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Directed by ANDRÁS URBÁN
Translated by Živojin Simić, Sima Pandurović
Set Design ZOLTAN PEROVIĆ
Costume Design DRAGICA PAVLOVIĆ
Composer SZILÁRD MEZEI
Stage Movement ISTVAN BICSKEI
Dramaturgy OLIVERA ĐORĐEVIĆ
Asstistant Director DRAGANA JOVANOVIĆ
Stage Speech NATAŠA ILIĆ
Premiere:
March 11th 2009
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CAST |
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Alonso, King of Naples |
RISTO BUKVIĆ |
Sebastian, his brother |
MLADEN MILOJKOVIĆ |
Prospero, legitimate Duke of Milan |
ALEKSANDAR MIHAILOVIĆ |
Antonio, his brother, illegitimate Duke of Milan |
DRAGIŠA VELjKOVIĆ |
Ferdinand, son of the King of Naples |
MILOŠ ANĐELKOVIĆ |
Gonzalo, honest old counselor |
MIROSLAV ĐORĐEVIĆ |
Adrian, Naples nobleman |
STEFAN MLADENOVIĆ |
Caliban, newcomer and deformed slave |
DEJAN CICMILOVIĆ |
Trinculo, jester |
ALEKSANDAR KRSTIĆ |
Stephano, drunker butler |
MIROLjUB NEDOVIĆ |
Master of the Ship |
PETAR ANTIĆ |
Miranda, Prospero's daughter |
BORJANKA LjUMOVIĆ |
Ariel, airy spirit |
ALEKSANDAR MARINKOVIĆ |
Spirits |
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Sanja KRSTOVIĆ, Snežana PETROVIĆ, Ivana NEDOVIĆ, Vesna STANKOVIĆ, Jasminka HODŽIĆ,
Maja VUKOJEVIĆ-CVETKOVIĆ, Katarina ARSIĆ, Neđa NEDOVIĆ |
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| The National Theatre of Nis was founded on March 11 in the year 1887. The National Theatre is one of the oldest serbian theatres. Since its foundation in 1887, many great actors have performed on the stage of this theatre.
The theatre company has given over 10, 000 performances that have been witnessed and appreciated not only by the people of Nis, but all over Serbia. More than 6 million spectators have seen the stage shows from Serbia as well as Yugoslavia and other parts of the world.
The National Theatre, Nis performs national and foreign and classical and modern plays. On an average, it has 5 premieres a year and about 200 repeat performances. It regularly and actively takes part in the theatre festivals that is held all over the country.
In the year 1998, its production of “I, Claudius” won 7 awards in the “Joakim Vujic” theatre festival and also won an award in the “Days of Ljubisa Jovanovic”, theatre festival held in Sabac. |
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P E R F O R M A N C E...... |
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The Tempest, one of Shakespeare's last plays, is remarkable for its elaborate staging and close adherence to the neo-classical "Aristotelian" unities. A traditional approach to the play was to see it as Shakespeare's formal farewell to the stage; more modern readings see it as a more complex study in the use of power, especially in its overtones of colonialization.
The plot of The Tempest is very structured and controlled compared to some of Shakespeare's other plays. All of the action takes place in one day. As a result, Prospero must tell Miranda (and the audience) what has happened previously, in a rather long series of speeches, where he seems rather afraid that Miranda (and the audience) might fall asleep. In addition, the action all takes place within the one setting of the island. The action is less unified, however, as the sub-plot of the drunken sailors and Caliban contributes only briefly to the main plot. In this respect, Shakespeare retains the characteristics of the drama of his time. Prospero appears to be very much in control throughout The Tempest. He controls much of what happens the characters on and offstage, and is able to manage the natural phenomena of the island. His power derives from his books, from his mastery of Ariel and, to a lesser degree, from Caliban. In his command of nature and magic, he fits the pattern of the "magus," a figure something between a modern scientist and a magician.
As The Tempest is probably the last play that Shakespeare wrote unaided, it is tempting to see Prospero, in his command of the action onstage, as a representation of Shakespeare. The impressively orchestrated structure and originality of the play also suggests that Shakespeare may have intended the play as a sort of culmination of his art. This reading has been especially popular because of the final speech made by Prospero, which sounds rather like a formal farewell to the theatre.
 from: Internet Shakespeare Editions ( http://internetshakespeare.uvic.ca/index.html ) |
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András Urbán: Born in 1970 in Senta. As a seventeen-year old created an independent theatre and literary workshop (as author, director and actor). Later formed a theatre troupe “Aiowa,” which treated theatre as a specific, but also all-artistic ideological action.
He enrolled into the Novi Sad Art Academy, where he studied film and theatre directing, directed plays in the National Theatre in Subotica. In the mid-1990 he quit his studies, for years worked in theatre and led a private life.
He graduated in 2000, in the class of Professor Boro Draskovic, and again worked intensely in theatre. With the support of the Szeged MASZK and his own ensemble, he created “independent” theatre plays. He worked in Novi Sad and Belgrade, he led art workshops in Romania, took an academic trip to Japan. Since 2005 he has been the director of the Hungarian city theatre “Kosztolanyi Dezso” in Subotica.
Directing (selection): own projects Lizards, Dew; G. Buchner, Woyzeck; W. Shakespeare, Hamlet; Dejan Dukovski, I'm gonna fuck the one who started it; F. Arrabal, Picnic; J. Radičkov, Lazarica (Balkanstage Bulgaria); Janos Pilinszky/Urban, Children; S. Beckett, Waiting for Godot; S. Plath/Urban, The Girl Who Barked at the Moon; W. Shakespeare, Taming of the Shrew; Brecht, The Hardcore Machine (Berlin); D. Kovačević, The Collection Centre; Danilo Kiš, Turbo Paradiso (after Encyclopedia of the Dead).
Short Films: Someone and Someone, Glass (AU Novi Sad-TV Novi Sad); As If We Were Not There (AU Novi Sad); Partizan out of Dawn, novellas, zEtna
Honors and Prizes: First prize at the Festival of small and experimental stages in Pancevo (1989), Special prize of the jury at Bitef (Woyzeck, Hamlet, 1992), prize for directing and for innovation at the Inspection of alternative theatres in Szeged (02.03.2004), Sterija prize of the 53rd Pozorje Round Table 2008 (Urbi et orbi). |
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William Shakespeare (1564 - 1616) -
William Shakespeare was born in Stratford-upon-Avon, in England in 1564. While his exact birth date is unknown, it is most often celebrated on April 23, the feast of St. George. He was the third of seven children born to John and Mary Arden Shakespeare.
Shakespeare's father was a tanner and glove maker. He was also a fairly prominent political figure, being an alderman of Stratford for years, and serving a term as "high bailiff" (mayor). He died in 1601, leaving little land to William. Not much is known of Mary Shakespeare, except that she had a wealthier family than John.
William Shakespeare attended a very good grammar school in Stratford-upon- Avon, though the
time period during which he attended school is not known. His instructors were all Oxford graduates, and his studies were primarily in Latin. Little else is known of his boyhood.
In 1582 at 18 years of age, Shakespeare married Anne Hathaway, a lady seven or eight years older than he from Shottery, a village a mile from Stratford. Their first daughter, Susanna, was born in 1583, followed by twins in 1585, Hamnet and Judith. By 1592, Shakespeare was an established playwright in London. The plague kept the theatres closed most of the time, and it was during this time that Shakespeare wrote his earliest sonnets and poems.
Shakespeare did most of his theatre work in a district northeast of London, in two theatres owned by James Burbage, called the Theatre and the Curtain. In 1598, Burbage moved to Bankside and built the famous Globe Theatre, in which Shakespeare owned stock. Around this time, Shakespeare applied for and got a coat of arms, with the motto: Non sanz droict (not without right). This gave him the standing of a gentleman, something that was not generally associated with actors, who were considered to be in the same class with vagrants and criminals.
In 1603, Shakespeare's theatrical company was taken under the patronage of King James I, and
became known as the King's Company. In 1608, the company acquired the Blackfriars Theatre. Shakespeare soon joined the group of the now famous writers who gathered at Mermaid Tavern, located on Bread Street in Cheapside. Among others, some of the writers who frequented the Tavern were Sir Walter Raleigh (the founder), and Ben Jonson. Shakespeare retired from theatre in 1610 and returned to Stratford. In 1613 the Globe Theatre burned down, but Shakespeare remained quite wealthy and contributed to the building of the new Globe Theatre. Shakespeare died on April 23, 1616 and was buried in the chancel of the Church of the Holy Trinity in Stratford. A monument to Shakespeare was set up on the north wall of the chancel, with a bust of Shakespeare. The bust and the engraving by Droeshout that prefixed the First Folio are the only renderings of Shakespeare that are considered to be accurate. In Shakespeare's will, he left most of his property to Susanna and her daughter, except for his "second-best bed," which he left to his wife. |
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Endless Repetition of Madness
(...) Director Andras Urban approached the text in a reductionist manner, openly, conditionally, making a coherent, artistically rounded play, which represents a huge step in the repertoire of the Nish theatre, but also a reanimation of a rather torpid theatre life in southern Serbia (dramaturge Olivera Djordjevic). The actors of the Nish ensemble solidly carry out the firmly thought out directorial concept, playing on an almost bare stage. An extreme stinginess of the set design, in the spirit of Elizabethan theatre, precisely underlines the universality of the meaning of the plot, its dense metaphoric nature and the bitterness of the truth about the ceaseless repetition of history, the eternity of the mechanisms of the power wresting, the escapeless circle of banishment and usurpation.
There is a group of spirits introduced into the play, a sort of chorus, comprised of eight women, who comment on the plot, with various, nightmarish voices, cries, pants. Beside being exciting on the sensual plane of the play (it deepens the tension and emotions), the chorus highlights the ritual, irrational, mythic aspect of the play by functioning as a sort of a metaphysical warning, threat, conscience, punishment. This procedure is an effective means of underlining the important double status of the plot in The Tempest, the mandatory mythic mediation of reality, which has to question the errors so that everything, perhaps, could be started over again, cleansed from the overall, horrifying corruption.
The play impresses with magic and charm in presenting Ariel's wonders, with the tenderness in drawing the relationship between Ferdinard (Miloš Anđelković) and Miranda (Borjanka Ljumović), as well as between Prospero (Aleksandar Mihailović) and Miranda, but also with a series of other delicate, poetic, visually, choreographically, conceptually inspiring solutions (stage movement Bicskei Istvan). The captured Ferdinand, for instance, is brought in a carriage from a supermarket, which is a really interesting idea suggesting humans have become merchandise, devalued and miserable creatures, only a means in realizing individual, relentlessly egotistical interests. In a few scenes Prospero addresses the other characters over a speaker, invisible, which can be understood as an expression of his omnipotence - he is present everywhere as some kind of Orwellian Big Brother. In one segment of this direct, techno communication with Miranda, she synchronically, hypnotically, opens her mouth, as if she is telling his words, as if she knows all this too well, which can be understood as a presentation of the idea of movement of history in circles, the captivity of repetitive cycles and corrupted political games. The future is, it seems, only a replay of the tragic breaks from the past, a product of the inherent human egoism.
In Urban’s play the functions of two slaves are particularly highlighted, that of the mischievous, joyful and endearingly childish Ariel (Aleksandar Marinković) and animalistic, deformed Caliban (Dejan Cicmilović), i.e. their relationship to Prospero, which problematises the important confrontation between nature and civilization. Prospero’s deserted island is a mythic space of imaginary utopia, a wonderful new world. But, instead of innocence, we have an ironic deformation of that new world, a pile of degenerated dreams and dismembered chances for a new beginning, a pure repetition of errors, madness and crime of the old world. Without end
Politika, April 6 2009 |
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