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Director and music selection OLIVER FRLjIĆ
Dramaturgy BORUT ŠEPAROVIĆ
Set Design
OLIVER FRLjIĆ, BORUT ŠEPAROVIĆ
Costume Design Fashion studio Artiđana
Light Design BORIS BLIDAR
Premiere:
May 31st 2008
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CAST |
ANASTAZIJA BALAŽ-LEČIĆ |
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OLIVERA BALjAK |
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ANDREJA BLAGOJEVIĆ |
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ALEN LIVERIĆ |
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JELENA LOPATIĆ |
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JASMIN MEKIĆ |
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DRAŽEN MIKULIĆ |
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DAMIR ORLIĆ |
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TANjA SMOJE |
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| CROATIAN NATIONAL THEATRE IVAN hon. ZAJC - RIJEKA |
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| The tradition of a continuous theatre life in Rijeka is more than two centuries old. The first theatre building in the city was built in 1765, and in 1805 a new building was opened. When in 1883 the local government in Rijeka decided to build a new building on Rjecina, it was surely aware of the act measured for centuries to come.
In its rich history, the Rijeka theatre has changed its name several times. After Municipal (Teatro Comunale), the Theatre was renamed in 1913 to Teatro Verdi, which was a logical choice, because its basic purpose performing operas. But the fact that the Croatian word and Croatian artists did not have access to the theatre until 1945 is symptomatic and caused by historical and political circumstances. In that year, following the example of similar permanent national and foreign theatrical institutions, a permanent National theatre was founded in Rijeka, with Croatian drama, Italian drama, as well as Opera and ballet. Soon a historical date for the Theatre occured: for the first time on its stage, on October 20th 1946, a play in Croatian was performed - Dubravka by Ivan Gundulic, directed by Dr. Marko Fotez and Marija Crnobori in the leading role. Soon after, the first Opera and ballet performances followed.
In 1953, the theatre acquired the name of another composer, a celebrated citizen of Rijeka - Ivan Zajc. Since 1991 the theatre acquired the status of a national theatre, and in 1994 its present name. From the historic 1946 until today, with four art branches (Croatian drama, Dramma Italiano, Opera with symphony and Ballet) and more than 50 years of it continuous work, the Croatian National Theatre in Rijeka has established high theatrical and artistic criteria and has gained the meritorious place in Croatia with the quality of its performances. Its repertoire today distinguishes itself with the meticulously planned recognizability performing freshly interpreted drama, opera and ballet classics, or the works of Croatian dramatic and operatic legacy. National works, especially contemporary, are produced as well. |
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P E R F O R M A N C E...... |
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Although ignored by the official cultural policy, and although it would not become part of the regular TV and radio programming, turbo-folk has increased its presence in our midst. Starting with cell phone ringing melodies, and the lifestyle of the new social elite - those folk clubs increasingly participating in the creation of the identity of a new generation - turbo-folk has been penetrating every social pore. What to do with turbo-folk, the regular commentators have been asking. After a period of spiritual renewal, is the arrival of turbo-folk marking a period of spiritual degeneration?
The term was first coined in the late eighties by Rambo Amadeus*, but it had not started being widely used until mid-nineties when it played a significant role in this parts.
* Pseudonym of Antonio Pušić, Montenegrin singer and satirist who named himself after the pop-cultural icons of the mid-80s. |
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S E L E C T O R ' S...R E P O R T...... |
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This year's Pozorje opens on May 25th, the Youth Day in the pre-ex, comradery-filled and today (not seldomly) mentioned with nostalgia Socialist Federative Republic of Yugoslavia. My intention was thus, at least symbolically, to recall the important part of history and development of us as individuals as well as of Sterijino pozorje. I cannot evaluate that date, nor a prefix (intonation) to the title of my programme. I am leaving that task to the audience!
Accordingly, I chose a few plays that deal in different ways with the question of the relationship to the legacy of the idea of communism and its direct opponent - capitalism!
Croatian National Theatre Ivan hon. Zajc from Rijeka confronts the dark remnants of the SFRY legacy in a shocking and very refined manner with its truly unusual play TURBOFOLK. Through a painful and bizarre, often irresistible witty analysis of its friendships, we will experience a powerful theatrical quake, the one we really need (in my opinion, of course)!
 Nikola ZAVIŠIĆ |
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Oliver Frljić: Born in 1976 in Travnik, Bosnia and Herzegovina. He earned degrees in philosophy and religious culture, as well as in theatre direction and radiophony in Zagreb.
During his studies he worked as a director at the National Theatre of Istria (INK), Theatre &td and the troupe KUFER (Suitcase), he collaborated with almost all independent Zagreb troupes.
Participations in festivals: Discourse festival Giesen, Gavella's Nights, Week of Contemporary Dance, Karantena Dubrovnik, FIAT Podgodica, APAF Salzburg, Freischwimmer Festival (Vienna, Berlin, Hamburg, Dusseldorf, Zurich), Golden Lion Umag, Zadar of Dreams.
He was awarded three prizes for best director for the play Twin Girls of the Childrens Theatre Dubrava (Croationa Centre ASSITEJ, Naj, Naj, Naj Festival, Childrens Theatre Festival Pozoriste Zvezdariste Belgrade).
He is a member of the Centre for Drama Zagreb, the editorial board of the magazine Frakcija, works as MC of the educational programme "Highway of Knowledge". In 1995. he founded Le Cheval Theatre with which he created 40 projects (live performances, plays, social acts).
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Frljic is currently the most interesting and the most self-realized author among young directors who are rethinking theatre in an authorial manner... His peculiar authorial poetics close to Potsdam theatre and live performance is of great importance.
Turbofolk is closest to the poetics of readymade in which the unprocessed art object (in this case a social phenomenon) is placed in a context of artworks.
The play simultaneously questions both connected/opposed sides: the phenomenon of turbofolk and the concept of theatre art. What happens to the one, or the other, when they are placed in an unusual context, which, in a way, denies one another.
It is really exciting to see actors of a national theatre ready to strip everthing on the stage, to be like an open wound, perspired and breathless, spat upon and kissed all over at the same time. They incorporate into the play their semi-invented and semi-real biographies, they invest themselves as well as its readymade elements.
Tajana GAŠPAROVIĆ, "Intense Perturbation of the Sleeper", Vijenac, July 5, 2008 |
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