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Teatar &TD Zagreb
&TD Theatre Zagreb
Maja Gregl & Ivica Boban
Alma Mahler
Kazalište "Marin Držić"
Marin Držić Theatre
12. i 13. kolovoza
12 and 13 August
Režija i dramaturška prilagodba The play adapted and directed by....................... IVICA BOBAN
Scenograf Sets Designer …………………………………………………………..GORAN PETERCOL
Kostimografkinja Costume Designer ……………………………………………….. DORIS KRISTIĆ
Izbor glazbe Music choice by ....................................................................................... VESNA SIR
Skladatelj songova i korepetitor Songs author and music trainer……………… DUŠKO ZUBALJ
Oblikovatelj svjetla i projekcije Light and projection…………………………………. DENI ŠESNIĆ
Koreografkinja Choreographer................................................................................ IVICA BOBAN
Asistentica režije Assistant Director........................................................................ LANA BITENC
Osobe Dramatis Personae
Alma Mahler ................................................................................................................ ALMA PRICA
Emil Schindler - Almin otac Alma's father,
Gustav Mahler,
Max Burckhard,
Franz Werfel...................................................................................................... BOŽIDAR BOBAN
Anna Moll - Almina majka Alma's mother,
Anna Mahler - Almina kći Alma's daughter .......................................................... IVANA BOBAN
Gustav Klimt,
Alexander von Zemlinsky,
Walter Gropius,
Oskar Kokoschka,
Stefan Zweig ........................................................................................................ MLADEN VULIĆ
Glasovirist Piano player........................................................................................ DUŠKO ZUBALJ
Inspicijent Stage Manager ................................................................................ TOMISLAV KNEŽEVIC
Umjetničko vodstvo Artistic Director ...................................................................... mr. DARKO LUKlĆ
Oblikovanje zvuka: Branko Vodeničar; majstor svjetla: Miljenko Bengez; voditelj rasvjete: Mario Vnučec; voditelj tona: Boris
Fažo; majstor maske: Iva Dežmar; majstor pozornice: Krunoslav Dolenec; majstor rekvizite: Krunoslav Županić; garderobijerke:
ðurña Janeš, Jagoda Kolenko Oprema prostora: Tehnika Dubrovačkog ljetnog festivala; šef Tehnike: ing. Ivo Čučević
U dramaturškoj preradbi korišteni tekstovi: A. Mahler, G. Mahlera, V. Groplusa, O. Kokoschke, F. VVerfela, Ovldija, R. M.
Rilkea, J. W. Goethea, L. Carolla, F. Nietzschea, H. Hoffmannstahla, A. Schnltzlera, S. Zweiga, W. Shakespearea, te iz Biblije i
Bajki braće Grimm; tekstove s njemačkog preveli: prof. Sead Muhamedaglć i Ivica Boban
U predstavi korištena glazba: A. Mahler, G. Mahlera, Mozarta, Glucka, Beethovena, VVagnera, Satiea, Straussa, Ravela...
Projekcije G. Klimta, O. Kokoschke, W. Gropiusa, E. Schindlera...
Praizvedba: 14. travnja 1999.
First night: 14 April 1999
Alma Mahler
Alma Maria Schindler (1879-1964), daughter of the painter Emil Schindler, grew up surrounded by arts and artists.
She studied art and became friends with the great painter Gustav Kllmt (1862-1918), one of the pioneers of the
Vienna Sezession. Her youth was highly influenced by Max Burckhard, director of Burgteater who staged Ibsen
and Hauptman to incessant protest by the Imperial Court. Her primary interest, however, was in music. She was a
gifted pianist and studied musical composition with Alexander von Zemlinsky (1871 -1942). In 1902 she married
Gustav Mahler (1860-1911) who discouraged her from composing. Mahler left a musical portrait of her in the first
movement of his Symphony No. 6, and he dedicated his Symphony No. 8 to her. Soon after his death in 1911,
Alma ventured into a burrascous love affair with Oskar Kokoschka (1886-1980), the Austrian painter and writer,
who painted her many times, most notably in The Tempest (1914). He said that the painting introduced a fourth
dimension into the painting, i.e. ' a projection of one's own self. Their liaison broke when Kokoschka went to the
war. In 1915 she married Walter Gropius (1883-1969), the German architect of immense share in modern architecture and a founder of the Bauhaus. The marriage lasted until after the end of World War I. In 1929 Alma Mahler
married the writer Franz Werfel (1890-1945).
During her lifetime Alma Mahler became friends with numerous celebrated artists, including the composer Arnold
Schoenberg, the writer Gerhart Hauptmann and the singer Enrico Caruso. The composer Alban Berg dedicated his
opera Wozzeck (1921) to her. Alma Mahler published two collections of Gustav Mahler's letters as well as her
memoirs, And the Bridge is Love (1958).
Inspired by the intriguing life story of Alma Mahler and the tempestuous times she lived in, the contemporary
Croatian writer Maja Gregl wrote the drama The Loves of Alma Mahler'. Theatre director Ivica Boban used the
drama as script to Alma Mahler, produced by the Zagreb &TD Theatre, first performed in April 1999. Here is an
excerpt from the programme note by the director of the so much awarded production:
Alma's diary is a guide to the history of the soul, spirit, art and creativity from the turn of the last, to the second half
of this century. By following Alma's life day by day through her diary, the only confessor of her most intimate emotions, feelings and thoughts, we are at the same time taken through all the traumatic events of our century: the last
days and fall of the Austrian-Hungarian Monarchy, the two World Wars, her emigration and escape from Hitler to
America.
The diary is equally a testimony of her encounters with the most reputable artists from the preceding century.
Straightforwardness other notes on her innermost life and the clarity of perception of the world around her, cast
more light on many events. Our encounter with the Diary and our work on the production, have made those events
emerge from our subconsciousness and memory under a totally new light and in new forms, with changing colours,
structures and meanings. This opens a possible road for an insight into our own lives and our own identities.
The question of 'who is Alma Mahler?' takes us unconditionally to the question of 'who really are we?'. It is not
sufficient to say: Alma is one of the most interesting women of our century. The answer comes in a spray of
questions about the sense of existence. The production therefore combines both her and our own flashes of
memory. Incessant outpouring of new questions, not the formulation of fake answers, seems to me so precious
today, at the end of the century.
Maja Gregl's text motivated us to travel into the authentic documents and records of the time of Alma Mahler,
Gustav Mahler, Walter Gropius, Oskar Kokoschka, Franz Werfel, Stefan Zweig and their contemporaries. Their
own words from their own diaries, letters, memoirs and works, made the essential material from which I moulded
the text, the speech and the language of the production together with the actors. Their words, ideas and feelings
served as a mirror we faced, in which we recognized ourselves, and through which we went through while working
on the production'.