Survey
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
* Your assessment is very important for improving the workof artificial intelligence, which forms the content of this project
DUBROVAČKI LJETNI FESTIVAL DUBROVNIK SUMMER FESTIVAL HRVATSKA / CROATIA Park Gradac 21.,22.,23.,24.,kolovoza 1999. 21.30 sat Gradac Park 21, 22, 23, 24 August 1999 9.30 p.m. Festivalski dramski ansambl Festival Drama Ensemble Marin Držić DUM MARINO VI SNI MARIN DRŽIĆ'S DREAMS Redatelj / Directed by Ozren Prohić Dramaturg / Dramaturge Lada Martinac Koreograf / Choreographer Ksenija Zec Scenograf / Set Designer Dubravka Lošić Kostimograf / Costume Designer Irena Sušac Skladatelj / Music Paola Dražić-Zekić Oblikovanje svjetla / Light Designer Zoran Mihanović Jezični savjetnik / Linguistic Adviser Matko Sršen Asistent redatelja /Assistant Director Borna Armanini Inspicijent / Stage Manager Kaća Carević Šaptač / Prompter Ivana Kovač Osobe / Dramatis Personae: Dum Marin / Father Marin Edvin Liverić Negromant / Kojak Pero Kvrgić Vlade Milka Podrug - Kokotović Svat / Stanac Davor Borčić Satir zavodnik / Adon / Dživo Pešica Zoran Čubrilo Satir zaljubljivi / Grubiša Krešimir Mikić Vukodlak Vedran Mlikota Vila noći / Venere Barbara Rocco Baba Marinko Prga Satir s igračkom / Mladoženja / Kupido Enes Vejzović Vila sa studenca Srđana Šimunović Vila koja bježi Ivana Bolanča Nevjesta Natalija Đorđević Fotograf / Maska Borna Armanini Glazbenici / Musicians: Harmonikaš / Acordionist Elvir Islamović Klarinetist / Clarinettist Alen Redžović Kontrabasist / Double bass player Amon Čeljo Upravitelj tehnike festivala ing. Ivo Čučević Tehnička ekipa: Ognjen Martinović, majstor svjetla; Nikola Kapidžić, ton; Anja Vlahinić, Željka Blažek, Ana Kesovija, garderoba; Tomo Gleđ, majstor scene; Ferdo Podlešek, rekvizita; Vehbija Tataragić, Manuela Kavain, Šemsa Mrčela, maska i frizura; Niko Mrša, Đuro Tomić, Ivica Đurić, Stanislav Vukašinović, izrada scene; Milan Imprić, Josip Loina, Zdravka Galić, Marija Fiket, izrada kostima Transport i montaža : Dubrovački studenti MARIN DRŽIĆ'S DREAMS The greatest Croatian and one of the greatest European Renaissance writers of comedies, Marin Držić, was born in Dubrovnik in 1508. Following the family tradition he was patron of two churches in Dubrovnik, and showed a great interest for literature and music from early youth. That is why he became an organist of the Dubrovnik cathedral. He was sent to a further course of higher education to Siena in Tuscany by the Senate of Dubrovnik, and it is there that he started to be directly involved in theatre activities: this is where he learned the poetry of the Italian erudite comedy, deepened his knowledge of the classical theatre and music, but also started participating in theatre performances. This can be proved by the entries in the police investigation file dealing with the forbidden performance of a comedy in which Držić played the role of lover. Owing to his high social position of student's rector and vice-rector of the university, Držić was not severely punished like his colleagues. He returned to his native town in 1545, and in the same year made the acquaintance of Austrian count and adventurer Kristof Roggendorf and left for Vienna and Istanbul. After his second return in 1547, the period of his intense literary activity began, and in the following eleven years he wrote eleven comedies and pastoral-mythological , plays, as well as tragedy "Hekuba". During his lifetime Držić had only one book published with three of his plays in it: Tirena, Venere i Adon and Novela od Stanca. The same book contained also a selection of his youthful love poetry. Some of his comedies reached the present times incomplete, like "Dundo Maroje", "Skup", "Grižula", "Tripče de Utolče". Another part of his work is only fragmentarily preserved, like "Džuho Krpeta" and "Pjerin", while "Pomet" has left no trace whatsoever. Držić most probably directed and managed the majority of the performances of his plays. In 1549 entered priesthood though he never abandoned his worldly activities. At the end of 1562 he left for Venice to become the bishop's chaplain. The most mysterious episode from Držić's life is one from the year 1566 when during his stay in Florence he sent the Duke of Tuscany, Cosimo de Medici, his famous five conspiratorial letters in which he explained his plan to overthrow the aristocrat government of Dubrovnik and establish a democratic republic. He never received an answer to his letters. Soon after that he died in Venice where he was also buried - in the common crypt of St. John's and Paul's Basilica. The works of Marin Držić have been one of the starting points of drama programme from the very establishment of the Dubrovnik Summer Festival In the forty-nine festival summers only in 1957 and in 1980 Držić was not performed on open stages of Dubrovnik. History notes 36 productions of Držić's plays, staged (or guest directed) by eighteen directors on fourteen different stages. The most often performed play of Držić - "Dundo Maroje" was performed in sixteen different productions, and "Skup", directed by Kosta Spaić and performed in the Music school park played continuously from 1958 to 1971, thus becoming the longest played performance in the festival history. Logical, therefore, is the exceptional interest by the public and criticism alike that, in the summer of 1988, met the first evening of 'Father Marin's Dreams', directed by Ozren Prohić (1968), one of the most provoking Croatian directors of younger generation, in the Arcadian atmosphere of the Gradac Park that remembers the history of the Dubrovnik Summer Festival and the historical productions of Shakespeare's 'A Midsummer Night's Dream', Držić's 'Plakir' and 'Tirena', Goethe's 'Iphigenia on Tauris', Gundulić's pastoral 'Dubravka'... Prohić's dramaturgy weaves the segments from Držić's biography with the fragments from his works, set within the framework of his pastoral 'Venus and Adonis'. In his director's notebook, Prohić has written: ' The main character of all Držić's plays is the dramatic space'. "As a necessary meeting point of dramatic lines it denounces the true atmosphere of drama despite genre characteristics of the play. Genre conventions and the horizon of expectations in a play with regard to the genre are disrupted by the penetration of the ever more real and recognizable situations and real persons. Domination of space as actantial line is a sign of a maniristic, broken picture of the world, a view that broke to a number of pieces that are united only when someone collects them in the same place. Thus the space of "Dum Marinovi" sni brings together Držić's dreams about theatre and his paranoiac nightmare caused by reality. In "Venere i Adon" the author tries to unite the world into one whole. He tries to unite again those who watch and that what is being shown: the fact that the writer shows and imposes the way of observation speaks of his wish to present it to the theatrical audience. It is thus no wonder that the wedding was the place of close presentation of theatre under the real (theatricalised anyway) act of matrimonialisation. In the theatricalisation of the actual event (the wedding) Držić could, in the best possible way, show what he constantly contemplated, and played with, namely the mentality. By using well known genres Držić speaks about our mentality in ways we are often not able to speak today. Probably the only problem is that not much has changed in the last five centuries. In order to say something about his time and people around him, Držić dreamed about theatre into which, despite the skill in formal creation permeates the pondering of reality. Due to the fact that he renounced to his theatrical dream the possibility of his own escape, contrasting it with the reality itself and letting the problems of the real world to dreamily enter into the theatre, he was obliged to physically escape from his own surroundings, from his mentality. The author has brought to the same level of theatrical reverie the reality of the world and his own theatrical skill. After becoming the place of expression, the theatre became for Držić the place of frustration and paranoia. In this performance his dream breaks away and tries to react again to Držić's contemplation of both his own and our reality." As expected, the production was met with controversial reactions, with just a few of those who did not take it as a veritable theatrical excitement. This is illustrated also in the review by Anatolij Kudrjavcev, the critic of the Slobodna Dalmacija daily, after its first evening: ' Director Prohić, in collaboration with the dramaturge Lada Martinac, sailed far off the literal shores, assembling a house out of Carroll's cards in this ubiquitous space'. Our actual world of fake people imposingly mixes with Držić's anticipations and mythological images. The craze of diverse universal illusions and desires, perverse messages and deceits, destructive clashes and misunderstandings, all turn into a life-size performance and a ghostly tinseltown wedding party, a gathering place of diverse omni temporal beat generations of Kerouac that totter along a road leading into absurdity. Quotations from Držić's plays become hilariously provoking in some new, totally unpredictable way, while devilishly touching the subconsciousness through plays that many can take as indecent jokes on the account of Don Marin's words and ideas. Mythological visions assume the arrogance and challenge of the modern light stage self-assuredness and the current material gags, and the unscrupulous laughter can, and has to, freeze, and turn into horror.... Prohić assigned and exposed his strict idea to the paths, trees and fences of the park that remembers Iphigenia's shadow. From the mythical woods merged with distance, there emerge unusual creatures performing physical jokes on the account of various laws-of life, past and present, by making use, of diverse dramaturgic hints, even someone else's mis-en-scene solutions and tricks, and by turning them into mocking. Firmly organized into a mighty system, the tempestuous, incessant dynamics lavishly tosses around wisecracks and surprises. The devastation of the world symbolized by waste containers and scattered waste, a bicycle and a car, replace the one-time reasons and ways of transportation, becoming graphic proofs of the impotence of imagination right there, in the romanticism of a night in a forest. Such ambiance needs an additional stage with an efficient curtain for the classical play of seek and hide, and the numerous frames to arrive into the focus of the media, that aim that has become an essential necessity and ambition of our day decorated with new ritual requirements... Certainly, one can think of this production whatever one wants, yet it presents an exuberant creation that should be approached not only by the ear and the eye, not only with traditional ideas, but with an especially adapted thought.'