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32 THEATRE ARTS REVIEW Scena, ISSN 0351-3963 Theatre Arts Review No. 32 NOVI SAD, 2019 January–December CONTENTS Miloš Latinović and Željko Jovanović THE CREATIVITY OF DRAMATISATIONS . > 7 Translated by > Stefan Alidini Nebojša Bradić THE DEVIL’S YARD ....................... > 12 Translated by > Stefan Alidini Spasoje Ž. Milovanović 1915 - TRAGEDY OF A PEOPLE . .> 32 Translated by > Stefan Alidini Dimitrije Kokanov AND EVERY TIME EXACTLY LIKE THE FIRST ......................... > 68 Translated by > Stefan Alidini THEATRE ARTS REVIEW 7 > Željko Jovanović and Miloš Latinović THE daptation of prose works for theatre is a frequent CREATIVITY OF occurrence in theatre stage productions, but poetry A can also be dramatised. Aside from adapting nov- els (for example, of Slobodan Selenić, Milorad Pavić, Al- eksandar Tišma, etc.) or Greek tragedies, poems, myths, DRAMATISATIONS there are adaptations of epic folk poetry specific to Ser- bia and the Balkans. Simović’s Hasanaginica or Banović Strahinja adapted by Borislav Mihailović-Mihiz based on the motifs of these two poems, are performed with great frequency. A great example of adapting poetry for stage Translated by > Stefan Alidini is Jernej Lorenci’s Kingdom of Heaven. He and his team staged poems from the pre-Kosovo and Kosovo cycles at BITEF and the National theatre. These are only some of the numerous examples where great works of literature – regardless of whether they were written as plays, for they can also be a part of the adaptation process – novels or folk poetry, were trans- formed into a new version and a first-rate dramatic text. One of many things to note is that working based on existing literature (mainly prose) falls into a separate category of dramatic works that are considered “origi- nal” creations. Adaptations more narrowly defined, so to say, are closer to the original model, the text used as its basis. That is important, as such work seeks to preserve the spirit of the original and its distinguishing features. It makes little sense to literally “preserve” the plot, make sure all characters and dialogue appear in the play, or to insist that a description of some parallel event in a novel must appear in the play, regardless of attempts to > 8 “transpose” certain conditions or atmosphere character- More modern attempts have demonstrated even istic of dramatic texts. Paradoxically, this way of adap- more radical solutions, as dramatisation inches towards tation is common, which might be the reason why there analysis, distancing itself or deconstructing the work it are few successful dramatisations of great literary works. is based on. Lately, one can see an increase in forms that Generally speaking, a dramatisation puts emphasis seem to recoil from dialogue and other elementary dra- on a place, conflict or dramatic event from the original matic formal features, and venture so far from the origi- work. This can be one in a series of events from the orig- nal work that it is sometimes difficult to understand why inal work, or it can be the one and only such event that are they even called dramatisations. Such “differentia- the adaptation wishes to impart with a different meaning. tion” can make it virtually impossible to register a seri- Sometimes, the subject of dramatisation – it’s lynchpin ous link between what we were told was the basis and – is a conflict that exists in a prior work, which serves as the final product. an opportunity to ask the questions the original author There are also many examples of extreme radical- had asked, but from a contemporary standpoint. For ex- isation of the original, so that a Greek tragedy or play is ample, the fate of Antigone is often an opportunity to “read” as a comedy, sometimes even a vaudeville. This comment on our times from the stage, particularly on the is not a matter of confusing interpretation of a work of position of women in modern societies, or to say some- art with its dramatisation, but rather a kind of “creative thing more on our current affairs based on classic liter- hysteria” – perhaps too strong a term – that has become ary examples. This is the essence and perhaps the main something of a primary form of expression, the basis of reason why dramatisations exist, reaching for motifs of expression. a great work that contemporaries want to consider from Dramatisation as a form of artistic expression and their own “angle”. a creative relationship with a dramatic text is very much Dramatisation is a recent form of theatrical ex- present today – one might say it is frequently the dom- pression, and comes as a response – or perhaps a reac- tion – to new demands made of the theatre after the ap- inant form – a fact that requires special consideration. pearance of other forms that developed under novel so- We opted for three artistically affirmed dramati- cial circumstances. There is an opinion that modernity sations that in many ways define everything we’ve stat- – consolidating after global shifts before and after the ed previously. They stress the importance of such artis- Great War, and especially after World War II – narrowed tic declarations, as theatre audiences also deserve to see the creative landscape, or directed it in a more precise the “hidden” qualities of great literature. Without doubt, or focused manner. One can also hear that dramatisa- the prose of Branislav Nušić, Borisav Stanković and the tion came to be as a result of a search for new ideas and Nobel Prize laureate Ivo Andrić is well known outside forms of dramatic expression. However, a cynic would their native country. However, that is often not enough, probably comment that dramatisation is, in fact, the re- as there exists a wider audience for those that appreci- sult of a lack of ideas and creativity, which characterise ate the values and qualities of certain authors, which is our modern age. among theatregoers. We should also note that the subject Whatever one may believe, dramatisation is here to matter of their prose is often not the centre of attention; stay, and it is generally accepted to be a distinct work of it is even completely “circumvented” in newer plays, de- art and dramatic form based on or founded on a pre-ex- spite the fact that their importance for our historical and isting literary work. social context is immeasurable. 9 > That is why the following plays, even while being strong characterisation and a thematic frame that con- but one possible combination, are a qualitatively strong cerns us today. and clear choice. Based on the motifs of Branislav Nušić’s The very existence of these dramatic variations af- novel “1915”, the play of the same name is also subtitled firms the literary worth of the originals, while also con- The Tragedy of a People in the dramatisation of Spasoje Ž. tributing to our contemporary theatrical repertory. This special issue of the “Scene”, dedicated to the Milovanović. The dramatisation of Nebojša Bradić, titled dramatisations of national literary works, has several The Devil’s Yard is devised as a dramatic reformulation of intentions. Aside from reaffirming some of the success- Ivo Andrić’s novel. The play And Every Time Exactly like ful dramatisations of our national literature, it serves as the First found its inspiration in the female characters a call for dialogue on the general problems and condi- from the books of Bora Stanković – Tašana, Koštana and tions of our dramatic scene, with a desire to “test” itself the Deceased’s Wife. All three dramatisations are found- against the works that imbue with life theatres outside ed in literary works, have enormous staging potential, our borders. > 10 THEATRE ARTS REVIEW 11 > Nebojša Bradić THE DEVIL’S YARD 13 > Nebojša Bradić raduated directing from the Faculty of Dramatic Arts in Belgrade. He worked as director, artistic director and head of Kruševac Theatre G from 1981–96. Under his directorship Kruševac Theatre became one of the most respected and creative theatres in Serbia, with an award – win- ning repertory. Bradić was head of the Theatre Atellier 212 in Belgrade during 1996/97. From 1997–1999. he was director and general manager of the Nation- al Theatre in Belgrade. For three years he spearheaded major expansion of productions and transformation of institutional workings, defining a new vision and role in the regional theatre network. He was director and general director of Belgrade Drama Theatre from 2000–2008. Under Bradić’s leadership, Belgrade Drama Theatre was trans- formed from an old fashioned house to an innovative space for contempo- rary theatre. In 2003. he founded the internationaly renowned Belgrade Dance Fes- tival. He was Minister of Culture of Serbia 2008–2011. During Bradić’s man- date, the arts and culture program grew in size and received more invest- ment. He launched the Creative Economy as an important part of Serbia’s cultural system. Nebojša Bradić was Editor in Chief of the Arts and Culture Program in the Serbian Broadcasting Corporation. Bradić was professor of acting at the Belgrade Academy of Fine Arts. He has directed more than 90 plays in Serbian, Bosnian, Croatian, Slo- venian and Greek theatres. He has also directed several operas and musicals. (Norma, Carmen, Werther, Les Miserables, Spring Awakening, Rebecca…) He is currently directing two musicals: Drowsy Chaperone in Theatre on Terazije (Belgrade) and Fiddler on the Roof in Muzikalen Theatre (Sofia). He is the recipient of important Serbian and international theatre awards for directing and playwriting. > 14 Nebojša Bradić THE DEVIL’S YARD Based on the novel “The Devil’s Yard” by Ivo Andrić Translated by > Stefan Alidini DRAMATIS PERSONAE: BROTHER PETAR KARAĐOZ ĆAMIL HAIM THE “INNOCENT” MUZAFER KIRKOR ZAIM ATHLETE SOFTA PRISONER WATCHMAN 15 > 0.0.

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