Download 21.,22.,23.,24.Dum Marinovi sni_ENG

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.'