be patient, for half an hour, with the performance until the play had been over. For the play The Fourth Sister I ran away to the destroyed hotel Belvedere which was the ideal space for the play, but outside the city. Dubrovnik is no longer city-theatre in which we were listening to the poetry of Enes Kišević or Ibrica on the stairs. There were serenades at each corner of the city and the plays were performed anywhere in the open air. Now the space is occupied by tourists and cafés. Fortress Lovrijenac is still ideal space for ambience theatre with its openess to the stars and with its interior which could accept any metaphysical theatre being it either folk or sensuous. Morover, it is the place where the play itself could be rehearsed. In addition, the exceptional space is also the park of The School for Music where we situated Marin Držić The Victory of the Enemies. I am endlessly unhappy, that both Victory and Marin Držić have been cut from the repertoire of Dubrovnik Summer Festival, because the people of Dubrovnik have always loved the play and the performances and full atttendance was evidenced.

ŽD Do You think that classic writers such as Vojnović are underrepresented on the stages of The Republic of Croatia?

IB In my opinion it's a great pity, especially in relation to Zagreb, that Držić is not played at all. I am convinced that this play is good, and there are no barriers in language, everything is understood. That language is so fascinating and rich and it should be cultivated. The same holds true for Vojnović and I consider that the duty of each theatre, and especially Summer Festival should be to play constantly Držić and Vojnović.

5756 SUTON

G. ŠOLETIĆ, I . BRAUTOVIĆ

EVENFALL

5958 SUTON

N. LASIĆ , M. JURIŠIĆ

EVENFALL

61

IZ PISAMA IVA VO�NOVIĆA

PROMEMORIJA ZA PREDSTAVU SUTONA

ANačin ili ton prikazivanja valja da je sasvijem naravan, jednostavan, brez sjene pathosa.

Neka svi glumci zapamte dobro:1/ da Dubrovčani govore malo, tromo ali izrazito.2/ da im je kretanje vrlo umjereno, većinom ponešto ukoče-

no, brez ikakve dalmatinsko-talijanske živahnosti. – Dubrovčani bija-hu i jesu još uvijek pravi orijentalci s' toskanskim odgojem. Dakle sve u nuansama odmjereno.

3/ Ako je kretanje tijesno i ukusno, tim je izražaj lica znameni-tiji a razgovor značajniji. Sve što je srce ćutilo, a tisućljetni odgoj ne dopuštao da na svjetlost izagje, sve je to ipak bljeskalo u hitrim, časovitim potezima onijemljelih usana, u dubokom sjevanju očiju, u onim poluglasnim, neizrecivim zvukovima koji otkrivahu tek naslućene misli. Ko je vidio prikazivanje Novelli-a i njegove škole, taj će za stalno pogoditi što je donekle izražaj dubrovaške duše.

– Jednom riječi: u više nego li same riječi.Ako ima u Sutonu kakvih ljepota, to je želja pisca da čim

pregnantnije prikaže oprijeku izmegju nutarnje i vanjske drame što se na pozorištu zbiva. Rijeka strasti, tragike, ideja, osjećaja, uspo-mena teče u dubinu – a na površju čuješ samo daleki šum nevidlji-vih, podzemnih bujica i gledaš trzanje jadne, izmučene pûti koja sve trpi, a neće da nikomu kaže koliko trpi. – Zato svaka riječ, svaki kret, svaka pauza valja da imade izražaj te dvostruke borbe.

BIzgovor neka je čisto štokavski s' onim karakternim zanašanjem što čini da Dubrovčani tako slatko govore. – Talijanske riječi neka se izgovaraju takogjer po štokavsku. – Dobro paziti da se riječi Màra i Kàta svegj izgovaraju kratko.

COdijela strogo po oznaci. Lujo i Vaso obučeni su na gragjansku á la 1830. ali jednostavno. Vaso nosi fes, pa mnogo prstena i lanac od zlata da se vidi oprijeka sa siromaštvom Màre. Ovdje mi je opaziti da se baš u prizoru Vasa i Màre ističe glavna krijepost i originalnost starih Dubrovčana (a donekle i današnjih) biva, da su se dičili svojom bijedom i da su u siromaštvu bili uprav grand Seigneuri.

(Niže navedeni tekst bio je priložen uz jedno pismo.)(Zadar, travanj 1900.)

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Neka se glumci dobro paze da ne učine od raznih tipa komične karikature. U mnogo čemu Dubrovčani, osobito stari, naličili su Englezima. Svàk je razvijao svoju individualnost do skrajnosti, pa zato svijet ih je zvao da su "origjinali" tj. čudaci

– ali im se nije nigda smijao.Iako je pisac istaknuo s' nekom sjetnom ironijom tu čudnu

stranu dubrovaške naravi, to ih je ipak prikazao kakvi su bili, tj. kao velike ostanke iznemogla polumrtva tijela.

DScenarij-a valja da odgovara naravi ljudi što se u njoj kreće. – Svje-tlo sutona valja da je vrlo tačno i izrazito prikazano. Svud je u drami naznačeno kad i kako svjetlost nestaje.

EDanteova divotna tercina o sutonu neka se talijanski reče, ali tako duboko i plastično da joj barem nasluti općinstvo neopisivu, pretuž-nu ljepotu. U ostalome moglo bi se i hrvatski govorit iz Buzolićevo-ga ili drugoga kojega prevoda.

Na koncu opetujem da samo Pero Budmani, može kazati i opisati kako su oni gospari hodili, sjedali, govorili. Koliko nam je puta ženijalni filolog oponašao one izvanredne prikaze, a mi pucali od smijeha sa suzama na očima! Eh! Da bi on htio malo pogledati pokuse!...

A sada – punctum.(Još jednu: Kàta neka bude u tomu dobroćudnosti i finoće.

Djevojke (sluškinje) starih vladika bijahu takove dame, da su se poslije sve udale za gospodu i postale gospogje od glave do pete. Ima ih još živih.)"

Pisma Iva Vojnovića. Knjiga prva. Priredio Tihomil Maštrović. Zagreb – Dubrovnik, 2009., str. 275 – 277.

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INSTRUCTIONS FOR THE PLAY EVENFALL

AThe way and the pitch of the play, should completely be natural, simple, without any shadow of pathos.

The actors should clearly remember that:1/ the people of Dubrovnik speak little, slowly, but expressively.2/ their movements are very moderate, mainly a little bit

rigid, without any Dalmatian-Italian vividness. – the people of Dubrovnik had always been and still they are: real Orientals with Tuscan education. Thus, everything should be in nuances, moderate.

3/ If the movement of the body is stiff and gracious, the expression of the face is meaningful, and the conversation is ever significant. Whatever being in the heart, and what thousand-year-long tradition hadn't allowed to go out, all that was contained in quick, momentaneous gestures of the mute lips, in deep eye movements, in those half-voiced, unexpressed sounds which reveal just imagined thoughts. Those who saw the performance of Novelli-a and his school, that one will guess to some extent, what is the expression of the soul of Dubrovnik. – In one word: in Suton, the silence speaks more than the words themselves.

If there are any beauties in Suton, that is the desire of the writer to show as pregnant as possible the difference between the inner and outer drama, being played on the stage. The river of passion, tragedy, ideas, emotions, memories is flowing in depth

– and on the surface, one could hear just distant voice of invisible, undeground streams and the movements of poor, tortured body which is suffering terribly, not wanting to tell anybody the pain of it. Therefore, each word, each movement, each pause should contain the expression of that twofold battle.

BThe pronunciation should be clearly stokavian with characteristic convergence, making the people of Dubrovnik speak so sweetly

– Italian words should be expressed in stokavian, too. – Pay great attention to the pronunciation of names Mara (Màra) and Kata (Kàta) which shoul be, at all times pronounced quickly.

FROM LETTERS BY IVO VO�NOVIĆ(Below quoted text, was attached to one letter)(Zadar, April 1900)

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(In addition: Kata should be shown as a mild-tempered and gentle woman. The girls (servants) of the old noble women were of that style, so that, later on, all of them married the noblemen and became completely noble. They are still living today.)

Letters by Ivo Vojnović. Book first. Adapted by Tihomil Maštrović. Zagreb – Dubrovnik, 2009, p. 275 – 277

CThe suits: rigidly in accordance with the instruction. Lujo and Vaso dressed in a civilian manner, in the style of 1830s, but simply. Vaso wears a cap (fez), a lot of rings to show the opposite side of Mara's poverty. I would like to point out that in the scene of Vaso and Mara, there's a main virtue and originality of the old people of Dubrovnik (to some extent and those of today) They were proud of their own poverty and even in that condition, they were just grand Seigneurs.

Actors should pay great attention not to make comical characters, from different roles. In many ways, the old people of Dubrovnik were similar to the English. Each one, developed his own individuality, up to the extreme points, therefore they were called "oriđinali" i. e. strangers – but they were not ridiculed at all. Although the writer pointed out with a certain sorrowful irony, this strange side of the nature of the people of Dubrovnik, they were shown in the light they were. i.e. as great relicts of the tortured half-dead body.

DStage design should be in accordance with the nature of the people moving on it. – The light of the twilight should be precisely and expressively shown. It was clearly indicated in drama, when and how the light appears.

EDante's divot edition – la terza about the evenfall, should be pronounced in Italian, in a manner so deep and vivid, so that the audience could feel indescribable very sorrow beauty. In other parts, Croatian language might be spoken out from Buzolić or some other translation.

In the end, we repeat that only Pero Budmani might say and describe how noble man of Dubrovnik walked, sat, spoke. How many times that jovial philologist imitated those extraordinary scenes, while we were laughing with the tears in our eyes! Oh! If only he had attended rehearsals sometimes!... And now – punctum.

6968 SUTON

H. SEBASTIJAN, G. ŠOLETIĆ, B. VIDIĆ, M. STANIĆ, I . BRAUTOVIĆ

EVENFALL

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O IVU VO�NOVIĆU

Jedna velika književna karijera započela je anegdotalno: jednoga dana, moglo je biti s jeseni 1879., donio je profesor zagrebačkog Sveučilišta Kosta Vojnović prijatelju Augustu Šenoi rukopis svoga sina i zamolio ga da mu u povjerenju kaže: "Vrijedi li štogod to brškanje mog Iva." Odgovor urednika "Vienca", a tada i vrhovnoga književnog arbitra u nas, bio je nedvosmislen: od početka 1880. g. počela je u "Viencu" izlaziti proza mladoga pisca koji se krio iza pseudonima Sergej P. Bio je to mladi, 23-godišnji student prava Ivo Vojnović (1857-1929), a njegova prva proza imala je naslov Geranium. Od te mirisne dubrovačko-flaubertovske proze, pede-setak sljedećih godina nastajalo je Vojnovićevo književno djelo, orijentirano već od svoga početka prema europskim književnim strujanjima. Istodobno kad Šenoa najavljuje realizam koji tek što nije nastupio, Vojnovićev prvijenac evo već najavljuje i ostvaruje ono što će se razviti tek poslije realizma: još modernija, moderni-stička obilježja književnoga izraza. Vojnovićev prvijenac pojavljuje se potkraj Šenoina doba. Još nije bilo ni Kumičića, ni Kozarca, ni Novaka. Hrvatskom književnom realizmu, i to je jedna od njegovih posebnosti, za korak prethodi i neprekidno ga u stopu prati Vojnovićev modernistički bijeg od svakodnevne realnosti i osjetlji-vost za "unutarnju istinu."

Šenoa, dakle, nije otvorio vrata književnosti samo protago-nistima realizma nego i preteči moderne! Tako Vojnovićev simboli-zam, u prozi i u dramama, traje istodobno i usporedo s Kozarče-vim regionalizmom, Novakovim kriticizmom i Kumičićevim

"naturalizmom".

Dubravko Jelčić, Povijest hrvatske književnosti, 2004.

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Već je gotovo zamorno isticati da je Vojnović pjesnik Dubrovnika, ali ta stara tvrdnja vrijedi ne samo kao ključ za najbolje shvaćanje njegovih djela takve tematike nego i kao mjera vrijednosti ostalih njegovih djela, pri čemu procjena ovisi o stupnju udaljenosti ili blizine odabrane teme i Dubrovnika kao konstante sine qua non. Nitko, naime, u hrvatskoj književnosti ni prije ni poslije Vojnovića nije s tolikom slašću i bolom (croce o delizia!) znao i htio, žudio i morao, morao i uspio tako samomučilački opjevati i iskazati, uobličiti i posvojiti biće ništavila, čeznuća i iščeznuća oličeno

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za račun onih likova koje snagom pjesničke vizije zatječemo u tekstu kao protagoniste s nizom radnji smještenih u prostoru i vremenu jednog jednoć mogućeg, postojećeg postojanog svijeta.

Luko Paljetak, Ivo Vojnović, Izabrana djela I – II, 2003.

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U doba kad Hrvatsko narodno kazalište prima na izvođenje Vojno- vićevu komediju Psyche i, nakon pet godina, "dramu u četiri prikaze" Ekvinocijo, povijesna je tragedija i dalje najcjenjenija dramska vrsta u našoj književnoj i kazališnoj kulturi. Svjedoči o tom i Miletićev i, još rječitije, Kumičićev strah da će ih "sud historije" prekoriti zbog toga što su, mimo uzvišene Tresićeve slike iz nacionalne prošlosti, nagradili pučke – kako im se tada činilo – dijalektalne Vojnovićeve "prikaze" iz života anonimnih ribara i pomoraca. O prvoj nagradi dodijeljenoj Ekvinociju još se nije govorilo kao o "velikoj pobjedi". Sjena spora, poricanja njezine vrijednosti i sumnje čak i u onih što su glasali za Vojnovi-ćev tekst ostala je na njoj.

Na "velikoj pobjedi" Sutona, ujedno i "velikoj pobjedi" hrvat-ske moderne o kojoj govori Milivoj Dežman Ivanov u istom broju časopisa Život u kojem kao urednik i tiska Vojnovićevu jednočinku, više nije bilo sjene. Nema je, zapravo, ni na "pobjedničkom pohodu" cijele trilogije, koja je od prvog izdanja u nakladi Matice hrvatske i praizvedbe na pozornici Hrvatskoga narodnog kazališta neprekid-no i živo prisutna i u našoj književnosti i u našemu teatru. Pojavom Sutona pristalice modernizma – "mladi" – mogli su svojim oponenti-ma u kulturnome i književnom prijeporu – "starima" – pokazati i prikazati izniman dramski tekst, mogli su dokazati da se moder-nost i visoka umjetnička vrijednost ne isključuju. S dogotovljenom Dubrovačkom trilogijom mogli su ustvrditi kako je za modernizam osvojena i posljednja utvrda prošlostoljetne nacionalne dramske književnosti – povijesna tragedija. /… /

Vojnovićevi se likovi moraju opredijeliti za jednu od sučelje-nih strana i, razumije se, prihvatiti konzekvence svojega opredje-ljenja. Oni koji pristanu uz povijest izgubit će nacionalni i klasni identitet; oni koji pristanu uz mit sačuvat će – barem za sebe i svoju najbližu okolinu, u koju ulaze obiteljski prijatelji i kućne dvorkinje – identitet, ali će biti osuđeni na izolaciju i propadanje.

u slici najdražega mu Grada s kojim se on, onako podvojen, svakim svojim dijelom (iako, na žalost, ne i svakim svojim djelom) uspio stopiti kao s vlastitim tijelom u kojem duša trpeći klikće, uzlijećući pada, sumnjajuć' vjeruje.

Kao i Gundulić (čiji san i sâm nastoji sniti) uzdahom zapo-čevši svoju uvijek nostalgičnu apostrofu Gradu, Vojnović smrt (dubrovačke) Slobode vidi kao nestanak ljepote koju keatsovski osjeća kao jedinu istinu, pomičući je s aktualnoga i njemu uvijek privlačnoga terena izravne društveno-političke zauzetosti, u adekvatniji joj, zasjenjeni sutonski scenski prostor, daleko izdašniji za takvu vrstu sanjarije.

Vojnović je bez usporedbe. – "Les imbéciles seuls font des comparaisons." (samo glupani vole usporedbe), kaže on u svom Prologu nenapisane drame, djelu-oporuci u kojem na kraju, kovačićevskom gestom, u registraturi svoje književne radionice jednu po jednu para "sve to hitrije, sve to veselije napisane stranice pa tada iz puna grla, bacajući podrtine u vis i na tle, kliče suncu", ostajući svejedno pjesnik zalaska sunca, sutona, "beznad-nog spominjanja", pokazujući i u tome svoj trajni modernitet književnika koji na (pri)sjećanju zasniva rad svoga duha, na slici reljef svoje psihe, znajući da je zaborav smrt veća i od same smrti; a on ga je izbjegao trajnom vrijednošću najvitalnijeg dijela svoga osebujnog opusa. /… /

Prvi put, nakon dječačkih dana, u Dubrovnik je došao 1891. i tu radio sve do 1898. U tom razdoblju nastale su prve pjesme iz Lapadskih soneta (prvotno nazvani "dubrovački"), zatim Gundulićev san (1893) i za nj prijelomni Ekvinocijo, praizveden u Zagrebu 30. listopada 1895. Tada se u njemu javila i prva zamisao o Sutonu, koji je isprva namjeravao nazvati – Sjene. Objavio ga je 1900. i dodao mu prvi dio buduće trilogije – Allons enfants!... (1901.) a zatim i Na taraci, te je tako čitava Dubrovačka trilogija (htio ju je nazvati Suton; Vojnović je, naime, uvijek dugo tražio/osluškivao pravi naslov svoga budućeg djela) izišla u Zagrebu 1903. godine. /… /

Trilogija u cjelini, sagledana s britke brisane površine tarace, scenski utjelovljuje viziju ljudskog egzistiranja (koje uključuje i život ljudi i život stvari) u posvećenom i po prirodi pjesničke vizije gotovo nestvarnom prostoru Grada, zasnovanom na Vojnovićem (re)afirmiranoj jednadžbi po kojoj Sloboda (onaj gundulićevski Božji dar) jest Ljepota koja je uvjetuje, opravdava i transmitira. Vojnović pritom ne zanemaruje dio povijesnih (držićevskih) istina

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U svakom dijelu Trilogije imate plastičnu sliku unutarnje neuravnoteženosti, rastrgane polovičnosti i nekih junaka koji su – uza svu dobronamjernu idealnost i kulturnu izglađenost – uzor-ti-povi vrlo često nejunačke i beskičmene građanske prošlosti. Vojnović je imao fino uho za napuklost Orsatova heroizma, za sentimentalno neodlučnu zaljubljenost u mrtvu prošlost svih tih novih gospara-pučana tipa kapetana Luje iz Sutona, kao i za lucidnu, ali jalovu političku genijalnost posljednje generacije dubrovačkih gospara tipa gospara Lukše.

Branko Gavella, Što mislim da znam i što ne znam o Ivi Vojnoviću, 1958.

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Sve te prostorne metafore i simboli, u Dubrovačkoj trilogiji, nužno su povezani jednim zajedničkim vremenom suvremenog poetskog čina u kojem se razdoblju od gotovo jednog stoljeća Vojnovićeve apokaliptične vizije nestajanja i smrti sažimlje u jedan tren i pretvara u integralni kazališni događaj.

Joško Juvančić, 2007.

Prvi su, kako pojednostavljeno i podosta patetično zaključuje autor, sačuvali tijelo, a izgubili dušu; potonji su sačuvali dušu, ali im tijela trunu. Bilo kako bilo, gosparstvo je "dospjelo".

Boris Senker, Hrestomatija novije hrvatske drame, 2000.

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Vojnović je mnogo dotjerivao rukopise. Još uvijek nije točno utvr-đen broj svih verzija svake njegove drame, ali poznato je da postoji petnaestak verzija Trilogije, jer je autor kod svakog novog preštam-pavanja i za svaku novu izvedbu mijenjao ponešto, a varijantama se mogu smatrati i njegovi prijevodi vlastitih djela na talijanski, jer se pri tom nikada nije doslovno držao baš svake originalne pojedinosti. Obično je Vojnović imao unaprijed gotov opći plan, ideju i siže komada; pojedina lica bila su u prvoj verziji samo u bitnim određe-njima fiksirana. Uopće, sudeći prema prvim verzijama koje su sačuvane (za Allons enfants!... i dr.), Vojnović je najprije samo nabacio motive i teme dijaloga kratkim eliptičnim natuknicama, koje je kasnije razrađivao smisaono i izražajno, prilagođujući jedno i drugo osnovnim svojstvima pojedinih lica. Takav je rad bio mučan, ali je autor pružao šansu da se barem u nekim fragmentima, u nekim scenama Trilogije, približi savršenstvu.

Vlatko Pavletić, Drame Iva Vojnovića, 1962.

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Uz neskladnu, naduvenu milozvučnost, nesumnjivo ima baš u Trilogiji mnogo tonova koji vibriraju nepomućenom iskrenošću i nekim srodnim dodirom sa stvarnošću. Iz svih tih mjesta struji dah i duša Dubrovnika. Uza sve rezerve koje možemo staviti u njegov odnos prema stvarnosti vlastitog života i stvarnosti koja ga je okruživala u dodiru s Dubrovnikom, Vojnović je govorio iz dna srca. Vidio je, da je Dubrovnik jedino žarište, u kom je život Evrope, koji nas je zapljuskivao sa svih strana, dobio našu, specifič-no našu, spektralnu šaru. To "Čudo od grada" nije bio samo neobič-no spretno izvedena kombinacija pomorske agencije i državnog suvereniteta, već je na tom liliputanskom državnom teritoriju od Stona Maloga do Molata strujao zaista zasebno omeđen život /… /

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ABOUT IVO VO�NOVIĆ

This great literature career started as an anecdote: one day, it could have been in the autumn of year 1879., the professor of The University of Zagreb, Kosta Vojnović, a friend of August Šenoa, brought to him the manuscript of his son and asked him confidentially: "Are the writings of my Ivo of some value?" The answer of the editor of "Vienac" and the highest literary authority of that times, was unambiguous : from the beginning of 1880.

"Vienac" started publishing the prose of a young writer who stood behind the pseudonym Sergej B. He was a young twenty-three

-year-old student of the jurisprudence Ivo Vojnović (1857 – 1929), and his text was titled Geranium.

From that Dubrovnik- Flaubert prose, in the following fifty years, Vojnović literary work will have been created, oriented from its beginnings to the European literary streams. At the same time, when Šenoa announces and realizes the things, that will be developed, only after the realism: even more modern features of the literary expression appear. The first work of Ivo Vojnović appeared at the end of Šenoa era. Neither Kumičić, nor Kozarac, nor Novak still existed. Vojnović showed a certain modern escape from the quotidian reality and the sensitivity for "inner truth". That is one of the feature of Croatian literary realism, which had been preceeded and followed by Vojnović.

Šenoa, therefore, didn't open the door to the literature, not only to the figures of realism but also to the precursor of modernism! Thus, the symbolism of Vojnović, in prose and dramas, exists contemporarily with regionalism of Kozarac, criticism of Novak and naturalism of Kumičić.

Dubravko Jelčić (2004)

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It is realy tiresome to point out that Vojnović is a poet of Dubrovnik, but that old statement is valid, not only as a key for the best understanding of his works of similar topics, but as a measure of the value of other his works,. The assessment of the value, depends on the degree of the distance of the chosen topic and Dubrovnik, as a constant line sine qua non. Namely, in Croatian literature, neither before, nor later from Vojnović, anybody knew, wished, could and suceeded to achieve so suicidally to do so and describe by poetry and expressed and create and adopt the

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Trilogy, in its entirety, taken from a sharp surface area of the terrace, embodies on the stage, the vision of human existence (which involves even the lives of the human beings and the lives of the things) in the blessed and (in the opinion of the writer) poetic vison of almost unreal area of The City, based on Vojnović reassured equation according to which The Freedom (by Gundulić so called Gift of God) is a Beauty which embodies, justifies and transmits. Thus, Vojnović doesn't neglect the part of historical (Držić style) truths, on account of those characters, who by means of the strenght of the vison of the poet, we find in the text as a protagonist, with a series of the actions situated in the area and space of once mighty, existing, constant world."

Luko Paljetak (2003)

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At the time, when Croatian National Theatre accepted for performance, the comedy by Vojnović titled Psyche, and after five years of "the drama in four acts" Equinox; the historical tragedy was still considered to be the most valuable drama variety in our literature and theatre legacy. The justification of this attitude was seen in the fear of both Miletić and Kumičić (even verbose one), fear that the "court of history" would condemn them, because they had awarded Vojnović (popular, dialectal scenes of the lives of anonymous fishermen and seafarers), instead of Tresić (solemn scenes of national history) The first prize awarded to Equinox was not discussed, as a great victory. The shadow of the dispute, denial of its value and doubts even of those who voted for the text by Vojnović, remained on it.

There were no shadow on the "great victory" of Evenfall, at the same time "great victory" of Croatian modernism, which is discussed by Milivoj Dežman Ivanov in the same number of the journal Život (Life) in which, he as an editor publishes one-act drama by Vojnović. Also, there's no shadow on the "victorious tour" of the whole trilogy, which from the very beginning of its publication by "Matica hrvatska" constantly and vividly exists in our literature and in our theatre. By the appearance of Suton, the supporters of modern stream – i.e. the young, could in the opponnents in the cultural and literaly life – show to the old ones

essence of nihilism, desire and disappearance depicted in the image of his beloved City. He succeeded in melting with it (being doubled at the some time), with all his parts (although, unfortunatelly, not with all his parts). Dubrovnik became a part of his own body in which the soul when suffering, it is shouting, when flying, it is falling, when doubting, then it believes.

As well as Gundulić, (whose dream, he himself tries to follow) he nostalgicaly starts his apostrophy of The City. Vojnović, on the other hand, sees the death of the freedom of Dubrovnik as a dissapearance of the beauty, he himself feels like Keats as a unique truth, moving from the always actual area of social and political engagement, into more adequate evenfall stage space, far more profitable for that type of the dream.

Vojnović, without comparison is "Les imbéciles seuls font des comparaisons."(just fools like comparisons), says in his Prologu nenapisane drame (Prologue of unwritten drama), work-last will in which in the end by means of Kovačić gesture, in the register of his literary workshop, one by one, he tears, already written pages as quickly and hilariously as possible and then loudly throws the torn pages in the air, and on the ground, greeting the Sun", becoming the poet of the twilight of the sunset, hoplessness memories, showing in that fact the constant modernity of the literary writer, who bases his soul on the memories and on the picture it reflects the relief of his psyche, knowing that the oblivion of the death is greater than the death itself. He himself avoided it by eternal value of the part of his exceptional opus. /… /

For the first time, after his boyhood, he arrived in Dubrovnik in 1891. where he worked up to 1898. During that period, the first collection of poems were written: Lapadski soneti (originaly named Dubrovnik Sonnets, and after that, Gundulićev san (1893) (The Dream by Gundulić) and for him, the turning point was Equinox, the premiere being realized in Zagreb, October 30th in 1895. At hat time, he for the first time had the idea about Suton, he intended to call Sjene (Shadows). He published it in 1900. So, he added the first part of future trilogy - Allons enfants!... (1901) and after that Na taraci (On the Terrace) and thus the entire Dubrovačka trilogija (The Trilogy of Dubrovnik) (he wanted to name it Suton; Vojnović namely had long searched the exact title for his future work which was published in Zagreb in 1903. /… /

80 81

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In unharmonious, vanitous melody, undoubtedly in Trilogy there are many tones which vibrate by means of sincerity and some congenial touch with reality. Out of all those places, there's a stream and the soul of Dubrovnik. Taking into consideration all the facts, about his relationship to the reality of his own life and the reality of the environment of Dubrovnik, Vojnović talked from the depth of his heart. He saw Dubrovnik as a focus, in which there's a life of Europe, which flooded us from all sides, which obtained our, specifically our, spectar colour. This "miracle of the city" was not only unusually skillfully created combination of maritime agency and state sovereignity, but on this Liliput state territorry from Ston the Minor up to Molunat, limited but special stream of life existed /… /

In each part of Trilogy, there is a vivid picture of inner unbalance, torn half pieces of some heroes. Besides all good willingness and ideality and cultural politeness, they are model types of very frequently non-heroic and spineless civil history. Vojnović had a fine ear to hear Orsat hedonism for sentimental undecisive love for dead history. He also understood all those gospari (misters)-commoners of the type of Captain Lujo from Suton, as well as lucid, but barren political geniality of the last generation of the noblemen of Dubrovnik similar to gospar Lukša (gospar = mister in Dubrovnik dialect)

Branko Gavella (1950)

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All those metaphors and symbols, in Dubrovnik Trilogy are esentially connected with a certain period of modern poetic act, in which, within a period of one century of Vojnović apocalyptic vision, disappearance and death are interconnected in a moment and transformed into an integral theatre event.

Joško Juvančić (2007)

how an exceptional drama text is performed, and prove that modernity and high artistic value could coexist.

Once Dubrovačka trilogija (The Trilogy of Dubrovnik) finished, they could ascertain, that the last fortress of last-century-national literature i. e. historical tragedy was conquered /… / and modernism started.

The characters by Vojnović must decide for one of the opposite sides and as being understandable, accept the consequences of their own decisions. Those adhering to the history, will lose their own national and class identity; those consenting to the myth, will conserve – at least for themselves and their own environment, in which family friends and household servants make part – i.e. identity. They will be condemned to the isolation and deterioration. The first one, as simply and patheticaly said by the author preserved their own bodies, but they had lost the soul; the former conserved the soul, but their bodies are rotten. Anyhow, the nobility has been consumed.

Boris Senker (2000)

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Vojnović meticulously polished his manuscripts. It hasn't still been established accurately the number of all versions of his drama, but it is known that there are fifteen versions of Trilogy, because the author on the occasion of re-printing, and for each new performance changed something, because he didn't stick literaly to each original detail. Usually, Vojnović had in advance prepared general plan, idea and the summary of the piece of work. Certain characters were in the first version, only in their essential features represented. Generally, judging according to the first versions, which were preserved (for Allons enfants! and others), Vojnović firstly wrote the motifs and topics of the dialogues, by means of short elliptic tips, which he later eleborated meaningfully and expressively, adapting the former and the latter to the basic features of certain characters. That type of work was tormentous, but the author offered the chance to approach at least in certain fragments, in some scenes of Trilogy to approach the perfectness.

Vlatko Pavletić (1962)

8382 SUTON

H. SEBASTIJAN, B. VIDIĆ

EVENFALL

8584 SUTON EVENFALL

M. STANIĆ, G. ŠOLETIĆ, S. ŠIMUNOVIĆ, N. LASIĆ

8786 SUTON EVENFALL

S. ŠIMUNOVIĆ, Z. ČOTIĆ, I . BRAUTOVIĆ

8988

Z. ČOTIĆ

BIOGRAFIJE

IVICA BOBAN Redateljica, koreografkinja, dramaturginja, scenaristi-ca i autorica dramskih tekstova i kazališnih projekata te profesor emeritus na Akademiji dramske umjetnosti Sveučilišta u Zagrebu. Gost je profesor na New York University – Tisch School of Arts (1997.) i na Ryerson Theatre School u Torontu (2012.). Članica je Europskog udruženja instituta i akademija umjetnosti ELIA.Kao koreografkinja, koredateljica i suradnica za mimu, pantomimu i scenski pokret od 1962. surađivala je u osamdesetak predstava u kazalištima i festivalima širom Hrvatske.

Osnivačica je, umjetnička voditeljica i redateljica Kazališne radionice Pozdravi (1973. – 1985.) koja je odigrala više od 600 predstava (Pozdravi, Povratak Arlekina, Play Čehov, Play Držić…), prikazanih na 45 uglednih svjetskih festivala u 82 grada Europe, Srednje i Južne Amerike.

Režirala je u kazalištima u Zagrebu, Dubrovniku, Splitu, Rijeci, Sarajevu, New Yorku, Torontu te predavala i držala seminare na kazališnim akademijama, školama i festivalima u zemlji i inozemstvu. Surađivala je s vrhunskim svjetskim kazališnim umjetnicima kao što su Eugenio Barba, Jerzy Grotowsky, Mario Gonzales, Eugene Ionesco, Dario Fo, Tom Stoppard, Cecily Berry, Kristin Linclater, Claire Hagen, Philipe Genty, Jerzy Menzel te sa Školom za mim i teatar Jacques Lecoq u Parizu, Royal Shakespeare Company u Londonu, Institutom International de la Marionette u Charleville-Mezieresu, Kazališnom akademijom i Akademijom novog plesa u Amsterdamu te Kazališnom akademijom u Budimpešti.

Njezine postave Držićeve Hekube na Dubrovačkim ljetnim igrama (1982. i 1991.) drže se antologijskim ostvarenjima držićevskog teatra, a od brojnih predstava koje je režirala izdvajamo njezina ostvarenja u splitskom HNK-u (R. W. Fassbinder: Gorke suze Petre von Kant, 1985.; L. Kaštelan: Prije sna, 2009.), dubrovačkom Kazalištu Marina Držića (H. Ibsen: Nora, 1988.; F. Šehović: Dubrovački skerac, 1997.; M. Vetranović: Orfej i Suzana čista, 2001.; M. Držić – I. Boban: Planeta Držić, 2008.), u zagre- bačkom Teatru ITD (H. Müller / I. Boban: Hamletmaschine, 1993.; M. Gregl – I. Boban: Alma Mahler, 1999.), u HNK-u Ivana pl. Zajca u Rijeci (N. Fabrio – I. Boban: Smrt Vronskog, 1995), u zagrebačkom HNK-u (S. Šnajder: Nevjesta od vjetra, 2003; H. McCoy – I. Boban: I konje ubijaju, zar ne?, 2008.; I. Boban: Zagorka, 2011.), u Teatru Exit (I. Boban: Kako misliš mene nema, 2007.), Kazalištu Žar ptica

90 91BIOGRAFIJE BIOGRAPHIES

(I. Boban: Mačak u čizmama, 2010.) i Kazalištu KNAP (I. Boban: Nevjerojatan događaj, 2014.) te u New Yorku (K. Malpede: The Beekeeper's Daughter – Theater Three Collaborative and Other Pictures; Theater Row Theater, Off Broadway, 1997.) i Torontu (J. Havoc: Marathon 33 – Ryerson Theatre School, 2012.). Na Dubrovačkim ljetnim igrama režirala je Četvrtu sestru J. Glowackog (2001.), Shakespeareova Othella (2016.), Marin Držić – Viktorija od neprijatelja te svečanost otvorenja festivala (1986., 1988. i 2000.)

Dobitnica je brojnih nagrada i priznanja, među kojima su i Nagrada za životno djelo Ministarstva kulture Republike Hrvatske (2016.), Posebna nagrada za rad s mladim glumcima na Danima satire (2013. za predstavu Sutra (ni)je novi dan), Nagrada "Vladimir Nazor" (2002. za predstave Četvrta sestra, Suzana čista i Orfeo), Nagrada Orlando (za Hekubu 1991., Četvrtu sestru, 2001. te Othella 2016.), Odlikovanje Predsjednika Republike Hrvatske Franje Tuđmana za kulturni i humanitarni rad, Nagrada za najbolju predstavu na Međunarodnom festivalu kazališnih Škola u Amsterdamu (1995. za predstavu Kako sada stvari stoje), Nagrada "Dubravko Dujšin" (1992. za režiju Muke spasitelja našega i Hekubu) te Nagrada hrvatskoga glumišta (2001. za režiju Četvrte sestre, 2016. za Othella i 2017. za tekst Marin Držić – Viktorija od neprijatelja).

IVICA BOBAN is a theatre director, choreographer, dramaturge, scriptwriter and author of plays and theatre projects, and Professor Emeritus at the Zagreb University’s Academy of Dramatic Art. She is a Visiting Professor at New York University - Tisch School of Arts (1997) and Ryerson Theatre School in Toronto (2012), as well as a member of the European Association of Art Institutes and Academies ELIA. As a choreographer, co-director and associate for mime, pantomime and stage movement, she has worked on around 80 plays in Croatia, and at the festivals of Dubrovnik and Split (1962 – 2016).

She is the founder, artistic director and director of the Greetings Theatre Workshop (1973 – 1985), which presented more than 600 plays (Greetiings, The Return of the Harlequin, Play Chekhov, Play Držić…) at 45 world renowned festivals in 13 countries and 82 cities of Europe, Central and South America. She has directed at the theatres of Zagreb, Dubrovnik, Split, Rijeka, Sarajevo, New York and Toronto, and has given lectures and seminars at theatre academies, schools and festivals at home and abroad. Ivica Boban has collaborated with the most prestigious international theatre artists such as Eugenio Barba, Jerzy Grotowsky, Mario Gonzales, Eugene Ionesco, Dario Fo, Tom Stoppard, Cecily Berry, Kristin Linclater, Claire Hagen, Philipe Genty and Jerzy Menzel, as well as with the Jacques Lecoq School of Mime and Theatre in Paris, the Royal Shakespeare Company in London, the Institute International de la Marionette in Charleville-Mezieres, the Theatre Academy and the New Dance Academy in Amsterdam, and the Budapest Theatre Academy.

Worth mentioning among Ivica Boban’s numerous directions and plays are: Hecuba, M. Držić – Dubrovnik Summer Festival, 1982 & 1991; The Bitter Tears of Petra von Kant, W. Fassbinder - Croatian National Theatre in Split, 1985; Before the Dream, L. Kaštelan - Croatian National Theatre in Split 2009; Nora, H. Ibsen – Marin Držić Theatre, Dubrovnik 1988; Dubrovnik Sketch, F. Šehović – Marin Držić Theatre, Dubrovnik 1997; Orpheus, Susanna, the Clean One, M. Vetranović – Marin Držić Theatre, Dubrovnik, 2001; Držić Planet, M. Držić / I. Boban – Marin Držić Theatre, Dubrovnik, 2008; Hamletmaschine, H. Müller / I. Boban – Academy of Dramatic Art and &TD Theatre, 1993; Alma Mahler, M. Gregl / I. Boban – &TD Theatre; The Death of Vronsky, N. Fabrio/I. Boban – Ivan von Zajc Croatian National Theatre in Rijeka, 1995; The Bride of the Wind, S. Šnajder – Croatian National

92 93BIOGRAFIJE BIOGRAPHIES

Theatre in Zagreb, 2003; They Shoot Horses, don’t They?, H. McCoy / I. Boban – Croatian National Theatre in Zagreb, 2008; Zagorka, Croatian National Theatre in Zagreb, 2011; Puss in the Boot, Žar Ptica Theatre, Zagreb, 2010; Unbelievable Event, KNAP Theatre, Zagreb 2014; The Beekeeper’s Daughter, Karen Malpede; – Theater Three Collaborative and Other Pictures, Row Theater, off Broadway, New York, 1997; Marathon 33, June Havoc – Ryerson Theatre School, Toronto 2012; The Fourth Sister, J. Glowacki – Master Workshop of Academy of Dramatic Art and Dubrovnik Summer Festival 2001; Othello, W. Shakespeare – Dubrovnik Summer Festival 2016; Marin Držić – Victory Over the Enemies, M.Držić 2017; Dubrovnik Summer Festival Opening Ceremony, Dubrovnik, 1986, 1988 and 2000.

She is a winner of numerous prizes and accolades, including: The Ministry of Culture of The Republic of Croatia – Lifetime Award, 2016; Special Award for the work with young people at Dani satire Festival 2013; Vladimir Nazor Award 2002 (Tomorrow is (not) a new Day; The Fourth Sister, Susanne, the Clean One and Orpheus); Orlando Award (Hecuba 1991, The Fourth Sister 2001, Othello 2016); Medal of Franjo Tuđman, President of The Republic of Croatia for cultural and humanitarian work; Best Play Award and Best Actress Award at Amsterdam International Festival of Theatre Schools 1995 (As Facts Seem to Be); Dubravko Dujšin Award 1992 and Marul Award for direction (The Passion of our Saviour and Hecuba); Croatian Actor Awards (The Fourth Sister 2001, Othello 2016, Marin Držić – Victory Over the Enemies 2017).

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M. JURIŠIĆ

BIOGRAFIJE

MARIN GOZZE Rođen je u Dubrovniku 30. listopada 1944. Diplomirao je 1969. na Akademiji za primijenjene umjetnosti u Beogradu, na odsjeku scenografije u klasi prof. Milenka Šerbana. U Rimu na RAI-u 1970. specijalizirao je televizijsku scenografiju. Od 1977. do 1979. bio je zaposlen kao tehnički direktor Hrvatskoga narodnog kazališta u Varaždinu. Od 1985. bio je scenograf u stal-nom radnom odnosu u Kazalištu Marina Držića. Ravnatelj Kazališta Marina Držića bio je u dva mandata. Autor je više od stotinu i pedeset kazališnih scenografija te tridesetak kostimografija u Dubrovniku, Splitu, Zagrebu, Varaždinu, Osijeku, Rijeci, Sarajevu, Mostaru, Novoj Gorici, Ljubljani, Mariboru, Klagenfurtu i Washingtonu. Bavi se grafičkim oblikovanjem, likovnim postavama izložbi i projektiranjem interijera. Izvanredni je profesor na Umjetničkoj akademiji u Splitu, gdje drži kolegij scenografije.

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B. VIDIĆ

BIOGRAPHIES

MARIN GOZZE He was born in Dubrovnik on October 30th in 1944 and graduated in 1969 from The Academy of Applied Arts in Belgrade, at the Department of Scenography in the class of prof. Milenko Šerban. In Rome, at RAI in 1970, he specialized in televisi-on set design. From 1977 to 1979 he was employed as a technical director of the Croatian National Theatre in Varaždin. Since 1985, he has been employed as a set designer, at Marin Držić Theatre. He was a General Manager of the same theatre in two mandates, too. To date, he has created more than a hundred and fifty theatre scenographies and thirty costume designs in Dubrovnik, Split, Zagreb, Varaždin, Osijek, Rijeka, Sarajevo, Mostar, Nova Gorica, Ljubljana, Maribor, Klagenfurt, Washington. He also worked on graphic design, art exhibition and interior design. He is an associa-te professor at The Academy of Arts in Split where he teaches scenography.

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H. SEBASTIJAN

BIOGRAFIJE

DORIS KRISTIĆ Rođena je u Dubrovniku. Na Accademia di Costume e di Moda u Rimu diplomirala je kostimografiju i modni dizajn, gdje je završila i poslijediplomski specijalistički studij kazališne i filmske kostimografije. Po završetku studija vraća se u Hrvatsku, gdje od 1975. kontinuirano djeluje kao kazališna, filmska i televizijska kosti-mografkinja. U početku je djelovala kao samostalna umjetnica, a 1989. postaje stalna kostimografkinja Zagrebačkoga kazališta mladih nastavljajući suradnju s brojnim kazališnim kućama u ze-mlji te inozemstvu. Ostvarila je preko 400 kostimografija u pred-stavama dramskoga, opernoga i baletno-plesnoga repertoara, a njezin opus broji i nekoliko kazališnih scenografija. Radila je u svim nacionalnim i ostalim značajnijim kazalištima i festivalima u Hrvatskoj, Sloveniji, Srbiji, BiH i Makedoniji te u pojedinima u Italiji, Mađarskoj i Crnoj Gori. Autorica je oko 30 kostimografija za igrane filmove te televizijske drame i emisije. Kostimirala je sve-čanost otvorenja Univerzijade u Zagrebu 1987. te surađuje s neko-liko hrvatskih muzeja za koje je kreirala i rekonstruirala autentične povijesne odjevne predmete. Za svoj je rad nagrađivana nebroje-no puta u zemlji i inozemstvu. Od nagrada se ističu: četiri Nagrade hrvatskoga glumišta (Zagreb, 2009., 2007., 2004., 2002.), Nagrada Veljko Maričić (Međunarodni festival malih scena; Rijeka, 2012.), Zlatna arena (Pula Film Festival; Pula, 2009.), dvije Nagrade Marul (Marulićevi dani; Split, 2018., 2003.), Nagrada Tirena (Dubrovnik, 1998.), Zlatni lovorov vijenac (MESS Festival; Sarajevo, 1988.), dvije Nagrade Gavellinih večeri (Gavelline večeri; Zagreb, 1987., 1986.), Borštnikova nagrada (Borštnikovo srečanje; Maribor, 1986.), Sterijina nagrada (Sterijino pozorje; Novi Sad, 1985.), Joakimova nagrada (Susreti Joakim Vujić; Pirot, 1982.), dvije nagrade UPIDIV-a (Sterijino pozorje; Novi Sad, 1981., 1986.) i dr.

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BIOGRAPHIES

DORIS KRISTIĆ She was born in Dubrovnik. She graduated from Accademia di Costume e di Moda, Rome – costume design and fashion design, where she completed Master Studies in Theatre and Film Costume Design. After graduation, she returned back to Croatia, where from 1975 she has been continuosly working as a theatre, film and televison costume designer. At the beginning, she acted as an independent artist and in 1989 she obtained full-time job in Zagreb Youth Theatre, thus continuing work with numerous theatre houses in county and abroad. She has realized over 400 costume designs in the plays of drama, opera and ballet and dancing repertoire, and her opus consists of several theatre stage design. She worked in all national and other significant theatres and festivals in Croatia, Slovenia, Serbia, Bosnia and Herzegovina and Macedonia and in certain plays in Italy, Hungary and Montenegro. She is an author of about 30 costume designs for films and television dramas and programmes. She has prepa-red the costume design for the opening ceremony of Univerzijada of Zagreb in 1987 and she also collaborated with some Croatian museums, for which she creaated and reconstructed authentic history clothes. She has been awarded for several times, both at home and abroad. The awards are: four Croatian Actors' Awards (Zagreb, 2009, 2007, 2004, 2002) Veljko Maričić Award (Međuna-rodni festival malih scena = International Festival of Small Stages, Rijeka, 2012) Golden Arena (Pula Film Festivaal Pula, 2009), two awards Marul (Marulićevi dani; Split, 2018, 2003), Award Tirena (Dubrovnik, 1998), Zlatni lovorov vijenac = Gold Laurel Wreath (MESS Festival; Sarajevo, 1988), two Gavella Awards (Gavelline večeri; Zagreb, 1987, 1986), Borštnik Award (Borštnikovo srečanje; Maribor, 1986), Sterije Award (Sterijino pozorje; Novi Sad, 1985), Joakim Award (Encounters Joakim Vujić; Pirot, 1982), two awards of UPIDIV (Sterijie Stage; Novi Sad, 1981, 1986) and other awards.

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N. LASIĆ

BIOGRAFIJE

DAMIR ŠIMUNOVIĆ Rodio se 8. travnja 1974. godine u Karlovcu gdje je završio osnovnu i srednju školu. Diplomirao je na Sveučilištu u Zagrebu. Tijekom studija počeo je raditi kao kompozitor u kazali-štu. Surađivao je u mnogim hrvatskim i inozemnim kazalištima. Neke od predstava u posljednje dvije godine: Obitelj, HNK u Splitu; Susret, Teatar Exit; Inside out, Kindl Berlin; Kroćenje goropadnice, HNK u Splitu: Patka, smrt i tulipan, HNK Varaždin; Malograđani HNK Varaždin; U potrazi za slovom R, Zorin dom Karlovac; Gulliver, GK Žar ptica Zagreb. Za rad na predstavama Vis životinje i Tijelo Kazalista Trešnja iz Zagreba, nagrađen je malim Marulićem za najbolju scensku glazbu.

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BIOGRAPHIES

DAMIR ŠIMUNOVIĆ He was born on April 8th 1974 in Karlovac, where he completed Elementary and High School. He graduated from The University of Zagreb. During the Studies he started working as a composer in theatre. He collaborated with many Croatian and foreign theatres. There are some of the perfor-mances in last two years: Obitelj (Family, CNT Split), Susret (Encounter, Theatre Exit), Inside out, Kindl Berlin, Kroćenje goropadnice (The Taming of the Shrew, CNT Split), Patka (Duck), Smrt i tulipan (The Death and the Tulip), CNT Varaždin, Malograđani (Philistine, CNT Varaždin), U potrazi za slovom R (In Search for Letter R, Zora's Home, Karlovac), Gulliver, Žar ptica, Zagreb. He was awarded Small Marulić for his work on the plays Vis životinje (Highness of the Animal) and Tijelo (The Body, Kazalište Trešnja Zagreb) for the best stage music.

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G. ŠOLETIĆ

BIOGRAFIJE

VESNA KOLAREC Rođena je 1985. godine u Zagrebu. Završila je školu Primijenjene umjetnosti i dizajna, smjer fotografija. Nastavila je obrazovanje na Višoj školi za fotografiju i vizualne umjetnosti (Istituto superiore di fotografia e arti visive) u Padovi. Nakon završetka obrazovanja vraća se u Zagreb gdje upisuje Akademiju dramske umjetnosti, odsjek filmskog i televizijskog snimanja. Zadnje dvije godine na Akademiji upisuje usmjerenje Oblikovanje svjetla gdje je diplomirala 2014. godine. Kao oblikovateljica svjetla surađivala je s HNK-ovima u Zagrebu, Osijeku, Rijeci i Varaždinu, s SNG-om Maribor, Dubrovačkim ljetnim igrama, Koncertnom dvoranom Vatroslav Lisinski, MSU-ovom Gorgonom, kazalištem Kerempuh, Teatrom ITD, kazalištem Žar ptica, KNAP-om, Centrom za kulturu Trešnjevka, Kazalištem Vidra i DK Dubrava. Članica je Udruženja likovnih umjetnika primijenjenih umjetnosti Hrvatske i Hrvatske zajednice samostalnih umjetnika.

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I. BRAUTOVIĆ

BIOGRAPHIES

VESNA KOLAREC She was born in 1985 in Zagreb, where she finished School of Applied Arts and Design, Photography Department. She continued her education at Istituto Superiore di Fotografia e Arti Visive in Padua (College in Photography and Visual Arts). Having successfully completed her education, she returned to Zagreb, where she enrolled at The Academy of Dramatic Art, Department of Film and Television Shooting. She obtained her M.A. degree from The Department of Lightening Design in 2014. As a ligtening designer, she has collaborated with Croatian National Theatres in Zagreb, Osijek, Rijeka and Varaždin, as well as with Slovenian National Theatre Maribor, Dubrovnik Summer Festival, Vatroslav Lisinski Concert Hall, Museum of Contemporary Arts – Gorgona, Kerempuh Theatre, &TD Theatre, Žar Ptica Theatre, KNAP Theatre, Trešnjevka Culture Center, Vidra Theatre, Dubrava Theatre. She is a member of Croatian Association of Visual Artists of Applied Arts as well as Croatian Association of Individual Artists.

111110

M. JURIŠIĆ, N. LASIĆ

BIOGRAFIJE

IVAN LUŠIČIĆ LIK Diplomirao je arhitekturu i pred diplomom je oblikovatelja svjetla. Kao dizajner projekcija i svjetla radio je na projektima izvedbenih umjetnosti u Hrvatskoj i ponešto izvan granica, među kojima su Viktorija od neprijatelja u režiji Ivice Boban na Dubrovačkim ljetnim igrama, Guliver u režiji Ksenije Zec i Saše Božića u GK Žar ptica, Tonček i točkica u režiji Anje Maksić Japundžić u GK Žar ptica, Elling u režiji Hrvoja Korbara u Kerempuhu, For Four koreografa Ognjena Vučinića, Dodjelu Nagradi hrvatskog glumišta. Aktivan je i kao autor audiovizual-nih, multimedijalnih instalacija i performansa kao Hatch 1 u sklopu 11. Velesajma kulture, Hatch 2 u sklopu Perforacija 2018., Oblik Zvuka u sklopu Muzičkog Biennalea 2019. Potpredsjednik je i član Multimedijske sekcije Udruge likovnih umjetnika primije-njenih umjetnosti Hrvatske.

113112

N. LASIĆ, I . BRAUTOVIĆ

BIOGRAPHIES

IVAN LUŠIČIĆ LIK He graduated in architecture and soon he will obtain diploma in light design. As a light designer, he worked on the projects of the visual arts in Croatia and from time to time abroad. He collaborated with Ivica Boban, on the play Viktorija od neprijatelja (The Victory of the Enemies) directed by Ivica Boban on Dubrovnik Summer Festival, Gulliver, directed by Ksenija Zec and Saša Božić in Municipal Theatre Žar ptica (The Birds' Spark), Elling, directed by Hrvoje Korbar in Kerempuh, For Four by coreographer Ognjen Vučinić, Croatian Actors' Award etc. He is also active as an author of audiovisual, multimedia installations and performances such as – Hatch in the frame of 11.th Fair of the Culture within the Project Perforacija 2018., The Frame of the Sound within Musical Biennial Festival 2019. etc. He is the vice-president and a member of Multimedia Section of The Croatian Association of Visual Artists of Applied Arts.

115114 SUTON

N. LASIĆ

EVENFALL

117116 SUTON

N. LASIĆ

EVENFALL

119118 SUTON EVENFALL

M. JURIŠIĆ, N. LASIĆ

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PREMI�ERE 2019.NE PLAĆAMO, NE PLAĆAMO!AUTOR DARIO FO / REDATELJ IVICA KUNČEVIĆPREMIJERA 18.1.2019. / VELIKA SCENA

NEMREŠ POBJEĆ OD NEDJELJEAUTORICA TENA ŠTIVIČIĆ / REDATELJICA MARINA PEJNOVIĆPREMIJERA 1.3.2019. / SCENA BURSA

BLIZANKEAUTORICA NIKOLINA RAFAJ PREMA ERICHU KÄSTNERU REDATELJICA LEA ANASTAZIJA FLEGERPREMIJERA 15.3.2019. / VELIKA SCENA

SUTON AUTOR IVO VOJNOVIĆ / REDATELJICA IVICA BOBANPREMIJERA 18.4.2019. / VELIKA SCENA

ADAM I EVAAUTOR MIROSLAV KRLEŽA / REDATELJICA HELENA PETKOVIĆPREMIJERA 31.5.2019. / VELIKA SCENA

ALKESTIDA AUTORICA LADA KAŠTELAN PREMA EURIPIDU / REDATELJICA LIVIJA PANDURPREMIJERA 13.9.2019. / VELIKA SCENA

BAJKA O BAKI MOKOŠ AUTORICA SRĐANA ŠIMUNOVIĆ / REDATELJICA SRĐANA ŠIMUNOVIĆPREMIJERA 22.11.2019. / VELIKA SCENA

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PREMIERES 2019CAN’T PAY? WON’T PAY!AUTHOR DARIO FO / DIRECTOR IVICA KUNČEVIĆPREMIERE 18.1.2019 / MAIN STAGE

CAN’T ESCAPE SUNDAYS AUTHOR TENA ŠTIVIČIĆ / DIRECTOR MARINA PEJNOVIĆPREMIERE 1.3.2019 / SMALL STAGE BURSA

LOTTIE AND LISA AUTHOR NIKOLINA RAFAJ BASED ON ERICH KÄSTNERDIRECTOR LEA ANASTAZIJA FLEGERPREMIERE 15.3.2019 / MAIN STAGE

EVENFALL AUTHOR IVO VOJNOVIĆ / DIRECTOR IVICA BOBANPREMIERE 18.4.2019 / MAIN STAGE

ADAM I EVEAUTHOR MIROSLAV KRLEŽA / DIRECTOR HELENA PETKOVIĆPREMIERE 31.5.2019 / MAIN STAGE

ALCESTIS AUTHOR LADA KAŠTELAN BASED ON EURIPIDES / DIRECTOR LIVIJA PANDURPREMIERE 13.9.2019 / MAIN STAGE

TALE OF GODDESS MOKOSH AUTHOR SRĐANA ŠIMUNOVIĆ / DIRECTOR SRĐANA ŠIMUNOVIĆPREMIERE 22.11.2019 / MAIN STAGE

123122

REPRIZE

LJUBAVNIK AUTOR HAROLD PINTER / REDATELJ LAWRENCE KIIRUPREMIJERNO IZVEDENO 16.3.2012. / SCENA BURSA

BJEGUNKEAUTORI PIERRE PALMADE I CHRISTOPHE DUTHURONREDATELJICA NENNI DELMESTREPREMIJERNO IZVEDENO 30.9.2016. / VELIKA SCENA

SKUPAUTOR MARIN DRŽIĆ / REDATELJ IVICA KUNČEVIĆPREMIJERNO IZVEDENO 20.1.2017. / VELIKA SCENA

NA TERAPIJI AUTOR MATIAS DEL FEDERICO / REDATELJICA NENNI DELMESTREPREMIJERNO IZVEDENO 27.10.2017. / VELIKA SCENA

GLUMICE II. KATEGORIJE AUTORI IVO VOJNOVIĆ, DAVOR MOJAŠ, SRĐANA ŠIMUNOVIĆREDATELJICA SRĐANA ŠIMUNOVIĆPREMIJERNO IZVEDENO 13.4.2018. / SCENA BURSA

PIKOVA DAMAAUTOR A.S. PUŠKIN / REDATELJ DENIS AZAROVPREMIJERNO IZVEDENO 02.11.2018. / VELIKA SCENA

POSLJEDICEAUTOR ROMANO NIKOLIĆ / REDATELJ ROMANO NIKOLIĆPREMIJERNO IZVEDENO 22.11.2018. / VELIKA SCENA

REPEAT PERFORMANCESTHE LOVERAUTHOR HAROLD PINTER / DIRECTOR LAWRENCE KIIRUPREMIERED ON 16.3.2012 / SMALL STAGE BURSA

FUGITIVESAUTHORS PIERRE PALMADE AND CHRISTOPHE DUTHURONDIRECTOR NENNI DELMESTREPREMIERED ON 30.9.2016 / MAIN STAGE

THE MISER AUTHOR MARIN DRŽIĆ / DIRECTOR IVICA KUNČEVIĆPREMIERED ON 20.1.2017 / MAIN STAGE

IN THERAPYAUTHOR MATIAS DEL FEDERICO / DIRECTOR NENNI DELMESTREPREMIERED ON 27.10.2017 / MAIN STAGE

2ND CATEGORY ACTRESSESAUTHORS IVO VOJNOVIĆ, DAVOR MOJAŠ, SRĐANA ŠIMUNOVIĆDIRECTOR SRĐANA ŠIMUNOVIĆPREMIERED ON 13.4.2018 / SMALL STAGE BURSA

THE QUEEN OF SPADES AUTHOR A.S. PUSHKIN / DIRECTOR DENIS AZAROVPREMIERED ON 2.11.2018 / MAIN STAGE

CONSEQUENCES AUTHOR ROMANO NIKOLIĆ / DIRECTOR ROMANO NIKOLIĆPREMIERED ON 22.11.2018 / MAIN STAGE

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