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NE PLAĆAMO, NE PLAĆAMO!CAN’T PAY? WON’T PAY!

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DUBROVNIK 2019.

PREMIJERAPREMIERE 18. SIJEČNJA 2019. JANUARY 18TH 2019


REDATELJ, DRAMATURŠKA OBRADA, TEKST SONGOVA DIRECTOR, DRAMATURGY, SONG LYRICS — IVICA KUNČEVIĆ

SCENOGRAF STAGE DESIGNER — MARIN GOZZE

KOSTIMOGRAFKINJA COSTUME DESIGNER — DANICA DEDIJER

SKLADATELJICA COMPOSER — PAOLA DRAŽIĆ ZEKIĆ

OBLIKOVATELJICA SCENSKOG POKRETA CHOREOGRAPHER — ZRINKA JAPUNČIĆ

OBLIKOVATELJ SVJETLA LIGHTING DESIGNER — MARKO MIJATOVIĆ

IGRAJU LUKA / LUIGI — BRANIMIR VIDIĆ

ANA /ANNA — IZMIRA BRAUTOVIĆ

IVAN / GIOVANNI — LUJO KUNČEVIĆ

IVANA / GIOVANNA — NIKA LASIĆ

INSPEKTOR, POLICAJAC, POGREBNIK, STARI / INSPECTOR, SERGEANT, UNDERTAKER, OLD MAN — EDI JERTEC

INSPICIJENTICA – ŠAPTAČICA / STAGE MANAGER — ANITA BUBALO

PREMA PRIJEVODU TRANSLATION — BOGDAN JERKOVIĆ, MARIJA DRAGOVIĆ

DARIO FO

76 CAN'T PAY? WON'T PAY!NE PLAĆAMO, NE PLAĆAMO!

I. BRAUTOVIĆ, N. LASIĆ


I. BRAUTOVIĆ, B. VIDIĆ

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1312 NE PLAĆAMO, NE PLAĆAMO! CAN'T PAY? WON'T PAY!

B. VIDIĆ, E. JERTEC

V�EČNI ŽONGLERETERNAL �UGGLER

16 17V�EČNI ŽONGLER

Dario Fo je talijanski kazališni glumac, redatelj i pisac, rođen u mjestu San Giano, u Lombardiji, 24. III. 1926., a umro u Milanu, 13. X. 2016.

Kazališnu karijeru započeo je u Milanu kao radijski komičar i kabaretist izvodeći svoje tekstove kao što su Prst u oko (Il dito nell’occhio, 1953.) i Zdravi za ludnicu (Sani da legare, 1954.). Od 1958. sa suprugom Francom Rame, također glumicom, uprizoruje političke satire: Arkanđeli ne igraju na fliperu (Gli arcangeli non giocano a flipper,1959.), Sedma: kradi malo manje (Settimo: ruba un po’ meno, 1964.) i dr. Šezdesetih godina pristaje uz borbenu ljevicu i 1968. napušta službene kazališne institucije, kako bi osnovao družinu Nova scena (Nuova Scena), koja obnavlja tradici-ju pučkog teatra. Izvan Italije proslavio se autorsko-izvedbenim remek-djelom Komični misterij (Mistero buffo, 1969.), nadahnutim apokrifnim evanđeljima i pučkim naslijeđem.

U njemu oživljava i reinterpretira tradiciju giullara – srednjo-vjekovnih zabavljača, dvorskih luda, žonglera, mimika, pjevača i svirača, koji su putovali od grada do grada, te tako širli priče, novosti, farse, pučku a kasnije i dvorsku umjetnost. To je mono-drama od nekoliko dijelova, niz monologa s biblijskim temama provokativnog, ludičkog i satiričkog karaktera; pravi izazov za glumca, otvoren improvizacijama pa tako niti jedna izvedba nije bila ista. Njezina je posebnost, osim radikalnosti u stavu i oštrih reakcija službenog Vatikana koje je izazvala, jezik na kojemu je Fo izvodio, mješavina talijanskih dijalekata i takozvanog grammelota

– izmišljenog, onomatopejskog, fantastičnog jezika kojim glumac -izvođač dočarava publici likove i događaje. Time je oživio mimsku praksu izvođača srednjovjekovnih pučkih farsi i commedie dell'arte.

Sedamdesetih godina osniva kazališnu komunu, s kojom u Piscatorovu duhu provodi projekt agitacijskog teatra, uključujući iskustva srednjovjekovnih misterija, commedie dell’arte, lutkarstva i kabaretsko-revijalnih oblika. Nastaju Slučajna smrt jednog anar-hista (Morte accidentale di un anarchico, 1970.), Bum, bum! Tko je? Policija! (Pum, pum! Chi è? La polizia!, 1972.), Ne plaćamo, ne plaća-mo (Non si paga, non si paga, 1974.), Oteti Fanfani (Il Fanfani rapito, 1975.), Mamina marihuana je najljepša (La marijuana della mamma è la più bella, 1976.), itd. Poslije je nešto umjereniji, zaokupljen liberalnim ciljevima. Objavljuje Glumčev minimalni priručnik (Manuale minimo dell’attore, 1987.), postavlja farse Papa i vještica (Il Papa e la strega, 1990.), Vrag sa sisama (Il diavolo con le zinne, 1997.) i prerađuje Ruzzanteova djela (1993.–95.).

ETERNAL �UGGLER

Dario Fo was an Italian theatre actor, producer and playwright, born in Sangiano, region Varese on March 24th in 1926, and died on October 13th in 2016.

His theatre career started in Milan, as a radio comic and cabaret player, performing his own texts such as The Finger in the Eye (Il dito nell'occhio, 1953) and The Sound to be Tied (Sani da legare, 1954). From 1958 onwards, with his wife Franca Rame, the actress, he puts on the stage political satires The Archangels Don't Play Pinball (Gli arcangeli non giocano a flipper, 1959), Seventh Commandment: Steal a Bit Less, (Settimo: ruba un po'meno, 1964) et al. During 60s he joins to a battling left wing and in 1968 he left official theatre institutionts, so as to form a group New Scene (La Scena Nuova), which revitalizes the tradition of folk theatre. Out of Italy, he became famous, for his author performance piece of art Comical Mystery (Mistero buffo, 1969), inspired by apocryphic Gospel and folk heritage.

In Comical Mystery, he revitalizes and reinterprets the tradition of giullari (medieval strolling players), court entertainers, mimics, singers and players who travelled from city to city and spread the stories, news, mockery, folk and later even court art. It is a monodrama, consisting of several parts and a series of monologues with Biblical topics of provocative, game and satirical character; It was a real challenge, for an actor, open to an improvisation. Thus, not any performance, was the same. Its quality lies, besides its radical feature and strong reactions of an official Vatican, which he provoked. It is the language in which Fo performed, the mix of Italian dialects and so called grammelot

– invented, mimic, phantastic language, by which the actor – performer, shows to the public the characters and events and imitates the sounds and voices. Thus, he vivified the mimic practice of the performers of medieval folk mockeries and commedia dell'arte.

In 70s, Fo founded his theatre group, in accordance with the spirit of Piscator. He initiates the project of an agitation theatre, including also the experience of medieval mysteries, commedia dell'arte, puppet show and cabaret-revue forms. He wrote Accidental Death of an Anarchist (Morte accidentale di un anarchico, 1970), Bang! Bang! Who is it? The Police! (Pum, pum! Chi è? La polizia!, 1972), Can't Pay? Won't Pay! (Non si paga, non si paga, 1974), Fanfani Kidnapped (Il Fanfani rapito, 1975), Mother's Marijuana is the Best (La marijuana della mamma è la più bella,

18 19V�EČNI ŽONGLER

Dobitnik je Nobelove nagrade za književnost 1997., jer se "nadmeće sa srednjovjekovnim žonglerima, mimicima i dvorskim ludama, šibajući autoritete i ističući dostojanstvo potlačenih".

"Dario Fo", stoji u obrazloženju nagrade, "kroz mješavinu smijeha i ozbiljnosti govori o izrabljenima, o nepravdama u društvu, pomažući nam da ih smjestimo u širi povjesni kontekst."

Dario Fo je možda i najneobičniji dobitnik Nobelove nagrade za književnost. Bilo je puno polemika o naravi njegove umjetnosti, koja nije strogo žanrovski određena. Iako su njegovi tekstovi, u pisanju kojih je nerijetko sudjelovala i njegova supru-ga Franca Rame koja je s njime vodila i nekoliko kazališnih družina, nedvojbeno visoke vrijednosti, Fo ih nije pisao težeći vrhunskoj literaturi nego kao predložak za žive predstave kazali-šta koje je elemente talijanske kazališne, prvenstveno pučke tradicije od srednjevjekovne farse i pričanja priča do commedie dell’arte koristilo na originalan način za oblikovanje kompleksne i žestoke satire koja grotesku i odmak od realističnosti koristi za stvaranje političkog teatra izrazito ljevičarskog opredjeljenja. Takve predstave nisu davale gotova rješenja nego su služile kao povod za rasprave o problemima obespravljenih.

ETERNAL �UGGLER

1976) etc. Later on, he becomes obsessed with liberal goals. He publishes Actor's Minimal Manual (Manuale minimo dell’attore, 1987), he puts on the stage the farces: The Pope and the Witch (Il Papa e la strega, 1990), The Devil with Boobs (Il diavolo con le zinne, 1997) and reinterprets the works of Ruzzante (1993–95).

He was a Nobel Prize Winner in 1997, because "He competes with medieval jugglers, mimics and court jesters, attacking the authorities and stressing the dignity of the oppressed." Dario Fo, as it was quoted in the argumentation of the award, "By means of the laughter and seriousness, speaks about the opressed, injustice in the society, assissting us to put them into a wider context."

Dario Fo is, maybe the most unusual Nobel Prize Winner in Literature. There were a lot of polemics about his arts, which was strictly limited by the genres. His texts, which were written together with his spouse Franca Rame (who lead with him several actors' groups) are undoubtedly, of high artistic value. However, Fo didn't write them, with the goal to achieve an excellent piece of literature. His goals were vivid theatre plays, with the elements of Italian theatre, firstly folk tradition from medieval farce and story telling up to commedia dell'arte. All that, resulted in an original way of forming a complex and fierce satire, which uses the grotesque and deviation from the reality. It created political theatre, with pronouncing leftist colour. Such plays didn't offer clear solutions, but they were used as a motive to deal with the problems of the opressed.


L. KUNČEVIĆ, B. VIDIĆ


B. VIDIĆ, L. KUNČEVIĆ

NE PLAĆAMO, NE PLAĆAMO!CAN'T PAY? WON'T PAY!

26 27NE PLAĆAMO, NE PLAĆAMO!

Tako je i jedan od najcjenjenijih njegovih komada Ne plaćamo, ne plaćamo! napisan 1974. kada je njegov i Ramin Collettivo teatrale La Comune dobio (do 1980.) na korištenje Palazzina Liberty, napuštenu zgradu nekada prosperitetnog restorana. Predstava po tom tekstu izvođena je u sezoni 1974/5. kao poticaj za diskusije s otpuštenim radnicima, štrajkašima i imigrantima bez perspekti-ve. Početak zapleta komada je kada Ana, žena koja je nedavno dobila otkaz, dolazi s mnogo hrane iz supermarketa u kojem su kupci odbili platiti po njihovom mišljenju previsoke scene. Oni plaćaju pola cijene, a vrlo brzo nakon što se u raspravama u Libertyju konstatira da je to neuvjerljiva fantastika, počinje se u nekim milanskim supermarketima masovno provoditi takvo poluplaćanje, što izaziva uzbuđene reakcije vladajućih društvenih struktura, a dnevnik Giornale Nuovo s izdavačem Berlusconijem tužio je kazališni kolektiv La Comune sudu kao začetnike tih događanja. No prilično iznenađujuće, nisu im izrečene nikakve kazne jer je sud ustanovio da je prava vrijednost tako plaćenih artikala bila upravo upola manja od istaknute cijene.

CAN'T PAY? WONYT PAY!

Thus, one of his most renowned piece of work Can't Pay? Won't Pay! was written in 1974, when his and Rama's Theatre Group Community (Collettivo teatrale Comune) obtained at disposal Palazzina Liberty, an abandoned building of once prosperous restaurant. The play, according to the text, was performed in the season 1974/5 as an initiation of the discussion about the fired workers, rebels and immigrants without the future. The beginning of the plot starts, when Ann, the woman who has been recently fired, arrives with a lot of food from the supermarket, in which the custumers have rejected to pay, in their opinion, too high prices for it. They paid, just half of the price. Very quickly after that, it was concluded, that it was unconvincing justifiable. In some Milan supermarkets, it starts so called "half payment", which provokes exciting reactions of the governing social structures. Daily newspaper The New Journal with its publisher Berlusconi, sued the theatre group La Comune before the Court, as originators of the events. However, very surprisingly, they were not penalized, because The Court found that the real value of the payed articles was in fact just half of the price shown.

INTERVJU S REDATELJEM IVICOM KUNČEVIĆEM, POVODOM 50-TE GODIŠNJICE NJEGOVA UMJETNIČKOG RADA

INTERVIEW WITH THE DIRECTOR IVICA KUNČEVIĆ IN CELEBRATION FOR 50 YEARS OF HIS ARTISTIC CAREER

34 35DOBAR TRENUTAK ZA DARI�A FOA

PETRA JELAČA Prije nekoliko godina isti ste ovaj komad postavili u Zagrebu, sa Glumačkom družinom Histrion. Kolika je razlika zagrebačkog i dubrovačkog konteksta postavljanja; koliko ste ga mijenjali od 2015. do danas?

IVICA KUNČEVIĆ Promijenjene društvene okolnosti, nova sredina, drugi glumci i suradnici, jednostavno dozovu drugačiju interpretaciju. Od prije četiri godine, kada sam prvi put režirao Ne plaćamo, ne plaćamo!, problemi koje ovaj komad detektira, bijeda, poniženje siromaštva, beznađe, u našem su društvu samo još više eskalirali. To priziva i žešću reakciju. Ova bi izvedba trebala, u ingenioznom Foovom ludizmu, još jasnije prepoznati našu otužnu stvarnost.

Za ovu dubrovačku verziju inkorporirao sam u komad i neke svoje stihove. Evo dijela teksta završnog songa:

Predstava ova luda došla je svome kraju,premda naši jadi još uvijek traju, premda bolji život mnogi tek sanjaju, smijat mi jako hoćemo se sada, smijehom preživjet, jedina nam nada!

Smijati se političkoj gluposti, svom jadu i nevolji, "smijehom preživjet" mislim da je mantra s kojom bi se i Fo složio.

PJ Je li Vam to bilo prvo redateljsko bavljenje djelom Daria Foa?

IK Da, ovo je jedini Foov komad koji sam radio, ali čini mi se da bi za repertoarne potrebe naših kazališta u ovom trenutku bilo dobro pažljivo iščitati sve tekstove ovog vrsnog komediografa.

PJ Kolika je po Vama potreba za reakcijom odnosno pobunom danas u Hrvatskoj? Mislite li da kazalište još uvijek ima moć ili barem mogućnost utjecati na ljude, kao u doba kad je nastajao ovaj komad, odnosno kad je Fo s tim ciljem pokrenuo Novu Scenu?

IK Potreba pobune na današnje stanje društva u Hrvatskoj je, naravno velika, ali staviti umjetničko djelo u službu neke političko

- društvene ideje, ne dao Bog ideologije, kontaminacija je i poniže-nje tog uzvišenog čina. Umjetnost nije ničija sluškinja. Ona ne može biti "napredna" ili "nazadna"; ona je jednostavno iznad tih

GOOD MOMENT FOR DARIO FO

PETRA JELAČA Several years ago, the same performance was staged in Zagreb by Histrion actors' group.What is the difference between Zagreb and Dubrovnik in context? What has been changed since 2015?

IVICA KUNČEVIĆ Changed social circumstances, new surroundings, different actors and collaborators, simply call for different interpretation. Four years ago, when, for the first time I directed Can't Pay? Won't Pay! the problems being discussed in this play then, such as: poverty, humiliation, hopelessness, have just escalated now. It requires even stronger reaction. This performance, according to Fo's ingenious game, even clearly recognize our mournful reality.

For special Dubrovnik version, I have incorporated in the play, certain my own verses. There is the part of the text of the final song:

This mad play is at its end,although our sorrow is bad,although better life is desired, loud laughter now we wish, to survive and sorrow finish! (prev. L.D.)

To laugh at a political stupidity, to our own sorrow and misery, I think is a motto, Fo would have agreed.

PJ Is it Your first directing Dario Fo's piece of work?

IK Yes, of course. This is the only Fo's play, I have directed. But it seems that for the repertory need of our theatres, at this moment, it would be nice to read carefully, all the texts of this extraordinary comedist.

PJ In Your opinion, what is the need for the reaction, rebellion, today in Croatia? Do you think that the theatre is powerful enough? Is it at least, capable to have an impact on the people, similar to the one, when this play was created, i.e., when Fo initiated New Scene ?

IK The need to rebel to the current political situation in Croatia, is of course enormous, indeed. On one hand, this solemn artistic act would be contaminated and humiliated if it were engaged into


kategorija. Ona djeluje na čovjeka u zoni one duboke, iskonske ljudske osjetljivosti do koje nikakav politički program ne može doprijeti. Ozbiljna predstava neće gledatelja indoktrinirati; ona će ga oljuditi, a oljuđeni, slobodni čovjek opasniji je za lošu politiku nego parolaški aktivist.

PJ Gdje je u svemu tome današnji Dubrovnik? Koliko ga njegova, novcu i zaradi podložna svakodnevica, čini po Vama izoliranim od ostatka Hrvatske?

IK O današnjem Dubrovniku i njegovom obožavanju "zlatnog teleta" pokušali smo progovoriti u "Skupu". Ali ta ‘money – money’ opsesija zajednička je danas, nažalost, ne samo Dubrovniku i Hrvatskoj, nego i u ostatku svijeta.

PJ Koji su po Vama problemi dubovačkog kazališnog života kroz godinu; nalazite li da je i u tom smislu izoliran kao kulturna sredina?

IK Teatar Marina Držića mora biti prisutniji na kazališnoj sceni Hrvatska, pa i šire, već i zbog onog svog dijela dubrovačkog repertoara kojeg ostali teatri ovog govornog područja, nažalost, često zaboravljaju. Mora provjeravati svoju djelotvornost i vrijednost i izvan grada i vraćati se pred svoju publiku obogaćen tim iskustvima.

PJ Kakva su Vaša iskustva rada s ansamblom Kazališta Marina Držića?

IK To je mala, ali talentirana i radina družina s kojom sam, uz ponekog gosta, napravio u zadnje vrijeme nekoliko uspješnih predstava.

PJ Mislite li da bi i danas bilo moguće, kao kad ste Vi bili mladi redatelj, okupiti grupu mladih glumaca i suradnika te pokrenuti

'novi val' kazališta u Dubrovniku, barem na nekoliko sezona?

IK Vremena su se promijenila. Danas ćete dobrog glumca teško dobiti za stalno u Dubrovnik. Predaleko je to od Zagreba koji u ovom trenu sa svojih desetak teatara, velikim brojem slobodnih grupa, radijskom, filmskom i TV produkcijom, nudi puno više šansi


some political and social idea. The art is noone's servant. It cannot be either progressive or reactionary; it is simply above all those categories. It acts on the man in the zone od deep, premordial human sensitivity, up to which, no political project could reach. A serious play won't indoctrinate the spectator; it will humanize her/him. Thus, humanized, free individual is much more dangerous, for a bad politics, rather than sloganeer's activist.

PJ Where is Dubrovnik of today, in all that? In Your opinion, is it isolated from the rest of Croatia, due to its money and profit-dependent everyday life?

IK We have tried to talk about Dubrovnik and its adoration of the golden calf in the play titled The Miser. This "money – money" obsession is unfortunatelly imminent today, not only to Dubrovnik, but to the rest of the world.

PJ What are problems of Dubrovnik theatre life over the year? Is Dubrovnik isolated as a cultural centre?

IK Marin Držić Theatre should be more present on the scene of Croatia and even wider. The reason is, that the repertory of Dubrovnik region is unfortunatelly usually forgotten by other theatres. Thus, it should check its value and efficiency, even outside Dubrovnik and return back before its public, enriched by this experience.

PJ What is Your experience with Marin Držić ensamble?

IK It is a small, but talented and working group, assisted by some guest, which has recently produced, with me, some successful performances.

PJ Do You think, that it would be possible, like at the beginning of Your career, to gather a group of young actors and collaborators and start New Wave of theatre of Dubrovnik, at least for several seasons?

IK The times have changed. It would be difficult to attract a young actor, to permanently live in Dubrovnik. It is too far away from Zagreb, with its ten theatres, a great number of free groups, radio,


za dobar, ponekad manje dobar, ali isplativ posao. Međutim, to može sasvim dobro zamijeniti praksa gostiju po projektu; pa ako nekog glumca vežete u nizu od par ili više predstava, on de facto postaje, na neko vrijeme, član ansambla. Uostalom, u Zagrebu, a i u Splitu, radi ozbiljna kolonija odličnih dubrovačkih glumaca koji bi sasvim sigurno vrlo rado ušli u takav aranžman sa kazali-štem u svom Gradu.

PJ Doba Vaše redateljske mladosti otprilike se podudara s razdobljem Foova najproduktivnijeg stvaralaštva. Kakav je po Vama danas položaj mladih umjetnika i redatelja u usporedbi s tim razdobljem?

IK U vrijeme moje redateljske mladosti bilo je za mladog umjetni-ka puno manje prilika za rad i afirmaciju. Broj teatara se od onda sigurno utrostručio, bezbroj je kazališnih udruga, svaki se čas negdje događa neki ad hoc projekt. Moja se generacija probijala uz autoritete kao što su bili Spaić, Škiljan, Habunek, Durbešić, Paro, Violić, Juvančić. Sumnjam da bi danas mogao nabrojiti toliko dobrih starijih redatelja.

PJ U adaptaciju komada unijeli ste mnoge suvremene teme, od rodne problematike do rastuće ekonomske krize. Koje je Vaše mišljenje o aktualnim društvenim i političkim ektsremima? Kako komentirate rastući val neokonzervativizma u Hrvatskoj, ali i na globalnoj razini?

IK Bilo kakav politički ekstremizam je melanom na zdravom tkivu društva. U ovom trenutku, uz jaki trend neokonzervativizma, svjedočimo uglavnom ekspanziji ultra desnih pokreta. Uzroci su poznati: ekonomska nesigurnost, stalno ratno stanje u svijetu, valovi imigranata… najmanje se, međutim, spominje odgovornost političkih elita lijeve opcije, koja umjesto efikasnih društvenih riješenja, nudi samo floskule i davno potrošene fraze. Uglavnom je to politika "dobrih želja", bez stvarne snage i vizije, koja svojom nemoći otvara prostor opasnim ludilima.


movie and TV production, which offers more chances for a good and profitable business. However, this could be completely changed, by the practice of the visiting actors. So, if You attract some actor in a series of several or more performances, she/he becomes in fact, the member of an ensamble. However, in Zagreb and even in Split, there is a serious colony of actors from Dubrovnik, who would gladly be engaged in the theatre of their own city.

PJ The period of Your youth, coincides with the period of Fo's most productive writings. What is the position of young artists and directors nowadays, in Your opinion, compared with that period?

IK As a young director, I had less chances to work and become recognized. The number of theatres have tripled since then. There are numerous theatre societies. Constantly, somewhere, ad hoc project is appearing. My generation was led by the authorities such as: Spaić, Škiljan, Habunek, Durbešić, Paro, Violić, Juvančić. I doubt that today, such a great number of directors could be found.

PJ Many modern topics have been introduced into the perfor-mance, from gender problems, up to an increasing economic crisis. What is Your opinion about current social and political extremes? How do You comment, the increasing wave of neocon-servatism in Croatia and on the global level, too?

IK Any kind of extremism is a cancer to a healthy tissue of the soci-ety. At the moment, besides a very strong trend of neoconserv-atism, we witness mainly to the expansion of the ultra right move-ments. The reasons are well known: economic insecurity, constant war threatening, waves of immigrants... The responsibility rests with left-oriented option, which hasn't been mentioned enough. Instead of social solutions, it merely offers empty, worn phrases. It is, in fact, the politics of good will, without a real strenght and vision and which by means of its weakness, leads to very danger-ous craziness.


E. JERTEC

46 47DARIO FO

SVESTRAN UMJETNIK

Dariov otac Felice bio je socijalistički orijentiran, po zanimanju upravitelj željezničke postaje u malome mjestu San Giano u Lombardiji, pokraj Lago Maggiore, gdje su se vlakovi, na putu između Milana i švicarske granice rijetko zaustavljali. Zato su ga često premještali u druga mjesta. Jedno od njih je bilo i Porto Valtravaglia, gdje je mladi Dario slušao mještane, affabulatore, kako pjevaju i prepričavaju priče. Slušao ih je i u obitelji, jer je djed s majčine strane također bio poznati affabulatore. To je bio prvi kontakt s onim što će postati njegovo buduće zanimanje. U Milano odlazi studirati slikarstvo, na poznatu Accademia di belle arti di Brera. S vremenom, po završetku Drugog svjetskog rata, prelazi na studij arhitekture. Još je za vrijeme slikarskih klasa zabavljao kolege nasmijavajući ih pričanjem priča, izvodeći skečeve. Nakon jedne mladenačke krize i živčanog sloma, doktor mu je savjetovao da za posao izabere nešto u čemu će istinski uživati. Tako je došao u kazalište. U milanskim umjetničkim i slikarskim krugovima dobio je i prve glumačke poduke, otkrio je Edoarda de Filippa, učio gledjaući predstave Giorgia Strehlera, proučavajući rad Antonia Gramscia, Bertolta Brechta i Vladimira Majakovskog. Slikarsko obrazovanje omogućilo mu je kasnije postane potpuno samostalni kazališni čovjek- svoje je komade pisao, režirao, izvodio, kreirao kostime i scenografiju. 1950. Franco Parenti mu daje prvu ulogu u jednom svom komadu, a nakon toga nižu se i druge u manjim milanskim kazalištima. Početkom pedesetih počinje surađivati na radiju kao autor i izvođač satiričnih tekstova i skečeva. Prvi zapaženiji radiofonijski niz monologa ostvario je 1952, pod nazivom Poer nano, što mu je uvelike pomoglo u razvijanju glumačkih izražajnih sredstava. Surađuje zatim s Jacquesom Lecoquom, koji ga je podučavao komičarskim vještinama.

DARIO FO

VERSATILE ARTIST

Dario's father, a socialist, was a railway manager in a small place San Giano, Lombardy, near The Maggiore Lake, where the trains on their way between Milan and Swiss border rarely used to stop. Therefore, he was transferred frequently in other places. One of the positions was Porto Valtravaglia, where a young Dario listened to the the town-inhabitants, affabulatore, singing and retelling the tales. He listened them in the family, too, because the grandfather of the mother, had been a well-known affabulatore. It was his first contact with the skills, which would become his future profession. He went to Milan to study paintings, at the famous Accademia di belle arti di Brera. Eventually, upon the end of The Second World War, he started the studies in architecture. Even during his painting lessons, he entertained his colleagues by laughing and telling the stories, performing sketches. After one youth crisis, and a nervous breakdown, the doctor recommended him to indulge himself in the activities, he really loves. Thus, he arrived in theatre. In Milan artistic and painting circles, he obtained the first lessons in acting and discovered Eduardo de Filippo. He studied by watching the performances by Giorgio Strehler, studying the pieces of work by Antonio Gramsci, Bertold Brecht and Vladimir Mayakovsky. Education in painting, enabled him later to become completely an independent theatre person i.e. he wrote texts and directed them. He also acted and created both costumes and stage design. In 1950. Franco Parenti gave him the first role in one of his play, and after that, several other plays followed in minor Milan theatres. At the beginning of 50s, he became involved in radio programmes, as an author and performer in satirical texts and sketches. His first renown radiophonic series of monologues, was realized in 1952, titled Poer nano. It helped him significantly, in the development of actor's expressive skills. Then, he collaborated with Jaques Lecoquo, who taught him comedian expression.

48 49DARIO FO

FRANCA RAME I DARIO FO — �EDINSTVEN KAZALIŠNI PAR

Na samim počecima ulaska u svijet kazališta, 1951. godine, događa se presudan susret za njegovu umjetničku budućnost, s glumicom Francom Rame. Ona je, kako u velikom članku povodom Foove smrti u britanskom The Guardianu piše Joseph Farell, autor brojnih knjiga i životu i djelu kreativnog para Fo-Rame, "imala teatar u krvi i to na način na koji Dario Fo nije". Rođena je u u obitelji putujuće glumačke družine, koja je radila predstave bazirane na improviza-ciji, i tradiciji commedije dell'arte. Na sceni je bila prvi puta u majčinom naručju kada je imala samo 8 dana. S 18 godina počela je nastupati po milanskim kazalištima, dobivala vrlo dobre kritike, pa se nakon par godina našla u istoj kazališnoj družini s Dariom Foom. Često su surađivali, a obzirom na njezinu iznimnu ljepotu i platinasti pin up look, Dario ju je smatrao nedostižnom. Nju je, piše Jospeh Farell, "privlačio taj suhonjavi, neugledni mladić. Jedne večeri nakon probe približila mu se, sve do zide garderobe, i poljubila ga." 1954. su se vjenčali, a godinu dana poslije dobili sina Jacopa. Od tog trenutka nadalje, bit će vrlo teško razdvojiti tko je za što zaslužan u karijerama Fo-Rame, jer su sve radili zajed-no. Dario je pisao i režirao, no u svemu je sudjelovala i Franca. Sve su kazališne družine vodili zajedno, bila mu je glavna glumica, svim je tekstovima nakon probi davala završni oblik. Pisala je i vlastite drame. U kasnijim političkim i društvenim angažmanima je prednjačila i bila u mnogočemu radikalnija ljevičarka od svog muža. Zajedno su razvili novi kazališni stil koji je istraživao žensko pitanje i bavio se feminizmom na sceni. Poznate i uspješne drame iz tog razdoblja, kao što je Sve se vrti oko kuće, kreveta i crkve napisao je Fo na njezin nagovor i po njezinim sugestijama. Kasnije je znao reći kako njezin doprinos u nekim djelima i nije dovoljno istaknut, te da Franci Rame pripada druga polovica Nobelove nagrade. Njihova je, kako privatna tako i profesionalna veza, jedinstvena u povijesti kazališne umjetnosti.

DARIO FO

FRANCA RAME AND DARIO FO — A UNIQUE THEATRE COUPLE

At the very beginning of his entry into a theatre world, in 1951. a crucial encounter happpened, which proved to be basic for his artistic future. He met Franca Rame, an actress. In The Guardian, the author Joseph Farell says that: "She possessed theatre in her blood, more than Fo." Farell is an author of numerous books on the life and work of a creative couple Fo-Rame. She was born in a family of travelling actors' company, which performed on the basis of improvisation and tradition of commedia dell'arte. She was just seven days old baby, when firstly appeared in her mother's lap on the the stage. At the age of 18, she started performing in Milan theatres receiving good reviews and after a several years, she found herself in the same group of actors with Dario Fo. They cooperated usually and Dario considered her as unaccessible, because of her exceptional beauty and platinium pin-up look. As Joseph Farell says "She was attracted by a thin, plain young man. One evening, after the rehearsal, she approached him, even near the wall of the dressing-room and kissed him." They married in 1954., and a year later, their son Jacopo was born. From that moment, onwards, it would be very difficult to differentiate the contributions in Fo-Rame careers, because they worked together. Dario wrote and directed the plays, but Franca activelly participated in them. They lead all actors'companies together. She was the main actress, she surveyed all the texts, after the rehearsals and finally reinterpreted them. She wrote plays, too. In later political and social engagement, she was the first one on the left wing even more radical than her husband. They together developed a new theatre style, which researched the feminist question on the stage. Well-known drama from that period is All House, Bed and Church which was written by Fo according to his wife's suggestions. Later, he used to say that her contribution in some plays is not mentioned enough and that Franca Rame deserves the other part of The Nobel Prize. Their private and profesional connection is a unique one in the history of the theatre arts.

50 51DARIO FO

TELEVIZIJA, FILM, POPULARNOST

Zajedno su radili 1956. na filmu Lo svitato (Čudak), a 1958. su oformili svoju prvu kazališnu družinu. Zbog duhovitosti i originalnosti imali su puno uspjeha kod publike. Njihova komika s primjesama apsurda i klaunerije bila je visoko politična i socijalno angažirana, prava kontroverzna satira. Svake su godine išli na turneju duž cijele Italije s uspješnicama: Isabella, tri jedrenjaka i prevarant, Arkanđeli ne igraju na fliperu, Sedmo: kradi malo manje, Gospođu treba izbaciti. Popularnost im raste, pa 1962. sudjeluju u iznimno gledanoj emisji na RAI-u Canzonissima. Cenzura na nacionalnoj televiziji je bila jaka, pritisci za izbacivanje skečeva na političke i socijalne teme sve veći pa naposlijetku odustaju od emisije. Unatoč popularnosti koja im u Italiji i Europi nastavlja rasti, punih 15 godina ih neće biti na talijanskoj televiziji.

SLUČAJNA SMRT JEDNOG ANARHISTA — MEĐUNARODNO POZNATA PROTESTNA DRAMA

"Prekretnica se dogodila 1968. godine, u godini studentskih pokreta i demonstracija protiv rata u Vijetnamu kad su Fo i Rame raskinuli s građanskim, komercijalnim kazalištem, da bi osnovali vlastitu kazališnu grupu i izvodili ljutite, ali urnebesno smiješne političke farse. Osnovali su kooperativni kazališni kolektiv. To je bilo doba predstave Slučajna smrt jednog anarhista, djela koje je postalo međunarodna protestna drama, a koja se izravno ticala

'slučajne' smrti u pritvoru mladog Giuseppea Pinellija. Nedužan čovjek, Pinelli je priveden na ispitivanje nakon eksplozije u milanskoj banci, koja je usmrtila 16 ljudi. Pao je u smrt s prozora s četvrtog kata. Samo dramski pisac s klaunskim osjećajem tragičnog mogao je Pinellijevu smrt pretvoriti u skoro pa geg. Komad je budalast na površini ali tragično ozbiljan u dubini. Fo je igrao glavnu ulogu-ni najoštriji njegovi kritičari nisu mu mogli zanijekati genijalnu izvedbu. Mnogi od njegovih najpoznatijih komada uzimaju za temu problematiku iz naslova dnevnih novina, ali paradoks je u tome, da je Fo revoucionaran u politici, a konzer-vativan u kazalištu. Duboko je ukorijenjen u tradiciju i ima bogato

DARIO FO

TELEVISION, FILM, POPULARITY

They worked together in 1956 on the movie Lo svitato (The Screwball) and in 1958 they formed their first theatre company. Due to the wittiness and originality, it attracted large audience. Their comedian qualities, with the additional absurdity and clownism, was highly political and socially engaged, a real satirical controversy. Every year, they went on the tournaments along the whole Italy with hits such as: Isabella, Three Sailing Ships and a Con Man, Archangels Don't Play Pinball, Settimo: Ruba un po' meno, Throw the Lady Out. Their popularity grew, so in 1962 they launched an exceptionally popular programme on RAI, so called Canzonissima. The censor-ship on a national television was very strong, pressure for perform-ing sketches on political and social topics increased, and finally, they quit the programme. Although they had been popular, both in Italy and Europe, in following 15 years, they would not be present on television.

ACCIDENTAL DEATH OF AN ANARCHIST — INTERNATIONALLY KNOWN PROTEST DRAMA

"A turning point came in 1968, the year of the student movements and anti-Vietnam war demonstrations, when Fo and Rame broke with commercial theatre to establish their own performance circuits and to perform angry but hilarious political farces of their own. They established a co-operative, and after the first failed, they started again. This was the time of Accidental Death of an Anarchist, a work that has become the international protest play, but which dealt specifically with the death in police custody of Giuseppe "Pino" Pinelli. An innocent man, Pinelli was taken in for questioning following an explosion in a Milan bank that would kill 16 people, and "fell" to his death from a fourth-floor window. Only a playwright with a clown’s sense of the tragic and the absurd could have turned the death of Pinelli into a piece of knockabout theatre. The play is madcap on the surface but grippingly serious underneath. Fo played the principal part – not even his strongest critics deny his genius as performer. Many of his best-known plays take their subjects from topics featured in the day’s

52 53DARIO FO

znanje o klasičnom teatru. Ne prati avangardu, niti nove kazališne oblike ondašnje nezavisne scene. Kombinirajući smijeh i ogorče-nje, njegove raskalašene, ali satirične farse, utjelovljuju dugu, bogatu tradiciju pučkog kazališta."

Joseph Farell – Dario Fo at 90: so farce, so goodThe Guardian, 18.3.2016.

MISTERO BUFFO – PREDSTAVA ZA NOBELOVU NAGRADU

"Umjetnost Darija Foa za mnoge se izjednačava s predstavom iz 1969. godine : ‘Mistero buffo’. Ta ga je predstava učinila slavnim u Italiji i u inozemstvu, obnavljala se i izvodila iz desetljeća u desetljeće. Naslov aludira na poznatu političku nadrealnu farsu Vladimira Majakovskog ‘Misterij buffo’ koju je režirao V.E. Mejerholjd za vrijeme Oktobarske revolucije čime Fo zauzima jasan politički i umjetnički stav. Predstava je strukturirana kao niz kratkih priča, velike dramaturške inventivnosti i mimske živosti. Dario Fo, odjeven u crne hlače i crnu majicu, sam na sceni, priča i glumi priče srednjovjekovnog i religioznog karaktera kao što su: Lazarovo uskrsnuće, ustoličenje pape Bonifacija VII, priča o gladnom Zanniu (lik sluge iz commedije dell’arte) koji sanja kako će skuhati veliku juhu, ali, kad se probudi, s tekom proguta tek jednu muhu. Fo glumi sve likove, prelazeći iz jednog u drugi, priča na lombardijskom dijalektu koji publika razumije zbog mimike i početnih objašnjenja, ili na grammelotu (izmišljeni onomatopej-ski jezik koji imitira razne postojeće jezike, koristeći zvukove bez smisla zajedno s nekim 'pravim' riječima.)"

RAI scuola, Dario Fo – magnifico giullare

DARIO FO

headlines, but the paradox is that while Fo is a revolutionary in politics, he is conservative in theatre. He is deeply rooted in tradition and has a profound knowledge of classical theatre. He has no truck with the avant garde, nor with theatre produced in little garrets. Combining laughter with indignation, his riotous but satirical farce embodies the longer, richer tradition of popular theatre."

Joseph Farell – Dario Fo at 90: So farce, so goodThe Guardian, 18.3.2016

MISTERO BUFFO – PERFORMANCE FOR NOBEL PRIZE IN LITERATURE

"The art of Dario Fo, for many people, means his performance from 1969, titled Comical Mystery. This performance made him glorious in Italy and abroad. It was revised from decade to decade. The title is connected to a known political unreal farce, by Vladimir Mayakovsky Comical Mystery which was directed by V.E. Mejerholjd, during the period of October Revolution. Fo took a clear political and artistic idea, by doing so. The performance is structured, as a series of short stories, of a great dramatic invention and mythical vividness. Dario Fo, dressed in black trousers and a shirt, alone on the stage, talks and plays the medieval tales of religuous character such as: Lazarus Resurrection, Pope Bonifacius, the Seventh Inauguration, The Tale about Hungry Zanni (character of the servant from commedia dell'arte) who dreams about his cooking an enormous soup, but when he wakes up, he swallows just a fly. Fo characterizes all the personalities, transferring from one level to another, he speaks: either in Lombardian dialect the audience could understand. because of mimics and initial explanations; or in grammelot (invented onomatopoeic speech, which imitates various existent speeches, by using meaningless sounds, accompanied by some 'real' words."

School RAI, Dario Fo – a magnificent artist

54 55DARIO FO

"S Misterijem buffom Foov je kreativni razvoj dotakao visine genija. Priče i parabole, uključujući Lazarovo uskrsnuće i svadbu u Kani, osnažene su Foovom mimikrijom i povezane učenim slangom koji je činio da publika puca od smijeha dok je povlačio paralele između prošlosti i sadašnjosti. Njegove groteskne interpretacije religioznih situacija, izmišljenih i stvarnih, samo su najlicemjerniji gledatelji mogli smatrati uvredljivima. Kad su Fo i Rame konačno vraćeni na talijansku televiziju kasnih 70-ih godina, i emitirana je snimka njegove izvedbe Misterija buffa, slijedio je neizbježni javni protest iz Vatikana."

John Francis Lane – In memoriam povodom Foove smrti, The Guardian, 13.10.2016.

"Najbolji način razumijevanja Foovog genija kao 'narodne dvorske lude', kako ga je jedan pisac nazvao, je da ga se vidi na sceni, kako izvodi svoju monodramu, Mistero buffo, s kojom je gostovao u Londonu 1983. u Riverside studios. Predstava je pokazala Foovu nevjerojatnu fizičku plastičnost i vokalnu vještinu: nešto što mu omogućuje da prizove i oponaša baš sve: od mašine koja ne radi dobro do baroknih divota gregorijanskog korala. Predstava se bez ikakvog napora seli iz subverzivnog u nadrealno. U dijelu pod naslovom Lazarovo uskrsnuće, vidimo gomilu kako se kladi je li Isus zaista uskrsknuo Lazara i bi li Lazaru to uopće bilo drago. U Gladnom Zanniu Fo nam pokazuje seljaka koji umire od gladi i sanja da je sam sebe pojeo: dok gledamo kako Fo raspliće svoja vlastita crijeva kao da su špageti, gromoglasno se smijemo komediji shvaćajući nesreću gladnih."

Michael Billington – Theatrical jester who made us laugh at the face of tragedyThe Guardian, 13.10.2016.

DARIO FO

"It was with Mistero Buffo that Fo’s creative progress touched the heights of genius. These stories and parables, including the resurrection of Lazarus and the marriage at Cana, were powered by Fo’s mimicry and linked together by his erudite patter, which left audiences in fits of laughter as he drew parallels between the past and the present. His grotesque interpretation of religious situations, imaginary and real, was considered blasphemous only by the most bigoted of spectators. When Fo and Rame were finally reinstated by Italian television in the late 1970s, and his filmed live performance of Mistero Buffo was transmitted, there was an inevitable outcry from the Vatican."

John Francis Lane – In memoriam Dario FoThe Guardian, 13.10.2016

"I would argue that the best way to understand the genius of Fo as 'the people’s court jester' – as one writer called him – was to see him perform his solo show, Mistero Buffo, which he brought to London’s Riverside Studios in 1983. It demonstrated Fo’s extraordinary physical plasticity and vocal skill: something that enabled him to evoke everything from a malfunctioning machine to the baroque splendours of Gregorian chant. The show also moved effortlessly from the subversive to the surreal. In an item called The Resurrection of Lazarus, we saw the crowd taking bets on whether Jesus could do it and speculating on whether or not the corpse itself would be pleased. Meanwhile, in The Hungry Zanni, Fo showed a starving peasant dreaming that he was devouring himself: as we saw Fo unravelling his imagined intestines as if they were strands of spaghetti, we roared at the comedy while understanding the plight of the hungry.

Michael Billington – Theatrical jester who made us laugh at the face of tragedyThe Guardian, 13.10.2016

56 57DARIO FO

SMIJEH JE SREDSTVO SUOČAVANJA PUBLIKE S PROBLEMOM

"Fo je istaknuo političke aspekte svoga rada kad sam ga sreo u Londonu. 'U korijenu svega što pišem, rekao mi je, je tragedija. Ne smije se zaboraviti da 'Slučajna smrt' govori o čovjeku kojega su gurnuli kroz prozor. Uvijek treba biti svjestan te stvarnosti. Smijeh je samo sredstvo da se publika suoči s tim problemom.‘ Postao sam svjestan i cijene koju su Fo i Rame platili za svoju iskrenost. U to vrijeme talijanska policija je imala 45 kaznenih prijava protiv njih. Na Sardiniji, Foa su premlatili i zatvorili, dok je publika otkazane predstave protestirala ispred zatvora. Kad je

'Mistero buffo' prikazan na talijanskoj televiziji, oštro su ga napali i katolici i komunisti. Ipak, sjećam se kako mi je Fo govorio kako je sretan. To je bilo očito u njegovom radu. Iako su se neke obrve podigle kad je dobio Nobelovu nagradu za književnost 1997., Fo je bio rijedak umjetnik koji je kombinirao prijezir prema drskosti vlasti i zloupotrebi moći s dubokom ljubavi prema čovječanstvu."

Michael Billington – Theatrical jester who made us laugh at the face of tragedyThe Guardian, 13.10.2016.

DARIO FO

THE LAUGHTER IS SIMPLY A MEANS OF MAKING THE AUDIENCE CONFRONT THE PROBLEM

"Fo stressed the political purpose of his work when I met him in London. 'At the root of everything I write,' he told me, 'is tragedy. One must never forget that Accidental Death involves a man who has been thrown out of a window. You must always be aware of this reality. The laughter is simply a means of making the audience confront the problem.' I also became aware of the price Fo and Rame had paid for their honesty. At that stage the Italian police had brought 45 prosecutions against them. In Sardinia, Fo had been beaten up and imprisoned, only for the audience of his aborted show to stage a mass protest outside the jail. When Mistero Buffo was shown on Italian television, it was bitterly attacked by Catholics and communists. Yet I remember Fo, telling me how happy he was. That, I think, was evident in his work. Even though some eyebrows were raised when he won the Nobel prize for literature in 1997, Fo was a rare artist who combined a detestation of the insolence of office and the abuse of power with a profound love of humanity."

Michael Billington – Theatrical jester who made us laugh at the face of tragedyThe Guardian, 13.10.2016


B. VIDIĆ, E. JERTEC

BIOGRAFIJEBIOGRAPHIES

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E. JERTEC, B. VIDIĆ

BIOGRAPHIESBIOGRAFIJE

IVICA KUNČEVIĆ REDATELJ, DRAMATURŠKA OBRADA, TEKST SONGOVA

Ivica Kunčević rođen je 9. travnja 1945. u Bartolovcima kod Varaždina. Na Filozofskom fekultetu u Zagrebu diplomi-rao je jugoslavenske jezike i književnost 1969. godine. Iste je godine apsolvirao na Odjelu režije Akademije dramske umjetno-sti u Zagrebu. Nakon niza predstava upri-zorenih u dubrovačkom kazalištu Marin Držić, u kojem je desetak godina bio u stalnom angažmanu, 1977. godine postao je član zagrebačkog GDK Gavella. 1982. godine prelazi u Dramu Hrvatskoga narod-nog kazališta u Zagrebu. 2002. godine imenovan je ravnateljem Dramskog pro-grama Dubrovačkih ljetnih igara. Na zagre-bačkoj Akademiji dramske umjetnosti izabran je 2008. godine u naslovno zvanje izvanrednog profesora na odsjeku kazališ-ne režije. Autor je knjiga Ambijentalnost na dubrovačku i Redateljske bilješke.

IVICA KUNČEVIĆ DIRECTOR, DRAMATURGY, SONG LYRICS

Ivica Kunčević was born on April 9th, 1945 in Bartolovci, near Varaždin. He graduated in 1969 from The University of Zagreb, (Faculty of Humanities and Social Sciences / Philosophy / Yugoslav Languages and Literature). The same year, he graduated from The Academy of Drama Arts in Zagreb (Theatre Directing). After a series of plays in Marin Držić Theatre in Dubrovnik, in which he had been involved for seven years, he became a member of Gavella Theatre in Zagreb in 1977. In 1982 he moved to Drama Department of Croatian National Theatre in Zagreb. In 2002 he was appointed as Director of the Dramatic Program of Dubrovnik Summer Festival. At the Zagreb Academy of Drama Arts, he was elected and titled in 2008 an associate professor in Theatre Directing Department. He is the author of the books: Ambience of Dubrovnik and Director's Notes.

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MARIN GOZZE SCENOGRAF

Rođen je u Dubrovniku, 30. listopada 1944. Diplomira 1969. na Akademiji za primjenje-ne umjetnosti u Beogradu, na odsjeku scenografije u klasi prof. Milenka Šerbana. U Rimu na RAI-u 1970. specijalizira televi-zijsku scenografiju. Od 1977. do 1979. za-poslen je kao tehnički direktor Hrvatskog Narodnog Kazališta u Varaždinu. Od 1985. je scenograf u stalnom radnom odnosu u Kazalištu Marina Držića. Kao ravnatelj Kazališta Marina Držića ostvario je dva mandata. Do danas je autor više od stotinu i pedeset kazališnih scenografija i tridese-tak kostimografija u Dubrovniku, Splitu, Zagrebu, Varaždinu, Osijeku, Rijeci, Sarajevu, Mostaru, Novoj Gorici, Ljubljani, Mariboru, Klagenfurtu, Washingtonu,… Bavi se grafičkim oblikovanjem, likovnim postavama izložbi i projektiranjem interije-ra. Docent je na Umjetničkoj akademiji u Splitu gdje drži kolegij scenografije.

MARIN GOZZE STAGE DESIGNER

He was born in Dubrovnik on October 30th in 1944. and graduated in 1969 from The Academy of Applied Arts in Belgrade, at the Department of Scenography in the class of prof. Milenko Šerban. In Rome, at RAI in 1970., he specialized in television set design. From 1977 to 1979 he was em-ployed as a technical director of the Croatian National Theatre in Varaždin. Since 1985, he has been employed as a set designer, at Marin Držić Theatre. He was a General Manager of the same thea-tre in two mandates, too. To date, he has created more than a hundred and fifty theatre scenographies and thirty costume designs in Dubrovnik, Split, Zagreb, Varaždin, Osijek, Rijeka, Sarajevo, Mostar, Nova Gorica, Ljubljana, Maribor, Klagenfurt, Washington. He also worked on graphic design, art exhibition and inte-rior design. He is a professor at The Academy of Arts in Split where he teaches scenography.

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I. BRAUTOVIĆ


DANICA DEDIJER KOSTIMOGRAFKINJA

Rođena je 1948. u Beogradu. Diplomirala je engleski i francuski na Filozofskom fakultetu Sveučilišta u Zagrebu i slikarstvo u klasi prof. Šime Perića na Akademiji likovne umjetnosti u Zagrebu. Od 1975. samostalno radi kao kostimografkinja u drami, operi, baletu te na filmu i TV. Ostvarila je više od 450 projekata i za svoj rad te primila brojne ugledne nagrade. Posljednjih godina kao kostimografkinja je surađivala u Kazalištu Marina Držića na predstavama: Skup, Macbeth, Kad je Bog stvarao Dubrovnik i Na sveta tri kralja. Dugogodišnju kazališnu suradnju s redate-ljem Ivicom Kunčevićem okrunila je upra-vo produkcijom Ne plaćamo, ne plaćamo! uz proslavu 50 godina umjetničkog rada velikog redatelja i kazališnog kolege.

DANICA DEDIJER COSTUME DESIGNER

Born in 1948 in Belgrade. She graduated in English language and French language at the Faculty of Philosophy, University of Zagreb. She also graduated painting in the class of prof. Šime Perić at the Academy of Fine Arts in Zagreb. Since 1975 she has been working as a costume designer in drama, opera, ballet, film and TV. She has achieved more than 450 pro-jects and has received numerous prestig-ious awards for her work. She has co-oper-ated with Marin Držić Theatre recently, in the following plays: The Miser, Macbeth, When God Made Dubrovnik and Twelfth Night. Her partnership in production with the director Ivica Kunčević has been crowned by this production Can’t Pay? Won’t Pay! just on the occasion of 50th anniversary of the artistic work of the great director and his theatre colleague.

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I. BRAUTOVIĆ, E. JERTEC


PAOLA DRAŽIĆ ZEKIĆSKLADATELJICA

Rođena je 1958. godine u Dubrovniku. Violu diplomira na dubrovačkom odjelu zagrebačke Muzičke akademije, te deset godina svira u Dubrovačkom simfonij-skom orkestru i različitim komornim sastavima. Stalna skladateljica Kazališta Marina Držića. Surađivala je sa HNK u Varaždinu, Splitu (za koji piše i prvu baletnu glazbu – Krvava svadba), Mostaru, na Dubrovačkim ljetnim igrama i Splitskom ljetu te u SAD (University of La Verne, California). Za glazbu u pred-stavi Dum Marinovi sni nagrađena godiš-njom nagradom hrvatkog glumišta. Pisala glazbu za dramski program HTV. Kao autor novih skladbi sudjelovala na festiva-lu dalmatinskih klapa u Omišu. Autorica dvaju mjuzikla koje je postavila na scenu s djecom (Ivica i Marica i Crvenkapica).

PAOLA DRAŽIĆ ZEKIĆCOMPOSER

She was born in 1958 in Dubrovnik. She graduated from Academy of Music in Dubrovnik, Department of Zagreb University (viola instrument), and for ten years, she had played in Dubrovnik Symphony Orchestra and various cham-ber groups. She is employed as a compos-er of Marin Držić Theatre. She also worked with Croatian National Theatre in Varaždin, Split (for which she also wrote the first ballet music – Bloody Wedding), Mostar, Dubrovnik Summer Festival and Split Summer Festival, and in The United States (University of La Verne, California). For the music in the play Dum Marin's Dreams she was awarded at the annual ceremony of The Croatian Association of Drama Artists. She wrote music for the drama programme of Croatian National Television. As an author of new composi-tions, she participated in the festival of Dalmatian klapas in Omiš. She is the au-thor of two musicals which she has set up on the scene, together with children. The titles are: Hansel and Gretel and Red Riding Hood.

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N. LASIĆ


ZRINKA JAPUNČIĆ OBLIKOVATELJICA SCENSKOG POKRETA

Rođena je u Dubrovniku. U rodnom gradu završila je gimnaziju pedagoškog smjera, a Pedagošku akademiju diplomirala je u Mostaru. Nakon svojih plesnih početaka kod prof. Itke Ivelje,od 1981. do 1994.godi-ne plesala je u Baletnom studiju Art radio-nice Lazareti u prof. Inge Tudaković, gdje je ostvarila i prve koreografije. U istom periodu aktivno pleše i u plesnom ansam-blu Dubrovačkih ljetnih igara (predstave Romeo i Julija, Orestija, Maškarata ispod kuplja, Život i san... ). Od 1994. godine zaposlena je u Umjetničkoj školi Luke Sorkočevića kao nastavnik baleta za predškolski uzrast a od 2010. je pročelnica baletnog odjela. Surađivala je na baletnoj predstavi Pinocchio (kao nastavnik i ple-sač) koreograf i asistent redatelja predsta-va za djecu Ivica i Marica, Crvenkapica te baletne predstave Coppelia. Također sura-đuje s KMD kao koreograf u brojnim pred-stavama posljednjih 15 godina. Stalni je suradnik studentskog Teatra Lero od 2000. godine, a također potpisuje koreografije na priznatim projektima Dubrovačkih ljet-nih igara. Ostvarila je iznimno velik broj koreografija s kojim njene učenice nastu-paju na svim događanjima Grada Dubrovnika – Forum mladih, Festival Umjetionstva, Lidrano, DUFF, te sudjeluju u brojnim humanitarnim akcijama… Sudjeluje kao asistent i organizator ple-snog dijela projekta Foruma mladih Grada Dubrovnika, organizaciji 4 dana dubrovač-koga karnevala te programa Zimskog festi-vala grada Dubrovnika.

ZRINKA JAPUNČIĆ – CHOREOGRAPHER

She was born in Dubrovnik. She graduated from Pedagogical Academy of Mostar. After her dance beginnings, with prof. Itka Ivelja, from 1981. to 1994. she danced at the Ballet / Art Workshop Lazareti with prof. Inga Tudaković, where she also made her first choreographies. At the same time, she also actively worked in the dance ensemble of Dubrovnik Summer Festival. Since 1994., she has been a member of Luka Sorkočević Art School in Dubrovnik, as a ballet teacher for preschool age and since 2010. she has been the Head of the Ballet Department. She has collaborated on ballet performances such as: Pinocchio, Hansel and Gretel, Red Riding Hood and ballet Coppelia. She also collab-orated with Marin Držić Theatre as a cho-reographer, in numerous plays in the last 15 years. She collaborates with Student Theater Lero since 2000., and she also signs choreographies at the renowned projects of the Dubrovnik Summer Festival. She has performed an exception-ally large number of choreographies, as an assistant and organizer of the dance section at the events of the City of Dubrovnik – Youth Forum, Winter Festival, Art Festival, Lidrano, DUFF and participat-ed in numerous humanitarian activities.

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E. JERTEC, B. VIDIĆ, L. KUNČEVIĆ


MARKO MIJATOVIĆ OBLIKOVATELJ SVJETLA

Marko Mijatović rođen je u Dubrovniku 13. Listopada 1984. godine, gdje je završio srednju pomorsko-tehničku školu i preddi-pplomski studij Nautike na Sveučilištu u Dubrovniku. U lipnju 2017. diplomirao je Oblikovanje svjetla na Akademiji dramske umjetnosti Sveučilišta u Zagrebu, pod mentorstvom doc. art. Denija Šesnića i red. prof. art. Borisa Popovića s diplom-skim radom na temu: Oblikovanje svjetla u ambijentalnim produkcijama: tehnički i umjetnički pristup. Dobitnik je Rektorove nagrade. Od 2000. godine pa sve do da-nas postaje i ostaje sudionikom odjela tehnike Dubrovačkih ljetnih igara, gdje stječe prva znanja o rasvjetnoj tehnici te oblikovanju svjetla u ambijentalnim pro-dukcijama, prvotno kao srednjoškolac i student, a potom i kao stalni djelatnik. Do sada je surađivao s nizom umjetnika: Staša Zurovac, Matej Meštrović, Mani Gotovac, Marija Lopac, Saša Božić, Vlatka Vorkapić, Doris Kristić, Davor Mojaš, Zdravka Ivandija Kirigin, Filip Merčep, Nicolas Sinković, Pavlica Bajsić Brazzoduro i mnogi drugi.

MARKO MIJATOVIĆ LIGHTING DESIGNER

Marko Mijatović was born in Dubrovnik on the 13th of October, 1984, where he completed his high school / Maritime Technical School and graduated from Nautical Department of The University of Dubrovnik. In June 2017 he graduated also in Design of Light at the Academy of Drama Arts of The University of Zagreb under the mentorship of Deni Šesnić, Ph.D. and Boris Popović, Ph.D. with a grad-uate thesis titled Light Design in Ambient Productions: technical and artistic approach. He was awarded by Rector's Award. From 2000 onwards, he has become and remained a collaborator of Dubrovnik Summer Festival / Technical Department, where he has gained the first knowledge of lighting technology and shaping light in ambient productions, initially as a high school student and then in a full-time job.. So far, he has collaborat-ed with a number of artists: Staša Zurovac, Matej Meštrović, Mani Gotovac, Marija Lopac, Saša Božić, Vlatka Vorkapić, Doris Kristić, Davor Mojaš, Zdravko Ivandija Kirigin, Filip Merčep, Nicolas Sinković, Pavlica Bajsić Brazzoduro and many others.

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PREMI�ERE 2019.NE PLAĆAMO, NE PLAĆAMO!AUTOR DARIO FO / REDATELJ IVICA KUNČEVIĆPREMIJERA 18.1.2019. / VELIKA SCENA

NEMREŠ POBJEĆ OD NEDJELJEAUTORICA TENA ŠTIVIČIĆ / REDATELJICA MARINA PEJNOVIĆPREMIJERA 1.3.2019. / SCENA BURSA

BLIZANKEAUTORICA NIKOLINA RAFAJ PREMA ERICHU KÄSTNERU REDATELJICA LEA ANASTAZIJA FLEGERPREMIJERA 15.3.2019. / VELIKA SCENA

SUTON AUTOR IVO VOJNOVIĆ / REDATELJICA IVICA BOBANPREMIJERA 26.4.2019. / VELIKA SCENA

ADAM I EVAAUTOR MIROSLAV KRLEŽA / REDATELJICA HELENA PETKOVIĆPREMIJERA 24.5.2019. / VELIKA SCENA

ALKESTIDA AUTORICA LADA KAŠTELAN PREMA EURIPIDU / REDATELJICA LIVIJA PANDURPREMIJERA 13.9.2019. / VELIKA SCENA

BAJKA O BAKI MOKOŠ AUTORICA SRĐANA ŠIMUNOVIĆ / REDATELJICA SRĐANA ŠIMUNOVIĆPREMIJERA 22.11.2019. / VELIKA SCENA

PREMIERES 2019CAN’T PAY? WON’T PAY!AUTHOR DARIO FO / DIRECTOR IVICA KUNČEVIĆPREMIERE 18.1.2019 / MAIN STAGE

CAN’T ESCAPE SUNDAYS AUTHOR TENA ŠTIVIČIĆ / DIRECTOR MARINA PEJNOVIĆPREMIERE 1.3.2019 / SMALL STAGE BURSA

LOTTIE AND LISA AUTHOR NIKOLINA RAFAJ BASED ON ERICH KÄSTNERDIRECTOR LEA ANASTAZIJA FLEGERPREMIERE 15.3.2019 / MAIN STAGE

EVENFALL AUTHOR IVO VOJNOVIĆ / DIRECTOR IVICA BOBANPREMIERE 26.4.2019 / MAIN STAGE

ADAM I EVEAUTHOR MIROSLAV KRLEŽA / DIRECTOR HELENA PETKOVIĆPREMIERE 24.5.2019 / MAIN STAGE

ALCESTIS AUTHOR LADA KAŠTELAN BASED ON EURIPIDES / DIRECTOR LIVIJA PANDURPREMIERE 13.9.2019 / MAIN STAGE

TALE OF GODDESS MOKOSH AUTHOR SRĐANA ŠIMUNOVIĆ / DIRECTOR SRĐANA ŠIMUNOVIĆPREMIERE 22.11.2019 / MAIN STAGE

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REPRIZE

LJUBAVNIK AUTOR HAROLD PINTER / REDATELJ LAWRENCE KIIRUPREMIJERNO IZVEDENO 16.3.2012. / SCENA BURSA

BJEGUNKEAUTORI PIERRE PALMADE I CHRISTOPHE DUTHURONREDATELJICA NENNI DELMESTREPREMIJERNO IZVEDENO 30.9.2016. / VELIKA SCENA

SKUPAUTOR MARIN DRŽIĆ / REDATELJ IVICA KUNČEVIĆPREMIJERNO IZVEDENO 20.1.2017. / VELIKA SCENA

NA TERAPIJI AUTOR MATIAS DEL FEDERICO / REDATELJICA NENNI DELMESTREPREMIJERNO IZVEDENO 27.10.2017. / VELIKA SCENA

GLUMICE II. KATEGORIJE AUTORI IVO VOJNOVIĆ, DAVOR MOJAŠ, SRĐANA ŠIMUNOVIĆREDATELJICA SRĐANA ŠIMUNOVIĆPREMIJERNO IZVEDENO 13.4.2018. / SCENA BURSA

PIKOVA DAMAAUTOR A.S. PUŠKIN / REDATELJ DENIS AZAROVPREMIJERNO IZVEDENO 02.11.2018. / VELIKA SCENA

POSLJEDICEAUTOR ROMANO NIKOLIĆ / REDATELJ ROMANO NIKOLIĆPREMIJERNO IZVEDENO 22.11.2018. / VELIKA SCENA

REPEAT PERFORMANCESTHE LOVERAUTHOR HAROLD PINTER / DIRECTOR LAWRENCE KIIRUPREMIERED ON 16.3.2012 / SMALL STAGE BURSA

FUGITIVESAUTHORS PIERRE PALMADE AND CHRISTOPHE DUTHURONDIRECTOR NENNI DELMESTREPREMIERED ON 30.9.2016 / MAIN STAGE

THE MISER AUTHOR MARIN DRŽIĆ / DIRECTOR IVICA KUNČEVIĆPREMIERED ON 20.1.2017 / MAIN STAGE

IN THERAPYAUTHOR MATIAS DEL FEDERICO / DIRECTOR NENNI DELMESTREPREMIERED ON 27.10.2017 / MAIN STAGE

2ND CATEGORY ACTRESSESAUTHORS IVO VOJNOVIĆ, DAVOR MOJAŠ, SRĐANA ŠIMUNOVIĆDIRECTOR SRĐANA ŠIMUNOVIĆPREMIERED ON 13.4.2018 / SMALL STAGE BURSA

THE QUEEN OF SPADES AUTHOR A.S. PUSHKIN / DIRECTOR DENIS AZAROVPREMIERED ON 2.11.2018 / MAIN STAGE

CONSEQUENCES AUTHOR ROMANO NIKOLIĆ / DIRECTOR ROMANO NIKOLIĆPREMIERED ON 22.11.2018 / MAIN STAGE


L. KUNČEVIĆ, E. JERTEC, B. VIDIĆ

URED RAVNATELJA

UMJETNIČKI ANSAMBL

TEHNIČKA SLUŽBA

RAVNATELJ USTANOVE PAOLO TIŠLJARIĆVODITELJICA UREDA RAVNATELJA TONKA MUSLIĆTAJNIK USTANOVE DRAŽAN JURKOVIĆVODITELJICA RAČUNOVODSTVA JADRANKA ROSIĆRAČUNOVODSTVENA REFERENTICA MIRJANA CIVADELIĆVODITELJ PROPAGANDE I PRODAJE ŽARKO DRAGOJEVIĆBLAGAJNICA ZRINKA DROPULIĆ TOPIĆ

BOJAN BERIBAKA IZMIRA BRAUTOVIĆ ANGELA BULUM ZDESLAV ČOTIĆ PAOLA DRAŽIĆ ZEKIĆ MARIN GOZZE EDI JERTEC HELENA KOVAČIĆ NIKA LASIĆ BORIS MATIĆ ANAMARIJA OBRADOVIĆ FRANE PERIŠIN HRVOJE SEBASTIJAN MIREJ STANIĆ SRĐANA ŠIMUNOVIĆ GLORIJA ŠOLETIĆ BRANIMIR VIDIĆ

RUKOVODITELJICA TEHNIČKE SLUŽBE EDITA PRIZMIĆ ČULARKOORDINATORICA TEHNIČKE SLUŽBE NIKOLINA JOVANOVIĆINSPICIJENTICE / ŠAPTAČICE ANITA BUBALO IVANA LJEPOTICAVODITELJ STOLARSKE RADIONICE BALDO DUŽEVIĆVODITELJICA KROJAČKE RADIONICE JELKA GRLJEVIĆMAJSTOR POZORNICE ASIM ARSLANAGIĆPOMOĆNIK MAJSTORA POZORNICE ANTE MARIĆMAJSTOR TONA MILAN TOMAŠIĆMAJSTOR RASVJETE SILVIO GIRONŠMINKERICA MANUELA KAVAINREKVIZITERKA STELA ĐUROVIĆGARDEROBIJERKA MILENA LIMOVTEHNIČAR TONA I RASVJETE DRAGAN PANTOVIĆTEHNIČARI POZORNICE BORIVOJE LJUBOJEVIĆ SRĐAN PULJIZEVIĆPORTIRI MARKO BOROVINA IVO LETOČISTAČICE RABIJA HAJDAROVIĆ DRAGANA PAVLOVIĆ

OFFICE

ARTISTS

TECHNICAL STUFF

GENERAL MANAGER PAOLO TIŠLJARIĆOFFICE SECRETARY TONKA MUSLIĆCHIEF ADMINISTRATIVE OFFICER DRAŽAN JURKOVIĆCHIEF FINANCE AND ACCOUNTING OFFICER JADRANKA ROSIĆFINANCE AND ACCOUNTING OFFICER MIRJANA CIVADELIĆCHIEF COMMUNICATIONS OFFICER ŽARKO DRAGOJEVIĆBOX OFFICE CLERK ZRINKA DROPULIĆ TOPIĆ

BOJAN BERIBAKA IZMIRA BRAUTOVIĆ ANGELA BULUM ZDESLAV ČOTIĆ PAOLA DRAŽIĆ ZEKIĆ MARIN GOZZE EDI JERTEC HELENA KOVAČIĆ NIKA LASIĆ BORIS MATIĆ ANAMARIJA OBRADOVIĆ FRANE PERIŠIN HRVOJE SEBASTIJAN MIREJ STANIĆ SRĐANA ŠIMUNOVIĆ GLORIJA ŠOLETIĆ BRANIMIR VIDIĆ

CHIEF TECHNICAL MANAGER EDITA PRIZMIĆ ČULARTECHNICAL COORDINATOR NIKOLINA JOVANOVIĆSTAGE MANAGERS ANITA BUBALO IVANA LJEPOTICACARPENTER BALDO DUŽEVIĆWARDROBE SUPERVISOR JELKA GRLJEVIĆCHIEF STAGE TECHNICIAN ASIM ARSLANAGIĆASSISTANT OF CHIEF STAGE TECHNICIAN ANTE MARIĆSOUND ENGINEER MILAN TOMAŠIĆLIGHTING ENGINEER SILVIO GIRONMAKE-UP ARTIST MANUELA KAVAINPROPS STELA ĐUROVIĆWARDROBE TECHNICIAN MILENA LIMOVSOUND AND LIGHTING TECHNICIAN DRAGAN PANTOVIĆTECHNICIANS BORIVOJE LJUBOJEVIĆ SRĐAN PULJIZEVIĆHOUSEKEEPERS MARKO BOROVINA IVO LETOCLEANING SERVICE RABIJA HAJDAROVIĆ DRAGANA PAVLOVIĆ

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