28

THEATRE ARTS REVIEW

Scena, ISSN 0351-3963

Theatre Arts Review

No. 28

NOVI SAD, 2015

January–December

CONTENTS

Zoran Đerić PUPPET THEATRE IN SERBIA ...... > 5 Translated > Vera Krmpot

Simon Grabovac POETIC ASPECTS OF ALTERNATIVE THEATRE EXPRESSION IN SERBIA . . . . . > 10 Translated > Vera Krmpot

Marina Milivojević Mađarev WHAT WAS PUBLISHED AND WHAT PLAYED IN CONTEMPORARY SERBIAN DRAMATIC LITERATURE FROM 2003 TO 2015 ...... > 14 Translated > Vera Krmpot

Goran Ibrajter CARDANUS ...... > 27 Translated > Marija Harmat

Olga Dimitrijević IT’S SO GOOD SEEING YOU AGAIN . . . . .> 59 Translated > Ksenija Latinović

Jelena Popović GLOOMY MONDAY ...... > 89 Three act tragedy Translated > Dubravka Vlahović THEATRE ARTS REVIEW Zoran Đerić istory of puppetry in Serbia has not been written yet. There are several reasons for this. Some believe H that puppetry in our country does not have a long tradition (Stanković 1966: 19), at least not the kind en- PUPPET joyed by the peoples of the Far East, as well as the peoples of Europe (mainly Italians, Spaniards, Frenchmen, Eng- lishmen, Germans, Russians, Czechs and Poles). Others THEATRE IN believe that playing with puppets and love for puppets have always been present: “It is safe to say that the first forms of puppetry had emerged several thousand years B.C., and that puppetry as a separate form of stage theat- SERBIA er art was developed and confirmed only in the twenti- eth century” (Bjelošević 2007: 57). Some see the start of Translated > Vera Krmpot puppetry in our folk tradition and in folk (public) theater (Kostić 1989; Marjanović 2005), others find it in Vertep (Lazić 2013), and others yet see it in the emergence of traveling entertainers, from the beginning of the eight- eenth century (Radonjić 1999: 122–124; Vučenović 2013: 75–82). Both adults and children were friends with pup- pets, at fairs, watching at first simple circus acts with puppetry skills, and then indipendent performances by traveling puppeteers. From playing with shadows, through puppets, guignols and yava puppets, all the way to me- chanical and other puppets that were made and creat- ed in every possible way – each and every period had its own puppet fun. We often overlook the fact that puppetry can be rec- ognized in pagan rituals, especially in numerous fertility rituals where ritual masks and puppets were often used. This is the evidence that puppetry follows man from the very beginning, and it remains with him and in this ritual form until the emergence of Christianity, but also later, in some form, especially in the folk traditions tolerated by the church, regardless of their pagan origins. Certain elements of puppetry are found in school plays too, as well as in Christmas church performances – Vertep or the manger. With the arrival of the Turks in the Balkans, as evidenced by historical facts, we also received the pop- ular oriental shadow theater, also known as “Karađoz”. > 6

Later on, traveling puppeteers from Europe with their and starry masks, wedding masks, masks on baptism, and street and fairground puppet theater and puppet heroes a host of other social masquerade games including mill- reach us, too. Over time, among our people there are al- er, aga, fairies, wild weddings, etc. “(Pavić 1970: 234). so some attracted by puppetry; they begin to make pup- Apart from the “street theatre”, as Milorad Pavić pets and to animate them in rural fairs, but also in city named it, and apart from the previously mentioned pop- squares and streets. Wooden heroes begin to take on lo- ular, folk and lay theater, in the baroque period among cal characteristics and names in order to attract larger the Serbs there is also school theater and Vertep, first audiences addressed by them. as church-based, and then as secular puppet theater. The theater chronicles note that in the middle of Vertep appears at the beginning of the eighteenth cen- the 14th century in our country arrived a group of enter- tury in Sremski Karlovci, when it became extremely tainers including musicians, dancers, actors and proba- popular among Karlovci teachers and students, and the bly even puppeteers (Klaić 1989: 23). Some researchers “custom of wearing Vertep continues and lasts over the (Kićović 1951; Stojković 1979) found certain evidence of entire nineteenth century, and gets spread throughout theater activities among Serbs as early as the 10th centu- Vojvodina and Serbia” (Pavić 1970: 278). In their writ- ry. Petar Marjanović begins his Short History of Serbian ings, Vertep is entertained by other historians of Serbi- Theater with the thirteenth century (Marjanović 2005). an theater too (Miraš Kićović, Mihovil Tomandl, Borivoje Unlike European medieval theater which was under the S. Stojković), but they still fail to define it as a separate, influence of the church, “Serbian theater performanc- puppet form of theater. Radoslav Lazić (Lazić 2013) be- es are reminiscent of secular actors’ improvisations in longs to those researchers who Vertep recognize as the the open, in public places, outside the framework of the “biblical puppet theater”. church, and (exactly because of that!) outside of church As already mentioned, in the Serbian countries that influence” (Stojković 1979: 15). It was quite similar to were ruled by the Ottoman Empire from the fifteenth commedia dell’arte, yet with hints of religious and mimic to the nineteenth century there was the shadow theater inscenations from neighboring Byzantium (Kotas 2002). “Karađoz” present (Antonijević 1984). It is well-known that in Europe these games with masks At the beginning of the twentieth century in Europe, were significantly influenced by the puppet street com- and therefore in our country as well, there is a renewal edy and their heroes, such as Punch, Guignol, Kasper of interest in puppet art. Organised puppet activities are (Yorick 1990: 16). In Bosnia and Dubrovnik of that time linked to the groups of enthusiasts who in 1920 launched there were many more such theatrical events, while in the first puppet theaters – painter Milan Klemenčić in medieval Serbia neither the church nor the nobility had Ljubljana – Slovenian Puppet Theater, and painter Ljubo much benevolence for acting, as opposed to people who Babić – Zagreb Puppet Theater. A year or two after that, always had plenty of theatrical elements in their plays. in Novi Sad, professor Vasa Stajić became interested in In most of these games they used masks, which had both puppetry, and in 1923 in Belgrade Manege – the Mar- archetypal and symbolic dimensions: ionette Theatre, which was founded by journalist Žika “Masquerade performances were certainly echoes of Kovačević, began to play their shows. lazarice, dodole1) and others like džamalari, vucari, čarojice, In 1930 the Yugoslav Puppetry Association was koledari, as well as Vertep and (poklade)2) masks – faršan founded. Mostly the members were the Slovenian pup- pet theaters, then Croatian, but others too, among them 1) Various folk dances and customs (translator’c comment). the Puppet Theatre from Sremska Mitrovica, from Novi 2) Winter carnival of fasting (translator’s comment). Sad, Kragujevac, Veliki Bečkerek, Titel, Zemun, Belgrade. 7 >

For Yugoslav puppetry the most important event at context, Serbian national being becomes recognizable that time was the Ljubljana Congress of UNIMA (Union and commensurable, always dramatic (most often trag- internationale des marionettes – International Puppet- ic), and sometimes comic (burlesque), and from Jovan ry Association, which was founded in 1929 in Prague) Sterija Popović onwards our national theater becomes held in 1933. Since then, the puppetry in our country an original theater. has been approached in a more organized manner, but Another reason is the fact that the history of theater despite growing professionalism in dealing with the pup- (as the oldest theatrology discipline) became independent pet art, it was still dominated by amateurism and troupes only in the early twentieth century. The first histories of based on those grounds. the Serbian theater were written then. At the beginning The Second World War interrupted the develop- of the 21st century more and more studies on the history ment of puppet art in our country, although, according of puppet theater are being written in our country (there to some sources, there was at times some partisan pup- are several doctoral dissertations on the subject of pup- pet theater held. Only after the war there came the re- petry), therefore, we can expect that eventually, one day newal and flourishing of puppetry in Yugoslavia. It was a comprehensive, synthetic, transparent history of pup- then related to the big cities and theaters that acquired petry in Serbia will be written. professional status. Therefore, puppet theater activity is not doubtfull In the history of puppetry in Serbia the launch whatsoever, either as a premise or a fact in the life of our meeting of professional puppet theaters is undoubted- ancestors; getting closer to our time, it has increasingly ly important. The first meeting of professional puppet been present as art too, hence the pronounced need for theaters of NR of Serbia took place in Zrenjanin in 1962. evaluation. Further, since every history is at the same time Puppet Theatres from Zrenjanin, Novi Sad, Subotica, Niš, an analysis of the situation of theater in society because Belgrade and Zemun participated. Meetings of puppet- “the society is never revealed better than when it pro- eer have been held for 52 years already, but they were jects its own image backwads,” as noted by Charles-Ol- not held every year, for various reasons, so this year it ivier Carbonell (Carbonell 1999: 6), the reasons why the will be the 45th Meeting of Professional Puppet Thea- puppet theater is still marginalized in our country might tres of Serbia. yet be discovered. From all the above it follows that there are numer- Observing puppetry in Serbian countries as a me- ous elements to writing a history of puppetry in Serbia. chanical whole of all these events in the Serbian socie- Perhaps the reason for its absence lies also in certain ty could be perceived in connection with the theater in facts that are not of artistic nature, but also in the so- general, and especially with the puppet theater, similar cio-political changes that had covered the Serbian re- to the theater that was, at the same time, developed in gions throughout our history, especially in the last 20th certain European centers. “A historian is”, according to century? Having said that, we wish to emphasize that Carbonell, “at the same time an accomplice and a victim narrowing of history towards national emotions does not of miraculous inflation of documents. An accomplice go in the direction of the historiography of nationalism, inasmuch as he invents new documents. No longer per- nurturing Serbian myths and cults, but towards recogni- ceiving text as almost the only source of his insights, he tion of Serbian identity in an area that was not and is still asserts that history uses all types of sources” (Carbonell not restricted to one state or even national boundaries. 1999: 112–113). He is a victim when it comes to traditional Only in the Balkan (South Slavs) and European (global) sources, because we live in the era of mass documenta- > 8 tion. When is it that a historian may consider that he has (Kostić, 1989). But how to apply it to the period of Hu- exhausted all the sources, wonders Carbonell (Carbonell manism and the Renaissance? On the one hand we have 1999: 113). New issues to be raised concern the quality the Serbian countries under the rule of the Ottoman Em- of information, and no longer their quantity, authentic- pire, and on the other – Dubrovnik Republic, with all its ity, or mythologizing. Can parts of the past be properly specific characteristics. One of them is the language, the reconstructed solely on the basis of partial indications? language of literature, even the language in the dramatic Searching for any sign of theater activity in the works by Marin Drzić for example. This language used to Serbian medieval lands, Petar Marjanović noted that his be called many different names, language of Dubrovnik, Short History of Serbian Theater has the limitation as it Slovenian, often Serbian, (lingua serviana), hence it is is no more but “a reminder of the theatrical life of that absolutely justified to include theatrical acts and events time” (Marjanović 2005: 45). And, further: “Documents of this period into the missing link, chronological and assure us that the layman theater existed in Serbian historical, as well as stylistic and poetic, of the Serbian countries and that it developed under the influence of theater, and even literature in general. European secular theater “(Marjanović 2005: 46). De- This concept, also referred to as the axiological spite prohibitions of acting activities and equalization concept, implies a certain “relational principle” because of acting skills with debauchery (Syntagmat by Matija it points to the values of certain theatrical pieces and Vlastar and Dushan’s Code) – theater did indeed exist in the importance of certain personalities and phenomena. the courts of rulers and nobles and in urban areas, but The third concept is, without doubt, integrative. It also in the church. Based on the church documents and tends towards hierarchization, even canonization. In the preserved manuscripts (Constantine the Philosopher, attempts to describe the theater of the Serbs as a whole, Grigorije Camblak), certain assumptions are being pre- almost uninterrupted, from the 18th to the 21st century, a sented regarding possible existence of church theater future historian of puppetry in Serbia will have to focus performances, as well as “anti-Christian plays”. Accord- on the most important events (puppet animators, puppet ing to some, the Ode to Prince Lazar, presented in 1403 or creators, writers of plays for puppet theater, puppet theat- 1404, on St. Vitus Day (Vidovdan), is the only surviving er directors and playwrights, directors of puppet theat- example of the Serbian medieval church theater. Even ers and puppet festivals), on theater centers (Novi Sad, older example is seen in the fresco painting Mocking of Belgrade, Zemun, Zrenjanin, Subotica, Niš, Kragujevac, Christ (Staro Nagoričino Monastery, 1317/1318), and on Banja Luka) primarily, but also on personal judgments, the fresco painting from the Lesnovo Monastery (1347– as well as impressions of some still current problems 1349), which depicts performance in the glory of God. puppetry. For example, despite the fact that the puppet The second principle which simply must be the start- theaters have been established and have functioned in ing point for every historian, including theater historian, the Serbian areas for ​​more than 80 years, their position or, more precisely, a puppet theater historian, is known has not yet visibly improved, especially in the institution- as selective principle – by: isolated phenomenon, per- al form: through establishment of a puppet department sonality and deeds. This concept is based on evaluation, at one of the many academies of art, and then through it represents choice, personal immanence. Sometimes it other manners of validation: funding, social recognition, seems to be too narrow and formal. We can apply it to the artistic status... Before we search for the reasons for such folk theater of the Serbs, that indigenous folk theater, as a situation, we must ask ourselves what we have done so called by Laza Kostić in his 1893 text “People’s Acting” the art of puppetry gets treated as art, as one of the most 9 > important theatrical activity with its own history, activi- so far on the work of puppet theaters in Serbia in order ty that creates our present and educates the audience of to, finally, write and publish the history of puppet theat- theater in the future. In addition to entertainment, ed- ers in Serbia, because “the past explains the present,” as ucational aspect of the puppet theater has always been once proclaimed by the famous French historian Fernand at the forefront and that should not be abandoned. It is Braudel. Hence my insistence on such a topic. therefore necessary to examine what has been preserved

REFERENCES

• Antonijević, Dragoslav. “Karađoz.” Gradska kultura na Balkanu (XV – XIX vek). Belgrade: Srp- ska akademija nauka – Balkanološki institut, 1984. • Vučenović, Amela. “Funkcija simbola u narodnom lutkarskom teatru i posledice njihove po- grešne primene”. Scena. Novi Sad: Sterijino pozorje, 4, 2013. • Marjanović, Petar. Mala istorija srpskog pozorišta (XIII–XXI). Novi Sad: Pozorišni muzej Vo- jvodine, 2005. • Йорик (Pietro Ferrigni, Yorick). История марионетки (Russian translation of the book: La storia dei burattini / Yorick (Pietro Coccoluto Ferrigni). Firenze: R. Bemporad, 1902). Moscow: Edition “Teatra cudes”, 1990. • Kićović, ddr Miraš. Staro pozorište kod Srba. Belgrade: Serbian Acamedy of Sciences and Arts, 1951. • Kostić, Laza. “Narodno glumovanje”. Pripovetke. O pozorištu i umetnosti. (prepared by M. Lesk- ovac). Novi Sad: Matica srpska, 1989. • Cottas, Vénetia. Pozorište u Vizantiji (from French translated by Kornelija Nikčević. Original ti- tle: Le théâtre à Byzance / Venetia Cottas. Paris: Lib. orientaliste Paul Geuthner, 1931). Podgor- ica: CID, 2002. • Lazić, Radoslav. “Vertep – biblijsko lutkarsko pozorište.” (prepared by Zoran Radovanović). Šabac: Cultural Centre 2013. • Pavić, dr Milorad. Istorija srpske književnosti baroknog (XVII и XVIII vek). Belgrade: Nolit 1970. • Radonjić, Miroslav. “Lutkarstvo”. Enciklopedija Novog Sada. Novi Sad: Prometej, 1999, Vol. 13 • Bjelošević, Predrag. “Još jedno razmišljanje o lutkarstvu”. Lutkarstvo danas (prepared by P. Bjelošević). Banja Luka: Dječije pozorište Republike Srpske, 2007. • Karbonel, Šarl-Olivije (Charles-Olivier Carbonel). Istoriografija (from French translated by Al- joša Mimica; translation of the: L’historiographie. Paris: Presses Universitaires de France, 1981). Belgrade: Plato 1999. • Klaić, Dragan. Pozorište 4000 godina. Hronologija. Beograd: Nezavisna izdanja, 1989. • Klaić, Dragan. Pozorište i drame srednjeg veka. Novi Sad: Književna zajednica Novog Sada, 1988. • Stanković, Srboljub. “Kratka istorija lutke i lutkarstva”. Uvod u lutkarstvo. Beograd: Zavod za izdavanje udžbenika SR Srbije, 1966. • Stojković, Dobrivoje S. Istorija srpskog pozorišta od srednjeg veka do modernog doba (drama i op- era). Beograd: Muzej pozorišne umetnosti SR Srbije, 1979. > 10

Simon Grabovac 1 ll the more we assemble a deeper, richer and more dispersed image of radical artistic interventions in A the fifties, all the more we increasingly arrive at the conclusion that those were (most certainly) the most im- POETIC portant years for our art in the second half of the twen- tieth century. By all accounts it was then that the criti- cal subversive ideas were seeded, unavoidable works of ASPECTS OF art were created, the way for many of the events – out of which some were to be realized, accomplished and achieved many years later – was finally paved. Therefore, ALTERNATIVE no wonder that some of them received the prefix proto in the very areas of their embodiment. This is indicated primarily by important creative personalities: Vasko Popa THEATRE and Miodrag Pavlović in literature, Vladan Radovanović in several artistic fields, Ljubica Marić in music, Bašićević Mangelos in visual art, as well as, what is especially im- EXPRESSION portant for us, previous work of the A Group nucleus in theater arts. That impression, or rather conviction, is undermined neither by at that time already swollen lit- IN SERBIA erature nor by persistent segregation in the research of certain phenomena and creative personalities; further, it is not blurred by the variety of literature that advocates Translated > Vera Krmpot and searches for alternative and final truths. It seems as if the very same contradictory impulses have intervened, the same ones that were extremely strong at that time, but even today, in some mysterious way, instill their in- sidious effect on researchers of this crucial chronotope. If we manage to detect them, we believe that this whole picture shall drastically change and get all the necessary shades. One of the key reasons is passionate engagement in socialist realism, its different understandings, interpre- tations and appointments. Another reason is the fact that the key phenomena have been observed solely from the point of view of the language or expression where they are incurred, and that those were mostly individual ef- forts. Thus, for example, in certain literary theories and history reviews the radical role of Miodrag Pavlović and 11 >

Vasko Popa is unequivocally stated and recognized. As whether it relates to performance in a (painter’s) atelier for art, or more precisely, the visual art, we have travelled or in the future Atelier 212. And the next point, the one the furthest and deepest in the study of this period. Ješa which should establish the spiritual and temporal back- Denegri wrote the book: Topics of Serbian Art: Fifties, in ground, also largely remains in darkness, at least as far as which this issue is being considered from many aspects. theater innovation, although certain lines in theoretical There are also books, serious research works on Vladan terms of research have been drawn, aided, naturally, by Radovanović, Mangelos, Ljubica Marić and many other epistemic knowledge and attitude of the people involved. authors. But it was never before that all these phenom- ena have been considered in their entirety. Nor is there 2 any relevant theoretical and analytical monograph that As to the first observation, there are several things would deal with and incorporate innovative and differ- to be noted. The first thing, and perhaps a contradiction ent practice, and that would bring the final change in- in itself, is conscious radical individuality of artists. So, to our understanding of the matter. As can be seen, the even though, and this refers mostly to artists, they had literature on artistic activism of this time is neither in- first-hand information about trends in key art centers, significant nor small, but it in itself confirms our thesis they were creative enough to remain in their own space. about the atomization and isolation within the subject Although the poet Vasko Popa has inherited the experi- of research; although many texts mention key person- ence of historical avant-garde, his poetry remains with- alities from other fields and their impact, still however, in the domain of in-depth content of our language while the fact remains that the prevailing belief has not been radically innovating its expression. Further, Ljubica Marić shaken, let alone changed. partly applies the most recent innovative experiences in Another important, unavoidable conclusion to be composing to domestic ancient materials. However, this reached is that there is omission of the theater aspect perhaps mainly refers to the theater A Group. It is an in- from analytical and synthetic texts, particularly of its disputable fact that its members, through their participa- most radical segment. A small truth, really a tiny little tion in specific projects, primarily in the Belgrade Drama one, lies in the fact that these crowning products were Theatre, had more than clearly demonstrated that their achieved at the turn into the seventh decade, but their approach to acting is drastically different from the pre- roots go back even before the war, so they are neither vailing approach. It is also a well-known fact that they absent nor inconsistent. Finally, the introductory text of had already mastered, in their own way, Stanislavski and the aforementioned book by Denegri states: “The fifties, his system of acting, or as Rade Marković states “... we a period roughly between 1950–60, with a few years be- in the A Group, it seems to me, have found a nugget of fore and after the limit date...” This fact is even stranger gold,” and more specifically: “The whole aesthetics of if one considers that the theater act combines visual, our A Group consisted of finding a different, non-artis- musical and literary aspects. If we wanted to be cynical tic way of healing emotions, without rhetoric that is full we would say that the play Waiting for Godot is a symbol of ornaments. Then it becomes a kind of confession, a and trademark of this time not because of its subver- sort of giving oneself to the audience, establishing a di- sive text, but because there was already supple actor-di- rect flow between us and the audience.” (Rade Marković, rector’s awareness together with adequate material and 2001, p. 95). It goes without saying that all this stands great courage to undertake such projects. So, the new assuming their previous work at the Academic Theatre seed indeed had a place from where to sprout, no matter and Belgrade Drama Theatre. > 12

Another important distinctive designation which systematic way. Therefore, they made an almost perfect confirms our thesis is feverish search for contemporary system that relates to marketing. It is simply amazing domestic text. They grew tired, as they say, of playing to what extent they had utilized this issue, and just how foreign texts because they feel they fail to deal with the systematically. In many ways it can be concluded that the problems that oppress their compatriots, and those prob- audiences is given the same treatment as, for example, lems had become ever more pronounced. Therefore, they directing or acting. So, in the theater lobby there were really needed a domestic text. But, not just any text, but not only (large) photos of actors but also of audience; be- the one that would satisfy this request and suit their ar- fore the show members of the audience were welcomed tistic profile. Naturally, their demands could have been by the costumed actors, who used to, after a cordial wel- met only by a screenplay as it provides for a completely come, give out Merits for wise use of leisure time. This different theatrical act: acting, mise-en-scène, directing, ritual relationship continued during the play because and, consequently, the attitude towards the audience. But, the audience could creatively take part in it, in addition all this, both mentioned and not mentioned: travelling to being served sweets and soft drinks. The ritual ended abroad, education and training, exhibitions, exchange with a confrontation with some (dissatisfied) member of ideas and information, does not seem to be enough, of audience who had to, in order to (eventually) recover as if it is all floating in the air, thus failing to make the the money from the ticket, respond to the eighteen ques- image from the beginning of the text clearly different. tions that were related to the play. To conclude, on top It is necessary for us to submit some broader theoretical of a specific relationship towards design of the play as incentives. But, since we are dealing with theatrical in- such, the theatre had a very active relationship with the novative-inquiring practice, we shall not herewith deal audience, or the so-called audience-building. with that aspect. The Courtyard Theatre added several different in- According to key segments of different approach- novative aspects to this series. Certainly, the leader and es to theatrical act this group includes Ras’ theater – the the most determining is the factor of space / environ- troop that had also undertaken the search for new crea- ment (after which the Theatre was named) in which the tive experiences and, therefore, had become extremely performances had been played. Simply, the very area important for the history of the alternatives in Serbia. determined both the poetics and the repertoire of the This troupe introduced many innovations in the theater theater, and somehow these can best be summarized in act, and in its relation to domestic text it resembles the A the poetics of Commedia Dell’arte. It goes without saying Group. They are similar in at least two elements: in their that both the poetics and this form of theater language insistence on modern domestic text and in their formula- have been utilized as the basis for modern upgrades. This tion of special acting languages; but, they do indeed differ troupe differs from others by one more aspect – by stag- in several other elements. Naturally, even their similari- ing poetry of contemporary poets. ties definitely do not presume that they were exactly the The Miscellaneous Theatre not only offered pro- same, for their starting points and acting techniques were found changes through its innovative and unique language, different. The need for change, the need to differ from but also left a very particular mark in our theatrical prac- others and to have their own language is quite similar. tice. Even though there has been no coup, the history of While the A Group insisted on the special relationship our theater would be immeasurably poorer without key that concerns the artistic act as such, Ras’ troupe pre- contributions of this troop; further, without the experi- dominantly dealt with its environment, in a much more ence of permanent changes in certain aspects of theater 13 > language it is uncertain whether the mainstream theat- either of the starting idea or text. Next element refers to rical practices would be possible at all. This practice has the multidisciplinary nature whose logic is reflected by most definitely sucked in this experience, although they the performances; therefore, it was not verbal but struc- will never admit it. Inquiring “strikes” had significantly tural, emerging from the research process in the prepa- shaken generally accepted theatrical form on several lev- ration of a play. If we add the uniqueness of the space, as els: relationship to the text, acting and directing. Thanks another essential element of turning several individual to the interventions of this Theater, documentary drama projects into a whole, the sources of change concerning and television acting and directing were introduced for the New sensibility become completely clear to us. In ad- the first time. However, their most significant contribu- dition to these formal characteristics which, as we have tion was in critical discourse on contemporary problems, seen, relate to all key stages of the creation and staging i.e. creation of critical theater. of plays, we should emphasize the quality and memora- The New Sensibility troupe added new aspects to ble achievements of specific performances that put them the theater practice, too. Its poetics is based on broad into, for now, imaginary history of outstanding achieve- new-romanticism assumptions, very clear and precise, ments of our theater. but not exclusively as a theater changes movement. An- Most certainly this series must include several mod- other important element of its special features refers to ern troops which had, with their unique characteristics the autonomy of the theatrical act, which meant the final and contributions, deepened and expanded alternative stage twist by which dramatic text is being dethroned, be- expression by functioning, in quite a natural way, in a coming equal with other materials in the construction of wider European context. We refer to the Mimart, Breath a play – a product of performing and a meaningful core Theater and Blue Theater. > 14

Marina Milivojević Mađarev ow to encompass, with one view and one text, all the developments in the theatrical life of a whole H country? This question kept imposing itself over and over again every time when, within the scope of two years, I wrote the texts for the column “What is published WHAT WAS and what is performed in Serbian theaters”. This mini research comprises the period from 1991 until today. For the purposes of this text, I present herewith the part of PUBLISHED the research concerning the last 12 years when the whole generation of dramatists, bearers of the new drama writ- AND WHAT ing, has been formed. Hope and Innocence – Project Three or how a new generation of dramatic playwrights came to be (What was published, what was played PLAYED IN from 2003 up to 2008)

This historical period begins with the assassination CONTEMPORARY of Prime Minister Zoran Djindjić; further on, it is marked by the collapse of the coalition that won the 2000 elec- tions, and the disruption of education reform. In 2004 SERBIAN a new coalition – DSS and G17 with the support of the SPS – formed the Government. In 2007, new elections were held – there is a new coalition of DSS, DS and G17. DRAMATIC It lasts for one year. At the same time, it is also a period of intensive ownership transformation in the state, while the social and economic reforms were on the start-stop LITERATURE regime. Nevertheless, the standard of living was growing due to the possibility, on the one hand, that both the state and the companies and individuals raise loans and, on the FROM 2003 other hand, due to new budget revenues from the sale of state-owned enterprises. The National Investment Plan was formed then with the idea that these funds should be invested in capital investment. Cultural institutions TO 2015 were included in this Plan, too. The work on the new law on culture begins during the tenure of Minister Vojislav Translated > Vera Krmpot Voja Brajović in 2007–2008. During this period the Yugo- slav Drama Theatre was built (2003), the Belgrade Drama Theatre and the Pinocchio Theatre were reconstructed 15 >

(2003). The Terazije Theatre returns to its own building tion and implementation of three theater plays: Teeth by after 14 years in 2005. It is a period of the greatest in- Aleksandra Novaković, directed by Predrag Štrbac, Safe vestments in culture (purchased new equipment, a large House by Marija Stojanović directed by Žanko Tomić, and number of premieres, etc.) from 2000 to today. Who Do You Trust by Jelena Djordjević directed by Dari- The National Theatre in Belgrade launched in 2002 jan Mihajlović. In the preparatory phase of the project the New Drama project. The objectives of this project were an audition for young actors, fresh graduates from the to encourage, stimulate, promote and nurture contem- Academy of Arts in Novi Sad, was organized; through porary writing for the theater, as well as to investigate, this project they joined the ranks of the SNT. All three verify and implement new methods of preparation and plays were on the SNT repertoire in simultaneous blocks. performance, primarily in concerning the cooperation Further, a week-long theater festival which also promot- between a playwright and a director on the text of the ed the book containing all three plays was organized, play. The idea behind this was to bring writers back into including diaries from rehearsals as well as directorial the center of the theatrical creation as opposed to then and dramaturgical notes. Discussion regarding the plays widespread model of the so-called “directors’ theatre.” and contemporary Serbian drama in the context of Eu- The artists gathered around the New Drama project as- ropean dramaturgy was also organized, together with a sociated themselves with similar projects in other Euro- presentation of the Department of dramaturgy of FDA pean theaters. The cooperation was established with the and the New Drama project. It’s worth noting that the Royal Na­ti­o­nal The­a­tre Stu­dio and the Royal Co­urt The­a­tre book was published without the CIP and ISBN number, Inter­ na­ ti­ o­ nal­ Depart­ ment­ , and a public reading of contem- so it is lacking from the database of the National Library. porary British drama was organized. Almost all the then The plays are documented in the Yearbook by Sterijino young writers who would in future produce performed pozorje, but it was not noted that the plays were part of and award-winning dramas participated in this project: this project. It is for this reason that both this project Marija Karaklajić, Filip Vujošević, Miomir Petrović, Mari- and the HOPE project are “invisible” for the main doc- ja Stojanović, Jelena Kajgo, Uglješa Šajtinac, Fedor Ši- umentation centers regarding published and performed li, Dušan Spasojević, Maja Pelević, Milena Bogavac, and dramas – the NLS Directory and Sterijino pozorje Year- others. The project had its own permanent office at the book. The play Who Do You Trust has been on the reper- National Theatre. This office was to be the space where toire for years, participating also in the 2004 Sterijino writers would always be welcome to exchange views with pozorje. Expanded, the project continued through the other theater people thus overcoming the feeling that following theater season. At that time, artistic director of theater was “closed” for writers. On behalf of the Nation- the SNT was Aleksandar Milosavljević, artistic coordina- al Theatre the New Drama – HOPE project was managed tor of the project was Boris Liješević and playwright was by former Theatre playwright Miloš Krečković assisted Uglješa Šajtinac. After that, five new plays were realized: by Milan Govedarica. The project was completed at the Excessive inheritance by Vladimir Paskaljević, The Grateful National Theatre in 2005. alive by Vesna Radovanović, Life in the grave by Ljubinka The Serbian National Theatre started its project In- Stojanović, Kiss the dead stars’ glow by Dragan Stanković nocence – Project Three during the theater season 2003/04. and Bad karma by Ivan Pravdić. The novelty of the pro- The initiators of the project were Žanko Tomić and Alek- ject is that dramatic texts were realized by students of sandar Milosavljević, and the dramaturge at the project multimedia directing of the Academy of Arts in Novi Sad. was Uglješa Šajtinac, who was the SNT playwright from The project was presented at the 50th Sterijino pozorje March 2003 to mid-2005. The project included prepara- Festival, again a book was published (without CIP and > 16

ISNB numbers again), the performances were played on ics addressed by our writers in the new pieces, the most a regular theater repertoire (the Yearbook emphasizes common theme is the transitional disorientation (having that they are part of the same project), discussions were a broad point of view). The “disoriented” are the young organized... The following year the whole Three project (either as drug addicts, or failing to attend school, or as was dedicated to Sterija. The idea was that all three com- part of some fan group), emigrants from the ‘90s, mar- panies participate in the project. Drama Nahod Simeon ginal characters of various types (prostitutes, bar-room by Milena Marković was commissioned and performed, singers, petty thieves...), middle-age intellectuals, and directed by Tomi Janežič. The play was a co-produc- women who passively follow imposed (often consumerist) tion with Sterijino pozorje. The following year (2007) trends. In contrast to the “disoriented” there are those the play took part in the competition part of the festival who – by grabbing for themselves – undermine the so- and received seven Sterija Awards (including prize for ciety in which they have built their “success,” as well as contemporary drama). In addition to this play, the op- a critical review of “success”. The announcement of the era Upstart by Mihovil Logar also premiered. The third coming fall is also one of the then actual themes. planned project was the dance performance The Patriots At the end of this period, my conclusion is the fol- which was to be created by Sonja Vukićević. However, lowing: if we compare data from three Sterijino pozorje the Patriots were realized a few years later as dramatic Yearbooks, we see that Maja Pelević, writer who partici- play by Sonja Vukićević. The project Innocence – Project pated in the HOPE project, was the most performed writ- Three has never officially ceased to exist. er in the period from early 2007 to mid-2009 (Yearbooks Production of domestic pieces is on the rise in those follow seasons, not years). During this period Maja Pelević years, and the years 2007 and 2008, compared with the had nine premieres: Maybe We are Mickey Mouse (award subsequent period, were particularly happy and prosper- at the anonymous Sterijino pozorje competition, the ous. In the two and a half years (2007, 2008 and the first play was performed at the National Theatre in Belgrade half of 2009) as many as 100 writers had at least one pre- as co-production of Sterijino pozorje and the National miere, out of which 27 of them had two and 17 of them Theatre); Totally Spies – Totally frozen (Theatre “Boško had three or more premieres. The list of writers is really Buha”); the play Orange Peel in two seasons was realized impressive: Dušan Kovačević, Romčević, Stevan Kopriv- in two theaters – Novi Sad Ujvideki szinhaz and the Pulse ica, Igor Bojović, Goran Marković, Ljubomir Ršumović, Theater from Lazarevac; in the same period the SNT had Radoslav Dorić, Siniša Kovačević, Vida Ognjenović, Al- two premieres: I or someone else and She Jumped to Her eksandra Glavacki, Tode Nikoletić, Petar Grujičić, Ivana Death (Skočidjevojka) (co-production with City Theatre – Dimić, Sanja Domazet, Radoslav Pavlović, Aleksandar Budva); as part of a collaborative team, Maja Pelević had Đaja, Miloš Krečković, Mirjana Ojdanić, Miloš Nikolić, one premiere at the Little Theatre “Duško Radović” – The Željko Hubač, Djordje Milosavljević, Vojislav Savić, Dim- Book of Wandering with Dalija Aćin; then in the Terazije itrije Vojnov... A special phenomenon is evident in the Theater Hamlet, Hamlet Eurotrash with Filip Vujošević, three dramas by Ljubomir Simović (Hasanaginica, The and in the NT Sombor Via Balkans together with Biljana Miracle in Šargan and The Šopalović Traveling Theatre), Srbljanović and Nenad Jovanović. Based on the above, which have been continuously been played in our theat- we can see a new profile of the playwright / novelist in ers. One can truly say that his pieces are classics already Serbia. He or she is not someone who in the peace of his (although Simović is our contemporary), and they stand own workspace creates drama, then brings it to the theat- shoulder to shoulder by the number of performances with er, and then retreats back to his peace (or in the theater the comedy pieces by Branislav Nušić. Regarding the top- bar). Either he or she, new playwright is a dramaturge 17 > who cooperates with his colleagues on the creation of publications rather than sell them. If, after seeing a play, text, writes commissioned plays, sends works to anony- an average theatrical viewer (the one who buys a theater mous competitions, writes for children... in a word, he/ ticket) is interested in reading something else from the she performs a successful symbiosis of his own interests same writer, he can visit the National Library of Serbia and his colleagues’ interests with the needs of the theater. and search for the writer in the catalog. Drama collec- In the first decade of the XXI century Biljana Sr- tions were published by several famous writers. Let me bljanović received the Sterija Award for best text no less mention but a few: Dušan Kovačević, Milena Marković, than four times – in 2003 for The Supermarket; in 2004 Mirjana Bobić Mojsilović, Djordje Milosavljević, Milorad for America, Part Two; 2006 for The Locusts and in 2008 Pavić, Ljubomir Simović, Miloš Nikolić, Milan Djoković, for Barbelo, of dogs and children. These plays have been Isidora Bjelica, Zorica Jevremović, Radoslav Dorić, Mi- performed throughout Europe, and in Serbia were most- ladin Ševarlić, Leon Kovke, Radoslav Stojanović, Zoran ly played by the JDP (The Supermarket and The Locusts) Božović Milivoje Mlađenović... Some theaters also be- and Atelier 212 (America, part two). All the above plays came publishers. They printed plays performed in their were printed in this period, both individually and in the theatres. For example, JDP printed the drama Banat by collection. Milena Marković in the same period received Uglješa Šajtinac together with two plays by Biljana Sr- one Sterija award for Nahod Simeon in 2007, and Ugl- bljanović – Barbelo, of dogs and children and The Locusts. ješa Šajtinac for Huddersfield, 2005. Having two female SNP published the play I or someone else by Maja Pelević, writers receiving five Sterija Awards within six years and Budva Theatre City and The Oktoih published the contributed to the impression that “women’s writing’’ play Don Krsto by Vida Ognjenović. In 2006 the one-act had emerged as one of the most important phenomena plays by the first generation of students of dramaturgy in our theater and that female writers were taking over. at the Academy of Art in Banja Luka in the class of Pro- However, studying the Yearbooks, we have come to the fessor Maja Volk were published too. In this collection conclusion that out of the 100 writers who had had pre- there are also student works of two dramatists who lat- mieres in that period barely thirty were female writers. er attracted the attention of the public – Mario Ćulum From this it is easy to conclude that in our theater “male and Radmila Smiljanić. The Scene magazine and Teatron literature” is still predominant (this is my wordplay, and have always been very important for the promotion of it is here simply to reveal a silent but deeply rooted ste- drama. The Scene published two plays by Milena Bo- reotype that a man as a writer is treated as a given, and gavac: Ballerina / gamma cas and Nice & Easy / 3,4... go! female writer as “a phenomenon”). together with one drama by Maja Pelević (Maybe we are And, what about published dramatic works in that Mickey Mouse), one by Milan Marković (Good boy / hyva period? Serbian contemporary drama is not easy to find boy), Željko Hubač (Here’s to you or bizarre), Neda Rad- in our bookstores. In this general race for profit book- ulović (Painkillers), Uglješa Šajtinac (Animals)... Most of stores keep pushing hits in the forefront, followed by the these dramas were played too, and some of them com- books that are on sale, then popular literature on how to peted at Sterijino pozorje. In the same period Teatron improve your life, lose weight, fall in love... You can find magazine published the drama The Ballad of Pišonja and dramas in bookstores but only if you know exactly where Žuga by Vladimir Djurdjević, as well as Rats’ Dance by to look and what to look for, and even that is not always a Tamara Bjelić. The Association of Serbian Playwrights is guarantee for success, because it seems that most drama a special phenomenon. Speaking of the published plays publishers actually do not have contractual obligations the most productive publisher is actually the Associa- with bookstores, so it can be said that they give away their tion of Serbian Playwrights that had, in their edition > 18

Contemporary drama in Serbia, published 22 collections to immediately become a parliamentary party, although of drama in six years, each containing five or six of dra- it did not participate in the elections. The start of the mas. Unfortunately, according to Yearbook data, only a new government led by Mirko Cvetković coincides with few of the dramatic works by this publisher were actu- the beginning of the economic crisis in the world. The ally played in Serbian professional theaters thus making government, economists, and even the whole society in these issues a sort of a ‘showroom of rejects’ or, in other Serbia very slowly and incredulously realize that the sit- words, a parallel history of Serbian drama at the begin- uation is rapidly deteriorating – “consumer dream” that ning of this century. had developed in the past was disappearing. In the ab- To finish all these off, let us mention the collec- sence of faith in the future, there is nostalgia and disap- tion of drama published by Sterijino pozorje in 2006 – pointment with change agents in the 2000s. In Europe The Death-bed Youth: Anthology of recent Serbian drama economic crisis is getting stronger and stronger leading (1995–2005), Part One – where the following plays were to a resurgence of leftist ideas. Amongst all the above published: Belgrade Trilogy by Biljana Srbljanović, Pavil- mentioned upheavals cultural institutions feel that au- ions by Milena Marković, North force by Milena Bogavac, thorities are neither ready nor willing to realize the po- The Great White Conspiracy by Dimitrije Vojnov, Hudders- tential of culture to overcome the crisis. At the time the field by Ugleša Šajtinac, Halflife by Filip Vujošević and 1994 Law on Culture was active. This law occupied no Orange Peel by Maja Pelević, followed by History & Illu- more than 4 pages of the Official Gazette and was very sion: Anthology of recent Serbian drama (1995–2005) Part general. August of 2009 brought us a new law on culture. Two (2007) – where the following plays were published: In relation to the law prepared in 2007, this one is differ- Larry Thompson, Tragedy of a Youth by Dušan Kovačević, ent. The whole chapter on privatization was taken out. Yegor’s Path by Vida Ognjenović, Boka D minor by Ste- However, this law was never fully implemented because van Koprivica, Karolina Neuber by Nebojša Romčević, The the bylaws were not prepared on time. For example, the Tour by Goran Marković, Dolce Vita by Svetislav Basara election of directors by the new law came into effect no and Glass-face by Marija Karaklajić. A professor at the sooner than 2013. The transfer to labor contracts for cer- Department of Dramaturgy at the Academy of Dramatic tain employees has never been implemented. Arts Vesna Jezerkić and playwright and writer Svetislav Instead, an attempt to rationalize is done through Jovanov were the editors of both parts. the so-called outsourcing (ancillary services such as clean- ers, security, marketing ... are being closed down, and in 2009–2012 their place there are agencies). Significant energy is con- In the parliamentary elections of 2008 the winner sumed in an attempt to create strategic documents for was the electoral list For European Serbia – Boris Tadić. culture and the law on theater which had not entered into Right behind is the list of Serbian Radical Party – Dr Vo- the life due to alleged conflict with labor law. Nervous- jislav Šešelj. DS that leads the list For a European Serbia ness about the monthly coordination of Belgrade theat- forms the government that includes SPS, a leading party ers climaxes – it seems that all the theaters are served in the 90s. Boris Tadić advocates the so-called historical by a single ensemble, that everyone plays everything, reconciliation to the dismay of the most ardent support- that everything can be played everywhere, and that the ers of the coup of 2000. After the election there happens number of premieres from season to season decreases. a split in the SRS. The group led by Tomislav Nikolić and The Doll Ship from SNP (brilliantly directed by Aleksandar Vučić forms SNS and attracts numerous mem- Ana Tomović) triumfed at the Sterijino pozorje in 2009, bers of parliament from the SRS, thus allowing the SNS with Milena Marković getting her second Sterija award. 19 >

That same year, director Oliver Frljić appears in the se- might be interesting to make a comparative analysis in lection Circles with his play Turbofolk; ever since then some other text of what the stylistic specificities of the he’s been one of the most influential theater makers in approach to the theme of the four plays actually are. The the region who introduced verbatim theater into Serbian question is whether we can already talk about a new di- theater by the front door. The following year, The Little rection in Serbian dramaturgy, namely, for example, ru- Doll Ship (again by Milena Marković but now directed by ral life dramas that have come very close to becoming Aleksandar Popovski) performed by SNG Ljubljana was classics: The Stone to Lay a Head On by Milica Novković the best play. That year, the 2010 Sterija award for text as well as the more recent dramas Extinction by Dušan went to Maja Pelević for Orange Peel, and in 2012 to Ol- Spasojević (Atelier 212, 2010) and The Well by Radmila ga Dimitrijević for the play The Workers Die Singing. In Smiljanić (Integration Workshop and The Cultural Insti- 2011, the Sterija award for best text was not awarded. It tution ‘Vuk’, 2011). In addition to pieces with the social may sound strange, but, after all, maybe it is not all that dimension, significant success is also achieved by the so- strange bearing in mind that it was a period of verba- called black comedy and absurdist comedy that explore tim theater (where significant contribution to a project the absurdity of everyday life in a society that changes is shouldered by playwrights). Let me remind you that daily but everything remains the same. The following at that time Oliver Frljić made verbatim plays Cowardice writers entertain this topic: Romčević in The Family and in NP Subotica (Sterija Award for best play) and Zoran PR Total Chaos, and Dušan Kovačević in The Godparents Djindjić in Atelier 212 (the Bitef 2013 Grand Prix), while and Life in Tight Shoes. Boris Liješević made the Waiting Room (Sterijino pozor- je Special Award) and The Fertile Days in Atelier 212. By We mostly speak and write about plays for adults. that time already renowned young artists from the HOPE Nevertheless, if you take a look at the Yearbooks by Steri- Project collaborated with director Dino Mustafić at the jino pozorje (seasons 2010/11 and 2009/10), you will see play Born in YU, in JDP... that the most often performed are exactly the dramas But, what about dramatic writing? A new agenda which are least published and commented and those is being established – the fate of workers who lost their are plays for children. They are performed by a number jobs thus transforming from the “bearers of progress” of theaters from many different backgrounds (urban, in socialism to main victims of transition and neoliberal private, puppet, youth, ad hoc troupes...). Performances capitalism in our country. A whole series of plays speaks are played, the audience is constantly being revised and of this subject. The most striking example is drama by there is a constant need for new pieces, whether in re- Olga Dimitrijević Workers Die Singing (Heartefact award gard to the processing of classic fairy tales or with regard + Sterija Awards). This is followed by the drama Work- to contemporary issues. The trouble with these pieces is ers’ Chronicle by Petar Mihajlović (award for best original that most of them belong to what we might call “invisi- contemporary text at 2009 Sterijino pozorje contest) and ble” theater production, that is production that is being Turned into Iron (Ogvožđena) by Goran Balančević (the As- bypassed by both the media and criticism, unless it is en- sociation of Serbian Playwrights “Branislav Nušić” award tered into the selection of the few specialized festivals for 2011). All three drama texts are awarded, published (according to the 2010/2011 Yearbook records, our of and performed. To this group we should add the piece thirty listed festivals there are only six children’s theatre by Milan Marković and Andjelka Nikolić Long Live Our festivals). But no one who really wants to write dramatic Work which failed to receive any award but also deals texts and be engaged in a theater in Serbia should be dis- with the problem of labor in the transitional period. It couraged. A positive example is Minja Bogavac who has > 20 been – thanks to, among other things, cooperation with their dramas, although published, most likely will nev- children’s and youth theaters – constantly present on the er see the light of the stage. Compared to theatrical life, theatrical map of Serbia. Theaters for young people deal these dramas represent a parallel world. It is really ex- with specific topics such as inclusion (Miljakovac. that is traordinary that somebody writes a play without even New Zealand dramatization by Ivana Dimić and Jasmina for a moment asking himself for whom he writes, and Petrović at the “Duško Radović” Theatre), harassment what is the repertoire of that very theatre. This certainly of Roma people (Look Here Now by Milan Marković in cannot be said for the writer Željko Hubač. Playwright “Boško Buha”). Melodramas were played, psychological Željko Hubač had his compilation of dramas entitled Bi- dramas, the most diverse derivatives of musical theater, zarre published by the literary publishing cooperative classical fairy tales in new arrangements… “Altera” from Belgrade, in cooperation with the Šabac And what is published? The catalog reveals most Theatre. The Šabac Theatre has performed his pieces interesting data. For example, if you type the term “dra- Close to the Sky, The Sleeping Beauty as well as the play ma”, you will see that in the period from 2009 to 2011 The Abduction and the Ascension by Juliana K. In the same there is a rather uneven number of entries (154 entries, period were Hubač’s plays for children The Rogue Prince 146, 158). At first glance, these numbers look promis- (NT Priština, Serbian language drama) and The Beauty ing – every other day of the year a new “drama” book and the Beast (“Bora Stankovic” Theatre, Vranje and the appears! However, these numbers do not refer solely to Puppet Theatre Niš). contemporary Serbian drama, but in general to all the Theatres periodically publish dramas that had been literature that could relate to the drama (domestic and performed on their stages. Most often those are individ- foreign drama, theater history, theatre science...). These ual dramas published in special editions and distributed 154 records in fact testify of gradual but continuous re- together with programs, and they can’t be found anyplace duction of the number of reference under ‘drama’ when else but in the resident theater. In this regard, in 2011 compared to 175 in 2007 and 195 in 2006. A sharp de- JDP made an unusual move. In cooperation with The cline happened in 2012 when there were only 131 regis- Today daily newspaper, on the occasion of the premiere tered entries. This decline in the number of issues could of Death is Not a Bicycle to be Stolen From You by Biljana easily be attributed to the extremely difficult 2012 which Srbljanović, JDP published this drama. On the day of the was most strenuous both for publisher and for culture premiere each customer of the Today newspaper received in general. Nevertheless... Quantity is not everything. the book as a gift. Unfortunately, this outstanding example When we look at the structure of modern published dra- of cooperation between the two houses is the exception, ma, according to the catalog of the National Library of not the rule. During this period theatres’ publishing ac- Serbia, we see that most dramas in the period 2009 to tivity is very scarce. All the more should we should note 2011 represent small publishers of unknown dramas, of the venture by the Dadov Theatre. On two occasions, in writers unknown to the public (whereby an author rare- 2009 and 2011, Dadov published two collections con- ly occurs more than twice). From this we easily conclude taining plays / dramatizations by Minja Bogavac, Maja that dramas, as well as books, are being published either Pelević, Olga Dimitrijević, Ljubinka Stojanović, Tamara by reputable or unknown authors. As far as we refer to Jovanović, Branislava Ilić and Jelena Djordjević. This is authors such as Dušan Kovačević, Vida Ognjenović and an exclusive edition and it is extremely hard to come by Milena Marković, those are the dramas that have already unless you go directly to the Dadov Theater or in the Na- been played, and when it comes to the unknown authors, tional Library of Serbia. 21 >

2013 – 2015 the budget goes to the financing of public services. This The May 2012 national elections bring the change period will be remembered by marking of the anniver- of government – the Democratic Party went into oppo- saries. It began with the celebration of 1600 years of the sition, and the Serbian Progressive Party (SNS) increas- Edict of Milan. This was followed by marking 100 years ingly reinforced its power. This change is reflected in the since the beginning of the First World War. Huge funds whole society. Austerity measures are being introduced in from the budget of the Ministry of Culture are spent on order to consolidate finances. In 2013 the federal budget these two celebrations. Further, we also celebrate the for culture is at the historical minimum and amounts to 150th anniversary of the birth of Branislav Nušić (2014). 0.52% of the total budget of the RS. The local budgets The celebration of 210 years of the birth and the 150th for culture are reduced too (in Belgrade from 6–8% to anniversary of the death of JS Popović in 2016 has been 3%). In 2013 the Republican budget for culture is the announced as well. historical minimum and amounts to 0.52% of the total Bratislav Petković was replaced by Ivan Tasovac, budget of the RS. So do the local budgets for culture (in and the tendency to celebrate jubilees by theatrical per- Belgrade with a 6–8% fall to 3%). SNS is publicly com- formances continued. Our playwrights in their new texts mitted to the Euro integration. For this purpose, with have dealt with biographies of famous Serbian writers great security measures two Pride Parades are being held. and artists – primarily Sterija (play The Patriot by Mi- The theater houses and institutions (NT Belgrade, Niš lovan Vitezovića, We – Sterija by Petar Grućič, The Flying NT, JDP, Atelier 212, BDP, Sterijino pozorje...) all have Troup by Danica Nikolić Nikolić) and Nušić (Mr. Nušić’s new directors and new management boards... This peri- Birthday by Dušan Kovačević, Three classes and Mrs. Nušić od began by exciting, and at times even dramatic pub- by Vladimir Đurđević). The play about the fate of Ivo lic debate about theater project Constantine which was Andrić before World War I (Cain’s Scar by Kecmano- meant to be a contribution of the Serbian theater to the vić / Stojiljkovic, dramatized by Spasoje Ž. Milovanović) celebration of 1600 years of the Edict of Milan. The au- marked the end of the Second World War. It was one of thor is a novelist Dejan Stojiljković, the author of the hit the few theater projects which marked this anniversary. novel Constantine’s Crossing, and it was directed by Jug In this period, all social attention was focused on mark- Radivojević. The center of discussion was not occupied ing the 100th anniversary of the beginning of World War by the artistic achievements of the play, but by the issue I. The authors allowed themselves the freedom to draw of financing and the socio-political implications of the conclusions that, more or less, all revolved around the project. The play was performed at the Sterijino pozorje question of how Gavrilo Princip’s shooting Prince Ferdi- festival in 2013. Aleksandar Denić got the Sterija award nand at the beginning of the twentieth century still de- for stage design and Bojana Nikitović for costumes. Me- termines our fate one hundred years later. The follow- dia frenzy around Constantine gradually subsided after ing authors wrote about this: Biljana Srbljanović This Bratislav Bracа Petković from the ranks of SNS resigned Grave is Too Small for Me, Milena Marković Dragonslay- from the position оf the Minister of Culture. The arrival of ers, Danica Nikolić-Nikolić Drita, Nebojša Bradić Prin- Minister Tasovac brought increase in the budget for cul- cip As Super-Star, Nenad Prokić Finger, Trigger, Bullet, ture, but the two most important items – reconstruction Gun, Spasoje Ž. Milovanović Dust and ashes.... As proof of the National Museum and the Museum of Contempo- of how much importance was given to this jubilee let it rary Art – are not realized. In 2015, the Ministry of Cul- be said that the 2014 Sterija Award for dramatic text ture and Information takes over the financing of public was received by Biljana Srbljanović for This Grave is Too service broadcasters RTS and RTV too so that much of Small for Me, and the 2015 award went to Milena Mark- > 22 ović for Dragonslayers. The only award-winner with no mestic dramatic texts fail to “survive” premiere, and get connection with the jubilee year was a dramatic text by to be performed more than once. That is not characteris- Fedor Šili Wizard dedicated to Thomas Mann (Sterija tic solely of this period; it is a constant in Serbian theater Award 2013). This text is completely detached from the since the early twentieth century. By constantly forget- idea-thematic framework in which dramatic writers in ting, we make our own artistic and cultural identity vol- the previous period kept moving, and only conditionally atile and unnecessarily poor. It is symptomatic that even can it be correlated with biographical dramas dedicated the work of our most awarded drama writers in the last to Sterija and Nušić. On the other hand, eagerly awaited 12 years – Biljana Srbljanović and Milena Marković – is drama by Tanja Šljivar Scratching or How my Grandmother rarely performed again, in other theaters in the country. Killed Herself (published earlier in Teatron), never even Theatres constantly repeat that the progress of modern reached the Sterijino pozorje Festival in 2013 due to a domestic playwrights is of great importance to them, but boycott by the BNT Zenica. still prefer playing comedy by Nušić. To a far lesser ex- Between the two Sterijino pozorje festivals play- tent but still relatively continuously dramas by JS Popo- wrights that had emerged from the HOPE Project are vić, Aca Popović, Ljubomir Simović and Dušan Kovačević engaged and busy in Serbian theaters. They entertain are played. Nušic was particularly often performed in the the topics such as artists in transition, Filip Vujošević past two years – the reason is again anniversary – 150 (Life Stand Still, Life Goes on), Minja Bogavac (Balleri- years since the birth. His famous comedies have often nas), social activism through theater, again Minja Bo- experienced serious dramaturgical and directorial de- gavac (Invisible monuments, The Red – Nation Suicide), construction in order to be placed in the modern social re-adaptations of their earlier pieces and directing of context and to draw strong parallels between the period foreign authors’ pieces, Maja Pelević (I or someone else, when these works were created (mainly between the two adaptation of Bernhard’s text My Prizes), dramaturgical world wars) and the modern era. That way playwrights, work in the verbatim theater performances, Fedor Šili directors and actors wanted to demonstrate a new, dark (Fifth Little Park)... Supported by playwrights and direc- tors, coming from the HOPE Project, emerged the play- and murderous Nušić whose laughter has become bitter, wright and writer Olga Dimitrijević who in her most re- sobering and quite similar to what the new generation cent articles writes on the subject that has never been of playwrights has to say – Nušić is our contemporary. entertained in Serbian dramaturgy so far, and that is love Let us add that in this period, a very small number affairs among women and social attitude towards that of dramatic works saw the light of day in print. The fol- subject. Her texts draw considerable interest by expert lowing authors had their dramas published: Romčević, public. She won the prize at the Sterijino pozorje com- Milan Markovic, Uglješa Šajtinac, Jelena Kajgo, Milena petition for modern national play in 2014 for the drama Marković, Miladin Ševrlić, Miodrag Ilić... These collec- How Nice to See You Again. This drama is available in the tions mostly represent a sort of a bottom line for success- latest issue of the Scene magazine. Olga’s piece Folk dra- ful playwrights, not a way to present new work. I believe ma performed by NP Vranje won the award for best text that it goes without saying that one of the most widely at the last year’s 51st Festival of Professional Theatres published writers is Branislav Nušić. In 2015 Sterijino of Serbia “Joakim Vujić”. pozorje, for the first time in the history of dramatic lit- So, what to say in conclusion? At first glance, con- erature, published complete comedies and tragedies by temporary Serbian drama is being played, there are many Jovan Sterija Popović – on the occasion of the anniver- different authors… But! Almost 90 per cent of new do- sary, naturally. 23 >

Goran Ibrajter CARDANUS > 26 Goran Ibrajter

oran Ibrajter was born in 1962 in Mokrin. He graduated from the Fac- ulty of Philosophy in Belgrade in 1988 at the Department of Philosophy. G Ibrajter is the author of the following dramas: Kardanus (premiered in 2007 at the Užice National Theatre, directed by Ljuboslav Majera, published in the edition of Contemporary Serbian Drama 2008) and My Heart no Longer Belongs to Me (premiered in 2014, Novi Sad Theatre / Association of Dra- matic Artists of Vojvodina, directed by Bogdan Janković). Ibrajter is the re- cipient of the award for contemporary play at the 5th International Theatre Festival in Kikinda (for the text My Heart no Longer Belongs to Me, 2014), and he also received an award for adaptation at the Meeting of amateur theater companies of Vojvodina in Stara Pazova in 2014 (for the text The Firemen’s Ball, after the movie of the same title by Milos Forman). Goran Ibrajter was director of the National Theatre “Toša Jovanović” in Zrenjanin from 2000–2004 and 2007–2010. After that, he transferred to Sterijino Pozorje, as the editor of the Festival Centre. Ibrajter received the award “Nikola Peca Petrovic” for the most suc- cessful theater manager in 2004 (prize awarded by the National Theatre of Sombor). So far, Ibrajter has published several books of poetry: Poems of Eleazar (Literary municipality of Vrsac, 2009), Elements (Banat Cultural Center, No- vo Miloševo, 2012) and Ја(је) (a wordplay meaning both I am and An Egg) (“Žarko Zrenjanin” City National Library, Zrenjanin, 2014). His poetic, prose and professional texts have been published in The Ticket, The Avant-garde, Letopis Matice srpske, The Literary Life (Timisoara), The Scene... 27 >

Goran Ibrajter CARDANUS

Translated > Marija Harmat

CHARACTERS:

Hieronymus Cardanus, or secularly Girolamo Cardano, a doctor, astrologist, matematician, philosopher, scientist, hyroman hiro- mant and, according to some, a lunatic Lucia Bandarini Cardano, his wife Aldo, Cardano’s son, and his deepest disappointment Alberto Tedesko, a follower of Martin Luther, waiting to be burned Luka, a killer Cardinal Del Monte, the deputy of Pope Paul III Leonardo da Vinci, a ghost or a vision Niccolo Tartaglia, a stutterring ghost or vision, actually a mathe- matician Maria, a maid of the Cardanos’ Jailer, opssessed with insects, particularly parasyting ones Their ghosts chasing old Cardano Lice, flees, bedbugs and other bugs

TIME: The crazy, crazy XVI century > 28

OPERATING INSTRUCTIONS THE FIRST SCENE

Cardanus is, as most of the characters that will appear here, a historic character. The text includes the real Cardanus‘s cabinet, typical of a Renessaince scien- events and situations from his, above all, interesting tist. That is also the room at the same time. There is a bed, a highly raised one, quite fashionable at the life. Those events are, apart from two or three cas- time. It is reached by climbing stuff chest, and under es, given chronologically. Naturally, the author has it there is a chambre pot and what else who knows. not given up the healing priviledge named licentia It can, in the following scenes, with some modifica- poetica. tions, serve as a part of the decoration. Cardanus is If it occurs to someone that the following overexag- on his knees with his shirt rolled up and he is whip- gerates Cardanus’s behaviour, or his sudden mood ping himself. changes, it must be said, that, regarding this, his life was even worse. As a proof of this, but also as CARDANUS a possible indication that may but does not have to My God! My God! Why have you left me? Eloi! Eloi! be taken into consideration, we quote Cardanius’s Lama savahtani? My God! My God! Why have you description here, as given by Hegel in his History of left me? My God! My God! Why have I left you? My Philosophy. God! My God! Why have I... “Generally, Cardanus lived in constant internal and (off: Girolomo!) external tempests. He states that within himself he suffered the deepest soul torturing. It was in this in- (Cardanus rolls down his shirt quickly.) ternal pain that he would find his biggest satisfac- tion while equally torturing both himself and others. LUCIA (Entering.) Cardanus used to whip himself, bite his lips, pinch Girolomo! himself severely, strech his fingers to release himself CARDANUS from his soul torturing disturbance and make him- What? Is Lucifer himself after you, or what? Or has self cry which would leave him reliefed. His external he, God save us, moved into that cave of Lucia‘s, behaviour was contradictory as well, for a while he called her head? That is more probable. would be calm and discent, then after a while, his LUCIA behaviour would resemble a lunatic or a madman, even in some indifferent matters and with no ex- You madman, you have been whipping yourself ternal reference. Sometimes he would wear discent again. Not enough of your father‘s whipping until decorated clothes, then again he would go in rags. you got married. He was a closed man, very diligent, working all the CARDANUS time; then he would, all at once, become a roister, If I could choose between my father‘s beating and having fun, wasting all he had, home dishes and his the marriage with you, I would choose beating. Af- wife’s jewellery. Sometimes he would walk slowly ter all, how would it be confortable now if it hadn‘t and steadily, as other people, then again he would have hurt a few moments ago? Anyway, have you run as a maniac”. brought the provisions? 29 >

LUCIA MARIA No, I haven‘t. Well, they say that about you. I mean, the women. CARDANUS CARDANUS I told you to send the maid but no... she herself has What? to go for it. You‘re not capable of finishing the sim- MARIA plest thing. That, what Ma‘am sayed. I mean, the women sayed. LUCIA CARDANUS Leave it now. CARDANUS And didn‘t the Holy Father Pope whisper that to them, while pouring the water into their jars? Two To leave it? Right. My eyes are set on the stars but geese – does it make a flock already? (to the maid.) my sweet belly calls out as well. Begging for itself. Go away, you stupid slut. (to Lucia.) LUCIA And you!? For God‘s sake! If you punish me with silly Are you listening to me? Stop speaking nonsense, I sons, why are you punishing me with your stupidity? am telling you. People at the square, by the fountain, Wisely San Bernardino used to say that a woman is gossip that Holy Court will call you for a hearing. not to be beaten only in late pregnancy. CARDANUS LUCIA Yes, people. They tell you their secrets, for sure. Just keep on speaking nonsense but I am already sick LUCIA of having every bloody man from this house finished No, women talk. in jail. CARDANUS CARDANUS Who now? People or women? (showing faces) Wom- Even chickens are worth more than you. True. Some- en talk. times they too push the pot and break it, as women LUCIA do. But still they are beneficial. They lay eggs. Women at the fountain. The maid has heard, when LUCIA she went to get some water. You about chickens, and out there somewhere they CARDANUS may be already preparing a balefire, a stake for you. Maria! Maria! Where is that slut? CARDANUS MARIA A balefire! For me, who cured so many worthies, a You were calling me. scientist so recognized. After all, your chicken brain CARDANUS can not understand that. What have you heard? LUCIA MARIA You would be neither the first nor the last to be fare- Well, that... those... women at the fountain. welled with such references. CARDANUS (Showing faces) CARDANUS (Theatrically.) Women at the fountain! Women at the fountain! What It is not the death but the dying that I am afraid of. women? For death is nothing but a change of a life form. > 30

LUCIA CARDANUS You are so wise, my dear Girolamo, but the load of Now you clever one, it is the right time to mention foolishness is much bigger in your bag. my poor kid, my hope. CARADNUS LUCIA Actually, why to worry? According to horoscope, my Just to remind you that Giovanni Batista was my son critical years for dying have passed. I will live for too, but... many years on. CARDANUS LUCIA But what? Maybe he was wrong in poisoning that That‘s what you think. whore of his wife? What, he was supposed to let her CARDANUS (furiously.) cheat on him shamelessly, on and on, laughing at him No! That‘s what the stars think. publicly? Right? LUCIA LUCIA And you can read their mind. He was my son too, I am telling you. He comes to me every night so that we can cry together. A bastard, CARDANUS that‘s what you are Girolomo. A bloody selfish bas- Ksantipa! tard. LUCIA CARDANUS Now you are being offending. Now I am some mon- No, no, I will never forgive myself one thing, a sin ster. that I have done to my Giovanni. The fact that I didn‘t CARADNUS take a little of that poison and give it to you. That You stupid woman. That‘s the wife of Socrates the way, apart from freeing himself from an evil wife, Great. Gianni would be free from his evil mother, too. Eh! LUCIA Ever since he’s been gone, there is no life for me ei- ther. Even worse. LUCIA CARDANUS You are not only selfish but unfair, too. You keep Hah, hah! Don‘t you have any sense at all? forgetting that we have another son. LUCIA CARDANUS Having or not having, I know only one thing. I don’t Don‘t mention Aldo to me. That thief is not no be want to lose you too, after our Gianni. Even if you mentioned in this house ever again. All his stealing are the way you are. business wasn’t enough for him, but he had to rob his CARDANUS own father, too. Not an adder but a dragon I raised You are doing this to me deliberately. Deliberately. and took care of. Some way to thank me. First the Holy Court, then balefire, and now you are LUCIA adding salt to my open wound. To thank you! For what? For all the beatings that LUCIA you used to ply them with. Day in, day out, both him What salt are you talking about? and Gianni. Beating that even your old Facio would 31 >

be envious of. To thank you for being so cheap? You CARDANUS were better even to a ragged dog than to your sons. What are you smiling at? Who do you think you are? At least, a dog could hope for some leftovers from Gioconda? time to time. LUCIA CARDANUS Unlike you, I am not imagining to be a legend. My Babbling babbling. On and on, all the same nonsense, smile no longer bothers anyone but you, but her smile like a broken record. Do you hear this, oh late Kiara, can make the whole Italy and France talk of nothing the evil mother of mine? Why did you fail to abort else. me, since you wanted to do that anyway? Why did CARDANUS your efforts remain hopeless? All in vain? Wasn’t Italy and France. Empty chatter of the so-called wise- there any poison to aid your noble goal? men. She’s smiling because of this, her smile is hid- LUCIA ing a secret of who knows what. The truth is simple. Madonna Gioconda, miserable because she had lost If it’s any consolation to you, I myself also curse all a child, was to be entertained and made smile by the the witches and fortune-tellers who foisted ordinary musicians and jesters who were performing behind water to Kiara. the artist‘s back, for the painting, you know. CARDANUS LUCIA Hey, who could convince me now that you are not one She wrote to you about that? of those twenty five thousand witches from Brech. CARDANUS It is you that should be taken to the Inquisitor, not No, I saw it. My father dragged me down to Florence me (touching his pulse). Here, look, my pulse has in- to his friend Leonardo, when I was a child, so I was creased beacuse of the rage. You do it deliberately. watching it, actually. You see, now I have to pinch myself to release the anger out of me. (pinching himself severely like a LUCIA madman.) Or would you prefer that I releave myself Was it then that you stole his notes, or did you do it by kicking your ass instead? on some other occasion? LUCIA (Laughing while he‘s pinching.) CARDANUS I got used to your buffets and punches. You used Hey, just stop it and shut up! (feeling his pulse). Now then, tell me what do men gossip about at the square. to pretend to be a tender guy just for the first three months of our marriage, until I cured your impo- LUCIA tence. A sissy. Women. CARDANUS CARDANUS Don’t laugh at me. My impotence was just like any Alright, women. other disorder. LUCIA LUCIA By the fountain. So, then, why did you have it treated in brothels, and CARDANUS not at the doctor’s? (smiling ironically). By the fountain. > 32

LUCIA MARIA They say that Milan inquisitor received an accusation He beleived me. He said it was nice, warm, summer against you for atheism and sacrilige. like. CARDANUS CARDANUS For the former or the latter? Or both? And what did you tell the Notary? That you hit him LUCIA with some browned flour sauce, I guess? Get out of Some say for atheism, and the others for sacrilige. my sight. (continues, more to himself). I have to see Some, again, mention both. what the stars say. No, palm reading is better. It’s faster. (Looking at his palm)Yes, it looks as if there CARDANUS were a short breaking of the life line. (Looking deep- And all of them are, naturally, as clever as you are. ly into the palm, moving it back and forth, farther There, this bladder of mine became swollen as I got and closer from his body.) That‘s right. It looks as if so upset (he is running to the backstage and we hear it were this year. Lucia, come here. Lucia! him urinating into a chambre pot for a very long time). LUCIA LUCIA Don’t shout. Drop dead. CARDANUS CARDANUS (off) What can you see here? And what do you think, who is right? The first, the second, or the third ones, the wisest? LUCIA LUCIA Bunion. I don’t know about that, but I do know that all of CARDANUS them agree that you’re in big trouble. What kind of bunion? CARDANUS (off) LUCIA Trouble?! (Coming back to the stage.) Maid, take out Well, on your palm. the chamber pot, be careful and watch out this time CARDANUS whose head you are going to empty it on. If you had any brain at all, I would think it were on MARIA it. My life is at stake and you are talking nonsense. I am careful. I am always careful. Never could I rely and count on you. Just troubles. CARDANUS LUCIA Yes. Shit on the Notary, urin on the tax collector. Lucky me with you. MARIA CARDANUS I told him it was drizzle. I don’t know what those scribblers and poettasters CARDANUS find at you women. That body of ether, they say, and Right. Out of a tiny cloud. (Raises his thumb and fin- that golden hair... And anyone who has at least a bit gerpoint to show how small it was, but then remem- of common sense knows that the worst mule is worth bers that “ drizzle” was out of his “ tiny cloud”, so more than any woman. moves his hand quickly.) LUCIA 33 >

Girolomo!... the footsteps. THE SECOND SCENE CARDANUS The footsteps? A jail cell. In there Alberto Tedesko, a monk, sen- LUCIJA tenced by the Inquisition, is cleaning himself killing Can you hear the footsteps? all those lice while waiting for the stake. CARDANUS Lucia! Don’t let them take me, Lucia my darling. JAILER (Ironically.) Don’t let them. Here you ar’, doctor, and have a nice time. (to Alber- to.) Here you are, ex-priest, another bloke, to have some other company apart from flees and lice. (at this, he starts to scratch himself.) CARDANUS (entering the cell.) God help you father. ALBERTO You too, my son... CARDANUS Girolamo. Doctor Hieronymus Cardanus. ALBERTO Alberto. But in here, as all other Germans, I’m referred to by this insulting name Tedesko. So, the choice is yours. Just don’t call me pot, because my end is very near and I don’t want to spoil all the pleasure to the mob, if I break, I mean. So, doctor. CARDANUS Available to you as soon as we get out of here. ALBERTO I’m afraid it is too late for my gout. Now, like Ae- sop‘s fox in grapes, I can remember the epitaph on the grave of that landowner. I have died of too many doctors. CARDANUS That one was a truly ungrateful person. If only you knew, father, how they fuss around you as soon as you feel some slightest pain. And then, once the dis- ease passes, they slander you, even worse than the women on the market. > 34

ALBERTO ther, Luther the great teacher, and we are only bring- Don’t misunderstand me, my son. I have no doubts ing him back where he belongs. about medicine. The abbot of the monastery which CARDANUS (Suddenly changes mood.) brethernhood I used to belong to, and who we were Oh, crazy man! Instead of rejecting him completely, teasing, a long time ago, by saying that he was Jere- of spitting at him, you want to bring him from the miah‘s age, is still alive today. Some Greek doctor is skies into the hearts. What? You think it is not com- treating him, after Democritus methods. fortable enough, up there for him? All that fame for CARDANUS a son of a carpenter. Ah, no, no. Democritus is an overpassed charlatan. ALBERTO A snake’s bite is treated by a flute playing. Or even Don’t blaspheme, you trouble maker. worse, if you want your penis to be hard, whenever CARDANUS you like, put some mixture of pepper and honey on Hah! How can someone who had already dispised it. For this latter, I for sure can tell you, it’s an ordi- God be blasphemous? Who himself is almost... God. nary nonsense. It doesn’t help at all. ALBERTO ALBERTO Don’t blaspheme, you sinner, they can hear you. I Yes, I agree with you that medicine has made some forgive you. I forgive you because I know that this incredible progress during this last decade. But I bad jail air makes a man crazy. won’t be needing it anymore. CARDANUS CARDANUS Ha, God, and crazy. Here, I, Hieronymus Cardanus, a Hey, father, you sound like you are predicting some doctor, star reader, scientist and mathematician, re- bad fate that you expect. ject God and announce that I believe only in nature. ALBERTO ALBERTO Yes, my son. Here it is, I can already hear cracking of Lord, forgive me for being weak and scared of forth- the stake, which is to take me into the Lord’s arms. coming death, but I give up further enlightening this CARDANUS fallen man. CARDANUS How did you find yourself in all that trouble... any- way? Your help is not needed. If I am to burn, I will burn for the glory of truth, and not for the mistake, the ALBERTO biggest mistake ever, of which poor people are help- As a follower of a great teacher, Martin Luther, I have less victims, including you father. come here to continue his sacred mission.That’s how ALBERTO I got into the hands of the Inquisition. Don’t torture me, I beg you. Not now, when in the CARDANUS sandglass of my life there is only a handful of sand Why didn’t you give up the heresy? between two fingers. ALBERTO CARDANUS What heresy? Rome has been a hot bed of heresy and A sacred man, shivering so before death. Ashes to all other things unworthy of God for a long time. It ashes, that’s what you teach, isn’t it. Not about death, was Rome that exiled Christ from human hearts. Lu- dying... 35 >

(Noise, steps, squeacking of the jail door. Cardanus, ALBERTO scared, hugs the monk. Into the cell, pushed, Aldo Children! The God can hear everything. Calm down. and Luka enter.) CARDANUS JAILER Is there at least one of the listed Pavia and Milan dirty Here you are, two more lice. whores that you haven’t dirty yourself with? Every satyir would give up competing with you. LUKA ALDO Hello there. Look who is talking. You did not miss any of them CARDANUS (all astonished.) either, while searching for a cure for your sex impo- Aldo?! tence all around the bordels. You used to tell those ALDO stories yourself. But not even one of them succeed in erecting it. Oh! Look, who we have here. My dear father. CARDANUS CARDANUS This only proves, you bastard, that there is more mor- Are you coming after me even to jail? Even now? al in the tip of my penis than in your head. ALDO ALDO Father, you should be a bit more joyful to be reunit- My head is hard, at least. ed with your son. CARDANUS CARDANUS You son of a bitch. The kind that Demetrius used to I have survived two waves of plague, bites of mad describe saying that the sound coming out of their dogs in Bologna, drawning in the Gard Lake and a mouth is not much better than the one coming out hammer hit into the forehead. But you, you are go- of their rear. ing to finish me off, you bounder. LUKA LUKA (to Alberto) Speakin’ or farttin’, it’s all the same. But, Aldo, shall I don’t know about you, priest, but I have never seen we throw coins? a mor’ beautiful reunion. ALBERTO (just waving off his hand.) (He and Aldo play game called who is closer to the wall. From time to time some shouts are heard: Mine!) CARDANUS Do you know what this bastard did, father? He robbed CARDANUS his own father, his own father. The very hand that All that is, my father, written up there (pointing to feeds him. Me. the stars), and down here (pointing at the palm.). All ALDO this I have seen already. This dungeon and you and Robbed? I have just taken what is mine. As far as I my family disaster. All of it. remember, you were always mean to us. And gener- ALBERTO ous only in beatings. Stop with that superstition. CARDANUS CARDANUS Back off, you stupid disgusting rascal. Superstition?! Science, greater than any other. > 36

ALBERTO ALDO Eh, how lucky you are, you star-readers. You are Edward. The late English Prince Edward. believed eventhough you offer a grain of truth and CARDANUS (off) hundreds of lies. Others, on the other hand, get a bad Do not bark, you dog. reputation by saying one lie even if they were mostly ALDO telling the truth before. My crazy father... CARDANUS LUKA How do you explain, then, that so many of my cal- Ha! Crazy. culations and predictions have proved to be true? ALDO ALBERTO ... found himself in England when that brat was Never mind. crowned as the King. The sooner the better, to flat- CARDANUS ter him, he read his horoscope. Predicting a long and fruifull life, wise reign. My calculations do not lie. LUKA ALBERTO I can guess. I remember that the great teacher Luther was sent, ALDO by an idle astrologer, a large number of some calcu- While the prophet was travelling back to Italy, the kid, lations and drawings, which, he stated, prove that he, of course, kicked the bucket. Since then, my father, according to his horoscope, had to start a riot against I don’t know why, can’t find any job whatsoever in the Pope system. Naturally, the great Luther simply England. laughed at all that as ordinary lies. CARDANUS (off.) CARDANUS Don’t bark, I’m telling you! That idle astrologer was me. And mind your words, LUKA I don’t lie. This would be good even as a fucking joke. But this ALDO way, being real, it is even more fun. Tell that to infant Edward. ALDO CARDANUS That’s the way it is with my old one. Always fun. If The pulse. (Feeling the pulse. Touching his stomach.) only he were not my father. Bladder. Urination bucket. Where is the bloody buck- LUKA et? (leaving the stage into some imaginary cell cor- You priest, what do you say about this? ner, where the bucket is. Out of there you can hear ALBERTO him urinating loudly for a long time). You’d better think of the way to save your soul and LUKA not mock that man, who has obviously gone mad be- What’s the matter with him? Who is that Eduardo cause of this jail smell. anyway, because the old man almost peed his pants ALDO when he heard his name? Pee, peee! He’s been mad since his birth, father. That’s for sure. 37 >

ALBERTO Hah, hah! But that’s why I split his head in two. Nice- Particularly you. He is your parent. ly done, with an axe. ALDO (Alberto crosses himself, hearing this and starts murm- I’d rather be goat’s fart than a son of his. ing some prayers.) LUKA LUKA (enjoyng it.) You know, priest, ther’s no way to make gold out of iron. With that sharp part, to make it quick and easier for ALBERTO him. Kneel down on your knees. Wake up your hearts. CARDANUS (first to Alberto.) There he is. He will help. Even this is more acceptable to my soul than his LUKA crimes (pointing at Aldo). Luka, I am serious, today you’ll be in paradise with me. Soon I will kneel up there, before St. Peter’s feet. LUKA (to Aldo.) CARDANUS (Entering. Touching his stomach.) Your old man is raving. You haven’t had enough of that biting of yours, you want some more, don’t you. I’ve disowned you, and ALBERTO (Gives Cardanus a hug.) I am doing that again and again, hundreds of times. Forgive your son, you will feel better. He is young, You have upset my stomach. not aware of what he is doing. ALDO CARDANUS For once, stop complaining and making excuses with How, father? Chasing all those whores, not respect- this illness or that. The only disease you are suffer- ing his parents, stealing, even... ing from is that excrescence on your neck. ALDO CARDANUS Don’t you preach to me about stealing. What else can I do but stranggle him with my bare hands. CARDANUS ALBERTO What, what? Forgive him, he is your son. ALDO CARDANUS What? Everything that you have – supposedly – done and that made you famous, everything was stolen. Ah! No, no. Here, look at this one (pointing at Lu- ka). Him I will take to be my son. What crime did you CARDANUS commit, Luka? Ha, ha! His mother’s wit. Short but shallow. LUKA ALDO I killed my uncle. I’ve caught him fuckin’my wife in The back of your shirt was still stained yellow when the hay. you stole axle draft from Leonardo. Am I lying? You ALDO yourself kept bragging about it, again and again. The wife in the hay, and mother out of the hay. CARDANUS LUKA (merrily accepts the remark.) So?! > 38

ALDO CARDANUS That poor stutterer, Tartalia, got wasted away when And who is to be praised? Those who made discov- he saw that you... those calculations of his... eries, but would have lost them for sure or kept for CARDANUS themselves. Only for themselves. Or me? After all, The solution of the third degree equation, you stupid. in five hundred or a thousand years from now, what will names like Tartalia, Leonardo, or Cardano mean ALDO anyway. You published them as yours. That was not enough to ALDO you, so you had the book about it published as well. He, naturally, was not mentioned at all. Oh, father, father. CARDANUS ALBERTO Noble intentions are behind my stealings. I am, at Children, when creating the world, the Lord intend- least, smart enough to recognize what is worth steal- ed that one day in a week should serve for rest. It ing. But you will never understand that. is time to lie down. Let’s pray because only the Al- ALDO mighty knows if our candles will still be lit tomorrow evening. Certainly. When it comes to my father even stealing becomes noble. LUKA LUKA Yes, this may be our final dying. U’tie the mutts be- Are they going to hang you too, for those calcula- fore the lying and a long pee trying. tions? CARDANUS (Not paying attention to Luka.) What? Was I supposed to let all those discoveries be ruined? That messy dreamer of Da Vinci, who did nothing but dreamed of flying, managed to either lose or burn hundreds of discoveries. If anything, I regret that I did not take many more of those, when my fa- ther brought me along with him for our last visit. LUKA And why was that? You were still not so skilful in that kind of trading? CARDANUS And Tartalia, as if he had had all the time of this world. I couldn’t... the mankind could not have wait- ed. I just gave the world all that knowledge. ALDO I don’t know who was more impatient, you or the mankind? 39 >

THE THIRD SCENE long and 12 elbows deep, and you can jump from any height, and you will suffer no injuries.

Everybody is asleep, except Cardanus. He is kneel- (Steps can be heard, squeacking of jail door.) ing, punching himself on his chest, slapping himself, pinching. JAILER Cardano! CARDANUS (Others are woken up. Cardanus runs from one to Oh, my God! My God! Why have you abondoned me? another.) My God! My God! Why have you abondoned me? My God! My God!Why have I abondoned you? Why have CARDANUS I abondoned you? Why have I... Father! It’s over! Son! My dear son, it’s over. Over, LEONARDO my son, my Aldo. Forgive me. You’re flying, flying, my little Girolamo. LUKA CARDANUS Bon voyage, old man. Eh, little. Once upon a time.You’ve heard me, I’ve ex- ALBERTO caped the plague, madness and ice water. Now, here God forgive you. I am, my dear Leonardo, all in stocks. JAILER LEONARDO Come on, don’t be frightened shitless. Our execu- Your excuses are familiar to me, but beware, those tioner has a delicate touch. A well train’d man. that fly can hardly avoid a fall. CARDANUS CARDANUS It’s finished. (Leaving.) And you?! Your only dream was to take off and fly. ALBERTO (to Aldo.) LEONARDO Why didn’t you say farewell to your father, you silly Remember, I know how to do it. young man? CARDANUS ALDO Why, then, did that unlucky student of yours, Antonio, Do you think he would do it, if they, by any chance, break his leg, when he tested your flying machine? came to take me. LEONARDO LUKA That’s exactly what I am telling you. Fly not... See, I have farewelled my father properly. Hah, hah! CARDANUS ALBERTO ... unless you have wings. For sure. How can one expect from you, young Ital- LEONARDO (Leaving.) ians, any kind of innocence when your shepards abon- Yes, unless you have wings. doned their flock. Insolent men. They only care about CARDANUS (To himself.) your wool and milk. Eh, I do have wings.There, your scatches are among LUKA my papers. Hook a tent to your body, about 12 elbows Beee! > 40

ALBERTO (to Aldo.) ALBERTO Has your father been taking you to chur... has he And the eternal life and salvation for the soul? been teaching you Christianity? LUKA ALDO The best is together. There were days when he would drag us even ten (Steps, door squeaking. Cardanus entering.) times to the temple. Then again, sometimes he would neglect his religious duties for months, so he would ALBERTO spare us too. What happened brether? Were you interrogated? LUKA CARDANUS We were always taken, by our Dad, whenever there No. I was just told that Cardinal Del Monte was com- was some kind of competition in the church yard. ing from Rome, particularly for my case. By the order What fun we had. Even more so, when adults would of the Holy Father himself. dance and we children around their legs. ALBERTO ALBERTO That is, I’m afraid, a bad bit of news. I knew the situation was terrible, but I could not im- CARDANUS agine it was this bad. The great teacher Luther used to So am I. Certainly he would not make such a long say that, you people, in Italy, attend mass as if it was journey just to apologize to me for being kept inside a a plebian party. And still, I was a doubting Thomas. here. LUKA ALDO And the best thing was, you know, when two wom- Maybe young Edward is sending his regards through en started fighting in the church itself, right in the him, eh? middle of the mass. Both of them were swearing that LUKA they were carrying the priest’s bastard in the stom- That was a good one. ach.What a bloody fight. I didn’t laught’d as much CARDANUS (started to hit Aldo.) in my whole life. Now I will... ALBERTO ALDO (Hold his hand.) Even in Sodom, there was more of innocence. Not any more. ALDO LUKA Then it would not be worth living there. Hit him in the head, pa. In the head, so not to make ALBERTO him limp. Have you ever wondered why you live? CARDANUS (Got away. To Alberto.) ALDO Bad news, you think. What do you mean why? It is well known. For pleas- ALBERTO ure and fun. Well, it depends. LUKA (Stroking his stomach.) CARDANUS And full belly. Either meat or wine or both. Not you too, father. 41 >

ALBERTO easygoing, religious, faithful, deep thinker, energetic, No, no I am not taunting you. I mean, maybe this is enthusiastic about science, solicitous, I like to com- providence itself telling you it’s time to join the son pete, I am witty, inspired by wonders, I am cunning, of God again. bitter, sober,diligent, careless, talkative, I dispise CARDANUS religion, vindictive, envious, sad, deceitful, keen on betraying, magician, wizzard, strict, unhappy, angry Give it up, I told you. I don’t need any kind of forgiv- with my family, keen on lonely life, boring, jelous, I ness. like talking dirty stories, gossiping about other peo- ALBERTO ple, I am helpful and hesitant. For salvation, it is never too late. ALBERTO ALDO Children, he’s got fever. Give him some water. He shall have a separate room for himself in hell, fa- CARDANUS ther. His sins are that huge. LUKA And who could be that heterogeneous, and yet be and be all of it. Only God himself. We Gods. Daddy, I will carry a part of the load, if we meet there. one… CARDANUS (Not paying attention to them. Thinking se- ALBERTO riously.) Come on, hurry up with that water. Yes, yes. Truth. It’s the truth that I shall tell them, CARDANUS straight into their faces. Girolamo the God. ALBERTO That’s exactly what I’m talking about, my son. About the truth. Christ’s truth. CARDANUS (starting to be euforic, more and more so.) Straight into their faces. No other way. There is no God. At least not up there. ALBERTO Don’t make it even worse. CARDANUS It may seems that I am a coward. Yes, sometimes I would act like a coward, but I do have a heart. And courage, too. Lots of courage. ALBERTO That sounds more like madness. CARDANUS I, Hieronymus Cardanus, was granted a philosophical spirit by nature. That is the way I am going to speak. That way. I am smart, elegant, discent, lascivious, > 42

THE FOURTH SCENE TARTAGLIA Never mind. We’ll see tomorrow. Cardanus is lying down, saying the prayer. Actually, CARDANUS he is asleep. Yes, yes. On tomorrow’s day, but in five hundred years (Lies down, sleeps, and continues the prayer.)... the child of your body, Jesus, let him make our faith deep- CARDANUS er and stronger. Holy Maria, mother of God, pray for Hello Maria, full of mercy, lord with you. You bless- us, the sinners... ed among women and he blessed... TARTAGLIA (continues to himself, with no stutterring.) TARTAGLIA (Interrupting him in his prayer, and stutter- All the solutions of the last equation are given in the ring, says the formula.) formula z equals t minus p over three t, where t is some Equation form ax..x cube, plus b...bx square, plus cx- of the solutions of the equation t with cube equals ...x, plus d, equals zero (Speaks faster, trying to fin- minus q over two, plus root from D over a hundred ish the sentence with no further stutterring), unless and eight. These formulas for the solving of the three a is zero. degree equations are called Cardans’s patterns. (This CARDANUS (Making faces, imitating stutterring.) is said while leaving the stage, extremely bitterly.) /Eks/, /eks/. /Bi/, /bi/. Many sleepless nights I spent CARDANUS (jumping out of the bed and starts praying.) trying to figure out what you kept stuttering, and Hello Maria, full of mercy, lord with you. Blessed what actually the content of the formula was. Heh, among women, and blessed the child of your body, heh! Until I peeped into your papers. Jesus, let him make our faith deeper and stronger. TARTAGLIA Holy Maria, mother of God, pray for us, the sinners... now and at the moment of our death. Dividing by a, and changing x...x equals z minus b...b, over three a, the equation comes to the equation z...z (Steps interrupt his prayer. He jumps quickly, and with cube, plus pz, plus q...q, equals zero. crosses himself.) CARDANUS CARDANUS Elegantly, no further comment. Amin. TARTAGLIA DEL MONTE (off) Zero, just as you are Girolamo. The cell is empty, isn’t it? CARDANUS (Uses his hand and head to imitate a hanged JAILER (Coming in with the Cardinal.) man, and the finger point of his other hand to imi- Here is, your lordship, just as you requested, only tate swinging.) that false doctor. Cling – clang. I may be a zero, but still alive and you DEL MONTE (Makes a movement with his hand show- are dead ing the Jailer to stop talking. Turns around the cell, TARTAGLIA breaths in some air and makes faces.) It was because of you that I committed suicide. JAILER CARDANUS Don’t be bothered by this smell, your lordship. Be- If it were up to me, you didn’t have to. ware of the bugs. 43 >

CARDANUS (Falls on his knees and crawls towards the I was particularly instructed to thank you once again, Cardinal) on his behalf, for helping him with your medicines, Forgive me, Holy Father. Forgive me, the sinner. To ensuring him a long and healthy life. a worm biggest of all. Forgive, I beg you. CARDANUS (His self-confidence comes back slowly.) DEL MONTE I felt good too, having had the chance to be in his vi- cinity. Knowing him, he is restless now, for sure. Come on, stop fooling around. Up, on your feet. DEL MONTE CARDANUS (Stands up and doumbfounds.) There he is with his favourite architect, Monty, plan- Forgive me. ning to open a grand avenue in Rome. Corso will be DEL MONTE the name, I guess. Something like that. Come on, stop it. Won’t you ask me to take a seat? CARDANUS CARDANUS (Runs to the hey bed. Makes the bed.) Yes, yes, always on his feet. Always full of enthusi- asm and new ideas. Certainly, certainly, your holiness. Here you are. DEL MONTE DEL MONTE But, apart from that. Let’s talk about the real reason Holy Father sends his best regards, doctor. of my visit. (Del Monte takes the seat, Cardanus kneels next to CARDANUS (Feels worried again.) his feet.) I am listening, ready for whatever it might be. DEL MONTE DEL MONTE Being asked by the Holy Father, I have come here to Stand up, man. investigate denunciations against you. And, naturally, if it is possible, to settle this matter out of the court. (Cardanus stands up, rooted to the spot.) He ows you that much, he says,. DEL MONTE CARDANUS I am endlessly grateful to that generous man, to that Come, sit down. saint... err, I am grateful, grateful... up to the skies. (Cardanus, finally, takes the seat.) DEL MONTE It says here in the denunciation that you publicly de- CARDANUS nied the existance of the Creator himself, that you Thank you. were babbling something about you yourself being DEL MONTE of divine nature. There is something else (Takes out So, the Holy Father, our Pope Paul the Third by the the scroll, and reads.) Soul is transferred from body to body... debauchery is justified and good, since it grace of the God, sends his regards. makes a man purified... it is all natural, and from the CARDANUS nature. Et cetera, et cetera. Eh, my thanks to that saint, who has became saint CARDANUS while still walking the earth. I admit. Here, I admit everything. It might be. (Hits DEL MONTE (Glances at Cardanus strictly, because of his himself on his head.) That crazy head of mine. I ad- overexaggirating.) mit, forgive me. > 44

DEL MONTE he shed at the olive tree, all of the 1,667 hits that he When some uneducated man falls into the devil’s suffered on his sacred body... hands, that’s easier to understand. Open sea. But DEL MONTE the Lord armed you with such a witty brain, as an Stop. instrument to resist the devil, and you are wasting CARDANUS that way. Holy Father remembers your conversations All of the 320 steps that he made, carrying his cross with great sympathy. form the court house to Kalvaria... CARDANUS DEL MONTE I am weak. Thast’s it. Just stop it, when I say! That horoscope is used to DEL MONTE accuse you seriously. What happened to you that made you go into pubs CARDANUS (All astonished.) and talk blashpheme to those drunks? Is it so? I will burn it. Here, you can count on that, CARDANUS as if it never existed, burned down. Puff! (Touching It’s true, sometimes I drop into a pub in the after- his stomach.) Bladder. Excuse me. (Runs to the back noon. There I usually meet the bucher, the miller stage, and long urinating can be heard out of there.) and two bakers and then we play cards or darts. And DEL MONTE (in the direction of Cardanus.) we argue... and drink. We usually have argue over a Doctor, having in mind the fact that you are fully coin or two, but about theological issues, I’m not so aware of the scale of your sin and having in mind sure. But I admit. A drunk head. your sincere regretting it, I think this matter can be DEL MONTE sattled. Six weeks of fast will be enough to earn your forgivness. I have to ask you something. CARDANUS (off) CARDANUS Six and a half. No, seven full weeks. Thank you. Yes. DEL MONTE DEL MONTE And a hundred ducats for orphanage. Do you believe at all? CARDANUS (off. Unwillingly.) CARDANUS (As offended.) Oh! Thank you for that too. Who me? I, who, here and... (Turns aroun the cell, DEL MONTE and sudenly points to dust that can be seen in a ray Here, fifteen and a half centuries have already passed... of light.)... here, even this dust is the evidence of the (He puts his hand on his mouth realising that it is almighty presence of our Lord, the only one. impolite to talk about that while hearing the sound DEL MONTE coming from the backstage.) All right, all right. Don’t have to be so passionate. (Cardanus stops emptying his bowel for a while.) CARDANUS (passionately) Me, who in Christ’s horoscope proved the inevitabil- DEL MONTE ity of all 62,200 tears and 97,307 drops of blood that Here, it’s been fifteen... 45 >

CARDANUS (Moaning, continues to empty his bowel.) CARDANUS You see, father, I used to explain even these pro- (Whispering to him so that jailer cannot hear.) longed bowel movements with the God’s will. DEL MONTE (Del Monte waves off his hand.) (Nodding his head.)

CARDANUS (Entering.) That’s it. DEL MONTE I wanted to say that fifteen centuries have already passed since the birth of our son of God, and his word is still live all the same. Let this sign guide you, too, on your road to deeper faith. CARDANUS It will be so, and not any other way. DEL MONTE (Standing up) Don’t forget that Holy Father is rather old... we wish him a long life (crosses himself)... and that you can be left with no protector. Therefore, be smart. CARDANUS (Hitting his head.) Here, I am already working on that. DEL MONTE And now, it’s time to go. I have to deliver some more regards, and then back to Rome. You will go home, naturally, after the usual jail procedure is done. Fare- well to you Doctor. CARDANUS Farewell! And tell Holy Father that I am sending a thousand, no..., four thausands kisses to his hand. DEL MONTE (to Jailer.) Open it, young man! CARDANUS Your Holiness, can I ask for one more small thing? DEL MONTE Say it. > 46

THE FIFTH SCENE CARDANUS Here it goes. (Runs to the bucket. Urinating.) Cardanus sits with his head on his knees. Aldo and Lu- LUKA ka play a game who will kill more lice. While Cardanus Your old man is alright, but, it seems to me, he is sim- is complaining, it can be heard due, tre, quatrro, cinque, ply going the wrong way. sei, sette, otto, nove, tutti, and from time to time mine, ALDO when someone wins the game. He is a lunatic. You’ve seen him yourself. LUKA CARDANUS There is one in my village, too. He keeps saying: He I am a rascal and a coward... (Glances towards Aldo will come, he will come, he will come. He will come, and Luka. They pay no attention to him whatsoev- he will come. Children throw pebbles at him. er.)... Rascal... (The same.)... I abandoned everything. ALDO Everything... People throw ducats at this one, for they are even LUKA more crazy than he is. Mine. (Continues in triumph.) What a good game, LUKA my old man us’d to play it, I want it too, ev’n if my pants ar’ tak’n by you! How is that? CARDANUS ALDO ... You worthless man, uh! Come on, say something! He predicts their destiny, and they pay for it. Spit at me at least. CARDANUS (Returns, mood changed.) ALDO And where is our father Tedesko? Who would dare to spit on God. Well, you yourself LUKA admitted that you are the God. There he is, sizzling at the stake. LUKA CARDANUS Hah! Eh, you really know how to let down somebody. Uff! Uff! CARDANUS LUKA (Discovers himself a poet.) Go on, laugh at me. I deserve nothing better but to Wife in the hay!? Sizzling at the stake. (Looks at Al- be laughed at and mocked. A coward, just as I am, I do.) Eh? abondened it all, and denied it all. All, abondened. CARDANUS ALDO AND LUKA Poor he. He is reliefed at least. Sie, sie! Sette, novo! LUKA CARDANUS Sure he is. So reliefed that he feels warm deep in his The truth let down. I turned my back on it. heart. Hah, hah! ALDO ALDO And, for a while, I thought, the Cardinal was going The world would be reliefed if such a fine fire were to fall on his kneels before the Allmighty. lit for you too. 47 >

CARDANUS (Pretends to be calm.) Doctor. Doctor! W’d you get the same mixture if there You see, Aldo. You are mad. I cannot interpret your h’d been water in the barrel and then wine, added? scorn for your father in any other possible way. CARDANUS (Does not pay attention to Luka.) ALDO No animal can be as mean and cruel as man. You Kain. I can. What else can you do but despise the one who (Steps can be heard, door. The Jailer comes in.) mistreated and abused you since you came to this JAILER world. Do you know, Luka, what did he do to us? Here it is, hot slops. LUKA CARDANUS (Runs to be first to take his portion.) Eh, I don’t know, b’t one thing I’m sur’ of. It was nev- er boring at your place. Well, this is nothing but bloody water. JAILER (Scraching around pubic area.) ALDO There is some meat. My brother and I were so small that we still pissed our pants, but he made us solve mathematical prob- CARDANUS lems. Where is it? LUKA JAILER Really? You see all those killed bugs. Collect them, then mix it all up while still hot. ALDO LUKA When you don’t know the answer, beating... The Eh, this one is good, master. barrel is full of wine. Every day two buckets of wine are taken out and two buckets of water are poured JAILER in. After six days, it is half wine, half water. What is You, Luka, eat, then come with me. The executor is the volume of the barrel? Even today I can remem- impatient. He has business to do with you. ber the beatings for that volume. (Luka throws the portion and spits on the floor.) CARDANUS CARDANUS (Sips the slops.) Gianni knew the answer. In the book of Manners of Civil and Christian Polit- ALDO ness it says it is not nice to spit on the floor. Yes, Gianni, your Gianni. Gianni was actualy inter- LUKA ested. Hey, fuck you, old man. (Fights back tears. Gets ready CARDANUS to blow his nose.) And even then you were interested in ’skirts’, right? CARDANUS ALDO And blowing nose either. Only if you use a handker- At least, I don’t put poison into cakes. chief. LUKA (It is only now that he understands the point of LUKA (Blows in.) the exercise. In a wrong way, of course.) Well, farewell guys, and sorry for offending, if any. > 48

ALDO ALDO (Approaches him, crying.) Farewell, my friend. Be brave. Forgive me! Forgive, if you can. CARDANUS (Sips.) CARDANUS The doors of the Paradise are opening for you, son. You silly boy of mine. You are really stupid. Stupid, LUKA (while leaving.) if you think that it is possible for a man not to love I‘ll burn in hell. his own flesh and blood. CARDANUS (To himself.) (Steps, doors. The Jailer enters.) Though I don’t think that phlegm is so valuable that it should be kept in a nice handkerchief. JAILER (Now friendly.) Doctor Cardano, com’ on. Home we go. (Cardanus and Aldo stay alone. They are sitting on the opposite sides of the cell, silent for some time.) ALDO Dad, daddy! I love you! ALDO (Points to the door.) CARDANUS (Leaving.) You gave him a hug, too. To a stranger. I love you too. CARDANUS Him too. ALDO But your own son... CARDANUS Bastard. ALDO I... you, in spite of... No... I know I have disappointed you. CARDANUS Enormously. I wanted sons scientists, distinguished people, as I am, and you, robbers. ALDO Father, I have to tell you this. I can’t keep it from you, even if you renounce and disown me for the hundredth and first time. Since I’ve done that, I’ve been having terrible headaches, I can’t sleep. I keep rolling over all night long, sweating... I... I betrayed you, I wrote that letter to the holy court. CARDANUS You?! 49 >

THE SIXTH SCENE ht of my brilliant mind. I turned the tables on them, and I haven’t backed off from my convictions for a step, not one. Cardanus’s cabinet. He lies on the bed and complains. LUCIA It may be. CARDANUS CARDANUS Water... water. (Shouting.) Water, can’t you hear me! The smartest eggheads, hey! Are you listening to me LUCIA (Enters with a jar.) at all? They fed you with ham and nothing but ham when LUCIA you’re lapping so, right? CARDANUS Loosers, just like you. You can mock the poor martyr. Just mock on. CARDANUS LUCIA (Brushing her hair with a thick brush killing lice No point wasting words on you. from time to time.) LUCIA (Kills a louse.) Martyr of mine, you’re perfectly safe. And look for whom I have wasted my whole life. CARDANUS (hits himself with his finger on his chest.) CARDANUS (Changes mood.) And here, here it hurts. My soul is being torn apart Lucia! Do we always have to be like this? We’re al- these days. ways offending and biting each other, as mutts in a LUCIA kennel. You see, I was enlightened at the jail that So you have something there? Eh, I didn’t know that. night. I was visited by that good ghost of mine and CARDANUS he told me to forgive Lucia everything. Forgive her everything. How can you say so? You misuse my present impo- tence and exhaustion to mistreat me. LUCIA LUCIA And what about me forgiving you, he didn’t talk about that, did he? Poor you. Spent a night in the jail and became impo- tent. CARDANUS (Does not pay attention to her words.) CARDANUS And, be it so, here, I forgive you. Do you know what My heroic deed, you fool, can be compared to the a good feeling it is, to be generous. one od David’s. Do you think he finished his strug- LUCIA gle with Golliat all fresh and strong? You must have got a good portion of fear in that jail, LUCIA when you became generous. Who cares. CARDANUS CARDANUS Now you have discovered New India. Is it only fear, They have brought along the smartest eggheads from only those basic instincts that man is ruled by? This Rome, the most educated theologists, to prove me thing with me is the matter of purgation. Pure and guilty. But I, I have beaten them only with the streng- complete purgation. > 50

LUCIA LUCIA I’m afraid it’s a bit late for that, my dear Girolamo. Yes, I’m a stupid woman. I can’t write poetry, and CARDANUS (Pissed off.) I can’t have scholastic conversations like all those Late, late. Hers must be the last. whores of yours, who you play up to. Bastard, may- be you have been disappointed. LUCIA CARDANUS Eh, my dear generous sweetheart, from now on, you won’t hear a word. Come on, come on. I did forgive, but... LUCIA (They are silent for some time.) Shut up for once. CARDANUS CARDANUS Lucia! But I won’t stand being offended by a woman. LUCIA (She ignors him.) LUCIA CARDANUS And some man you are. No other woman would put Lucia! up with you, except for crazy Lucia. LUCIA (Still the same.) CARDANUS CARDANUS Stop barking. Water, Lucia! LUCIA LUCIA (No reaction.) Ah, I’m sick of you. (Leaves.) CARDANUS (Stands up, moans, takes the water himself.) CARDANUS (to Lucia.) As soon as I get better I will go to the stonecutter. Go, go vent your fury. And just to be clear, every oth- (Waits for Lucia’s reaction, but, of course, there is er woman would be delighted to have me as her hus- none.) I will order him to write the following on my band. (Continues to himself.) Eh, my Girolamo, all tombstone: Here lies a man who the horrifying In- that education, all the gifts, knowledge and respect, quisition could do no harm, but it’s his evil wife that all in vain because you married that stupid woman. cost him his head. All the things I might have done if only someone had LUCIA supported me. Even I myself can’t comprehend just You would have died a hundred times so far, if it had how much I would have accomplished. The eternal not been for that evil wife. doors of glory are somewhere around here, but there CARDANUS is no hand to guide me through. Ah, we’re talking, talking. LUCIA (off.) LUCIA Girolamo! (Runs in petrified.) Girolamo! Our Aldo! You purged! You are so full of garbage, I simply don’t CARDANUS know how you can stand on your feet. What about him? CARDANUS LUCIA You stupid woman. Ears... cut off... maid heard at the square. 51 >

CARDANUS LUCIA Calm yourself. (Gives her water.) Maid, square. At In Milan. Publicly, at the square. Aldo, my dear boy. the fountain, right? Maria! Maria! What happened? CARDANUS MARIA Street cats and dogs will have a feast. Ears... cut off... maid, no, me heard at the square. LUCIA CARDANUS Are you listening to me? At the fountain? CARDANUS MARIA I am listening. Aldo’s ears have been cut off. Ordered No. At the butcher’s, while I was buying some meat by the Cardinal. Street cats will... balls. LUCIA (Hits him with her fists on his chest.) CARDANUS Do you have a heart. And? What have you heard? CARDANUS MARIA I do. Certainly I do. That’s why I arranged it with the Well that. Cardinal to have them cut off. CARDANUS LUCIA What that – what? Why? Why? MARIA CARDANUS Cut off... balls. Why?! Let them all know. Let them yell at him, there CARDANUS he is, the one with no ears, that robbed and betrayed Balls? his own father. MARIA LUCIA Not balls. That what Mad’m says. You bastard with no heart! One hell is not enough CARDANUS for you. Bastard! Go away. Off you go. Go, go. (to Lucia. Gives her some more water.) What happened? LUCIA Our Aldo’s ears have been cut off. CARDANUS Is it so? LUCIA Cardinal ordered it. CARDANUS And where? > 52

THE SEVENTH SCENE ALDO Come, leave it now, Stutter. Cabinet. All around there are fairy ghosts that have TARTAGLIA come for old Cardano. They are looking for him around Leave it? Just like that. I was robbed. The bloody thief the Cabinet. took it from me. ALDO ALBERTO The book from you, the ears from me. He can’t be found anywhere. TARTAGLIA LUKA For you it’s not a problem. Your wounds have healed, Wher’ the old madman went? and what about me, cling-clang. DEL MONTE LUCIA (Enters.) Does that lier think that he can cheat on us even now? He is not there either. ALDO LEONARDO Probably doing some palm reading to find a secret Yes. There is not a sign of him, but the room is full way to run away. of my drawings and drafts. DEL MONTE LUKA Once he escaped from me, but not this time. Old man! (Looks under the bed and takes out a cham- JAILER ber pot. Looks into it as if he is going to find Cardanus there.) Here! ALDO (At that moment urinating can be heard. Long, of Where is he? course.) JAILER CARDANUS (off) Who? You have frightened, ah! Here I am. ALDO LUKA The old man. Eh, the old man is good. How did he... me... (Waving JAILER the chambre pot around the bed, holding it in his How would I know. hands towards his face and then to Cardanus.) ALDO LUCIA Then why did you say, here? Yes, good. He buried us all, and he, a nit... JAILER JAILER (Hearing the word nit, quickly turns to Lucia.) Bugs. Here, underneath. I knew something was there. Where is the nit? TARTALIA (Found a book.) CARDANUS (Enters.) My name should have been written here. Niccolo There you are. I was waiting for you. (Shows to his Fontana, nicknamed Tartalia. palm.) 53 >

DEL MONTE LUKA Don’t be foolish. We have no time for your magic. Hey, old man, Aldo and I will be your guides, if you CARDANUS are ready to wander around with us. Eh, Aldo what d’ you say? Maria! Empty the pot. There, your friend tax collec- tor is passing by. Water him... ALDO MARIA I’d rather serve Lucifer himself than be with him. ... with some drizzle. LUKA (Cardanus.) CARDANUS And if you don’t mind the heat. Hah, hah! Yes. Out of... ALBERTO MARIA Don’t listen to them, son, but take care of your soul. You can still be saved. ... a tiny cloud. CARDANUS CARDANUS And you, father? You were telling me that I blas- That’s right, smarty one. (Turns around.) And where phemed and now I can see you have a nice company. is Gianni? My Gianni. A small fire, then a bigger one, and finally the big- ALDO gest. Why haven’t you saved your soul? He doesn’t want to see you. Not now, not ever. That’s DEL MONTE his message. But you see Daddy, I’ve come because I Doctor, you can’t cheat the destiny. No skill what- love you. Remember? (Shows the healed wounds of soever will help you to escape from settling the ac- cut ears.) And you said you loved me too. counts. Even the Holy Father himself is helpless in CARDANUS this matter. But Gianni...Why? CARDANUS LUCIA Settling of the accounts, you say. Why not. Here, I You can ask why? You, bastard, were the one to per- still have fifteen teeth, my sight is good, sometimes suade him to poison his wife. You yourself chose the I read the palm, or the sky. I still urinate for a long poison, to spare her any suffering. time, about fifty times a day. And what is most im- portant, I don’t urinate less than when I was young. CARDANUS In average, a litar per emptying. I can’t see why that is important now. ALDO LUCIA I believe all that will make Saint Peter very interested. You have never seen anything apart from yourself. I LUCIA told you. One hell is not enough for you. He’s fooling us again. Do you really think that you CARDANUS can cheat death too? My dear, crazy Lucia, I will find mercy even in hell. CARDANUS ALBERTO It wont’t be the first time, remember. The horoscope That will be checked soon, son. predicted I may have died in my forties. If I hadn’t > 54

cured the Holy Father I would have joined you a long DEL MONTE time ago. I still cannot recognize any nobility. DEL MONTE CARDANUS Doctor, you haven’t cheated death, but me. Begging Do you really think that, there in the jail, I was sup- and begging, kneeling, forgive me, he said, and then posed to carry out all my true convinctions and to all over again. finish, as this martyr? (points at Alberto, who, round LUCIA there, was dedicated to his prayer.) Was I supposed to become a victim of your worshipping mistakes? That was David who, by crawling, defeated Golliat. ALBERT (Startled, stops praying.) CARDANUS You son, keep making your position even worse and Lucia, I’m talking to the Cardinal and you are, as you worse. well know, not apt to that kind of conversation. CARDANUS DEL MONTE No. I had other mission here. My duty was to keep So, what do you have anything to tell me? my wisdom, my gifts and to present their gifts to the CARDANUS mankind. Don’t preach to an old man. I’m a witness, you youself LUCIA have not escaped from hell. Why, otherwise, would The mankind would have managed without you, silly you be with these brethren. old man. DEL MONTE ALDO (At the same time as Lucia.) Up there, everybody is awarded according to his/her Whose gifts? merets. But here,it is not about me, but about you. TARTAGLIA It’s your consiousness that is on trial. Mine. CARDANUS CARDANUS Don’t you worry about my consiousness, if you charge it only for that chaeting of mine. A little. Oh, Stutter, you ahre here as well. Hence, tell me where you have hidden the papers. While others were ALDO cutting the rope I had some more important matters Yes, only that cheating a little. All the rest was as dis- to attend to. cent as a saint’s touch. ALDO CARDANUS (Waves off his hand towards Aldo.) Stealing around. After all, it was done out of noble intentions. CARDANUS DEL MONTE I was looking for them then, and then later at nights Noble cheating!? I cannot understand that. I would search all around your house, but you hid CARDANUS them well. Come on, tell me now where they are. Yes, noble. Wise Agostino Nifo instructs us...the cho- TARTAGLIA sen ones, not to have to speak as majority do and not I burned them down. Burned down, not to leave them to have to think as minority. available to you and those of your kind too. 55 >

CARDANUS the burdens. That’s why I forgive all of you. I forgive A selfish man. Now tell if I was right. you, because you are so small. DEL MONTE (Here some of the ghosts can, but don’t have to start leaving the stage.) You forgive us?! CARDANUS DEL MONTE I forgive you your cowardness. Your indifference, lie Doctor, don’t neglect me. What about the God? Did and hypocrisy. You aren’t different at all. (Talks to you have to sacrify him as well, all for your noble the present but also to those who may have left the purpose? stage.) Yes, yes! All of you are a bit of Cardanus, but ALDO you have never had guts to face it. Pretending and deceit are what you prefer. It’s no point talking to him, Your Holiness. Can’t you see that the old lier is just trying to buy some more DEL MONTE time? I don’t know about you but I can hardly wait Such a speech of yours, I’m afraid, leads straight to to introduce him to Satan myself. the hell. CARDANUS CARDANUS Don’t haste, my son. All the time of the world is be- The sky, Your Holiness has never interested me in fore us, and I for sure know that you are not keen on such a way. Down here, I felt quite well. my company that much. Have you heard me? LUKA ALDO (Touches the part of his head where his ears used Old man, I do tell you, today you will be with me in to be.) the hell. Remember? You told me som’thing similar back ther’ in the jail. Shall we? You, bastard. CARDANUS DEL MONTE Yes, Luka. As a pleasant day brings you to a pleasant So, will you answer my question? Did the Lord him- dream, so a well used life leads to a pleasant death. self have to suffer because of your, at least,unusual, loyalty to the mankind? LEONARDO CARDANUS Those are my words. Yes. It had to be that way. I did it for you, for all of LUKA you. Com’ on, old man. DEL MONTE CARDANUS The creature dared to reject the Creator. My God! My God! Why... (Dies.) CARDANUS I have exiled him, abandened him. I thought, if there Curtains. is no God, there is no sin either, consequently, no re- sponsibility. And for a man, it is a burden above all

Olga Dimitrijević IT’S SO GOOD SEEING YOU AGAIN > 58 Olga Dimitrijević

orn in 1984, Olga Dimitrijević graduated in dramaturgy from the Fac- ulty of Dramatic Arts in Belgrade. She used to write theatre critiques B for the weekly Vreme and theatre magazine Teatron, and participated in many international workshops, seminars and conferences on art, theory and gender studies. Ms Dimitrijević successfully defended her master thesis The Body of the Female Folk Singer: Constructions of National Identities in Serbia af- ter 2000 in 2009 at the Central European University, Department of Gender Studies. Performances of her plays include: Boarding School (Dadov Theatre in Belgrade, 2009), Workers Die Singing (Heartefact Fund and BITEF, 2011), The Folk’s Play (“Bora Stanković” Theatre in Vranje, 2012) and Wait, Let’s Say Goodbye within the project Flow of Desire (TkH i CDU, Zagreb, 2014). The rest of the projects include cabaret Behind the Mirror (REX Cultural Centre, 2012), she was the co-editor of the book Between Us: Untold Stories of Gay and Lesbian Lives (Heartefact Fund, 2014); occasionally, she gives lectures in Queer and Gender studies in Belgrade and does dramaturgical work in thea- tre. She received Sterija Prize for her play Workers Die Singing, and won the Sterijino Pozorje competition for original national play It’s So Good to See You Again (2014). 59 >

Olga Dimitrijević IT’S SO GOOD SEEING YOU AGAIN

Translated > Ksenija Latinović

CHARACTERS IN THE PLAY:

Dragica, the prime mover Rose, the fairy godmother Zagorka, a tough cookie; retired Ivana, a Partisan ex machina

There are also Ivana’s son, some notary, and a few others, but we despise them anyway, so they can advisedly be played by one actor.

The prologueis, naturally, narrated byDragica. On the other hand, it is quite irrelevantwho narrates the epilogue, as long as it is said.

To AFŽ, just because > 60

don’t mean a thing. We are nothing butgrumpy old ladies whooccupyyour seats in public transportation, who cash THE PROLOGUE: in their retirementchecks, crowd your doctor’s office and who are simply useless, unless,of course, there are grand- My world slowly disappears. children in need ofoccasional babysitting. They have changed my sidewalks, paved them and We are the living archive of socialism and every- they are now looking pretty. Some new buildings have one can hardly wait for us to die, so that they can finally risen, some facades have been restored, and the small bury those memories along with us. shops in the street below have all become something else. It is dark; it is awfully dark and will get even darker. Those stores I worked in are now mostly empty, or Why, why did you have to go now, at this particular leased; and there is certainly no more bad fashion at low moment and particularly before me, why couldn’t we de- prices. There isno us,women, there really isn’t much of part at the same time, or why couldn’t I go first at least, anything anymore other than massive racks and dust. I a mere second before you? used to work there, and now there is nothing. Of all the women’s work, our work, in the end there’s nothing left but dust. PART I: My world and my friends,they are all disappearing slowly. Some have been absorbed by hospital beds, oth- ers simply collapsed in the street, sometimes there was an accident, and all the rest. My world is disappearing in 1 THE FUNERAL a thousand different ways. Above all, I mourn the memories which no one can DRAGICA: The funeral procession passes through the New hear anymore. Cemetery. First, the hearse with the casket, thenthe relatives, and finally, somewhere behind the youngest Memories of the youth work brigades daughter of the grieving family, walk I, surrounded Memories of the social housing by a group of other aged individuals. Memories of main street clogged by cars The funeral procession passes through the New Ceme- Ofvacationsin workers’ holidayresorts tery. Dragica’s legs are giving up on her. But she keeps Of Arabs and Africans from non-aligned countries walking, and walking, and glimpsing at the casket. An who spoke Serbo-Croatian, police roundups with bad important part of her life will perish with this casket, timing, bulky first TV sets and different accentuation and the majority of the participants in the procession and style of acting in movies are aware of it, but they are also not exactly sure what Ofall the premarital, marital and extramarital sex to do with this information. The brass band plays, and we had Dragica is silently singing the song that is being played. Of grey markets; of stealing cherries DRAGICA: Of post-war hunger I hate autumn The problem with memories is that they won’t mean I hate the golden foliage under my feet anything to anyoneanymore, in the same way our lives I hate the rain 61 >

You probably hate it, too On one end the politics is discussed, And the autumn is crying over you on the other, jokes are told Autumn of two-thousand-and-something in order to cheer up the crowd The day before yesterday was the last time “At least they go by some order,” We strolled by the river Can be overheard here and there Now we have arrived where we needed to In my bowl of soup a fruit fly floats Then the priest came; Drowning And all of us of certain age It’s drowned. All of us silently curse I am staring at my bowl of soup Ivana, you would have chased this one away with A hundred people sit ina restaurant a rifle A hundred people and it’s like I’m alone They all eat All these thingsDragica mutters to herself; the family They all eat of the late Ivana already knows them very well, but sim- Rattling ply couldn’t care less. They were the ones who dragged Chomping the priest over in the first place, because that’s how the Chatting funerals are done sincenineteen-ninety-something;Ivana was never consulted about it, of course, let alone Drag- Nagging ica, Godforbid. Clanking The priest does his thing and eventually leaves. Gobbling The family does what should be done at funerals. Some- Nibbling one makes a short speech. You were a good mother and Savoring grandmother, and you lived your life on your own terms. I can’t. Former comrades have also prepared a short speech, for it would be a greater scandal if they hadn’t, and they Dragicaputs down herspoon;she gets up from the singa songafterwards. And Dragica – nothing. Then they table and leaves. It seems as if nobody noticed. allgo to lunch, and at lunch, well, you know how it goes. 2 AN EMPTY APARTMENT DRAGICA: The door closes behind Dragica’s back, so loud she Jangling forks feltitechoed like never before. Outside, the rain is falling And rattling knives stubbornly, and every sound reverberates through the Rattling shots of brandy in a toast for the de- empty apartment, each sound to Dragica means void, a ceased soul great void, and an empty space, which, up to the day be- Alcohol hits as the food settles in the stomach fore yesterday, was a space filled with items, which, un- Long are the tables in a restaurant near the cem- til the day before,Ivana would touch, lift, take, use.The etery empty space with only Dragica there, and just a day be- The young and the old rattle thecutlery fore yesterday,Ivanawouldcherish her and love her, asshe The children are starting to squeal had cherished and loved her for the last forty-odd years. > 62

This is my home. Dragica walks up to the old record player and press- This was my mother’s home. Therefore, it is now es a button, for maybe the music wouldfill thisvoid. mine.

“You’re leaving me alone We have a contract. You cannot throw me out. So rough and so suddenly My lawyer disagrees. I can easily overturn your You’re leaving me alone contract. After all you meant to me Well. I’ll see you in court, then. In this lost time Where there is no mercy for laughter Nonsense. We’ll help you a little to get you started. Leaving me alone What? After years of love Pack your bags,Dragica. We’ll find you a nice nurs- You’re leaving me without a goodbye...” inghome that you canpay forwithyour pension. RadojkaŠverko sings from the record player over I do not need anew home. This is my home and and over again, as if she’d sing to eternity. But nothing I want to die in it. lasts forever. It was never yours. Ivana’s sonwalksin. The vulture is after the apart- Yes it was. ment, andhas come up with an idea on how to get it. De- spite the life care contract which Dragica and Ivanahad No, it wasn’t. signed as a substitute for a marriage contract, he still Get out. Get out. came up with a cunning plan to get his sticky fingers on Please have your bags packedwhen I come back the flat. Now, the balance of power is extremely uneven tomorrow. here. Here is their dialogue, speaks Dragica then the Vul- ture, then Dragica, then the Vulture: Leave!

What do you want, you vulture? 3 AN EMPTY APARTMENT ANDTHEY Do not make this harder than it already is. I know what you want, but what I don’t know is ARE COMINGTOMORROW. how you have the audacity. When a woman who has just been left alone after- Look, this isn’tpleasant for me either. decades spent together, is ordered to leave the apartment If it were so unpleasant you wouldn’t have come whereshe has spent all those years, one can expect any here at all. sort of response. Dragica feels as hollow as the apartment. Even Radojkahas stopped singing from the record player. I have three children. Suddenly, she feels there is too much of everything, And I’m seventy-five years old. too many things, too many old chests, clothes, books, I know; ergo – why would you need such a large dishes, duvets, curtains, tables, glasses, paintings, lamp- flat? You know what they say – youth must be shades, Burda magazines, sofas, couches, light bulbs, cab- served! And the law is clear. inets, armchairs, music devices, frames, figurines, chairs, 63 > forks, knives, plants on the balcony, plants in the apart- ance, we cannot establish her exactage or her social class, ment, papers. All of it is massive –the fridge, the sink, because sheis wearing well-tailored but then again quite the TV set, washing machine, freezer and shoe cabinet. tatteredclothes.At that very moment, Dragica also passes Massive is this large space filled with this and that. Each through Lomina Street;she always chooses this path be- item carries Ivana’s mark. But Ivana is no more. cause she loves this street, which, much like me, reminds her of better times. On the same side of the street, then- ice elderly woman from the previous paragraphis walk- ing towards her. Since Dragicais wrapped up in her own 4 IT’S SO GOOD SEEING YOU AGAIN thoughts, the two almost collide, which will turn out to “It was eight o’clock at the flower square” aka Cvet- be avery fortunate accident. niTrg; from there you go down Masarikova Street, and The two women stare at each other’s faces, con- from Masarikova Street down NarodnogFronta Street. fused; they continue to walk on, and then almost simul- There you turn right, and the first one on the leftis Lomi- taneously they both turn around and shout, “Dragica!” naStreet. There once lived my mother’s godmother with and “Rose!” her mother, and my mother had also lived there while They hug each other: she was in college. My mother would often take me and my sister to the godmother’s place, and I still have my ROSE: How long has it been?! diary entries from the third grade where I describe these DRAGICA: I can’t remember! visits as the best days ofmy life (because those were the ROSE: One can’t even count it. days thatI would either cut classes or received A’s, and DRAGICA: I didn’t know you were in town. then my mom, my sister and I would go to McDonald’s, or ROSE: I didn’t know you were alive. enjoy Mira’s homemadepopcorn and jamand read comic books and that sort of nice things at godmother Mira’s DRAGICA: I haven’t thought about you in years. place in Lomina street). ROSE: It’s a close encounter of old peers! Like mom, Mira also died suddenly and unexpectedly one day and was buried in her birth town. I haven’t been Old friends both burst into laughter at this unintend- in her apartment since, I haven’t even passed through edrhyme. They are both still in disbelief. And they go on: the street that many times, but every time I’m there, I DRAGICA: Oh my. Weren’t you somewhere in the wide think of that apartment, the homemade jam and the com- world? ic books, and old issues of Burda magazines, and the sun ROSE: I was, up to my retirement; until Dušan died, that is. that bathed the apartment throughout the afternoon. But none of that is particularly important, and this DRAGICA: And now? was a major digression. What’s important is that we are ROSE: Oh, now. Don’t even ask me about now. now at CvetniTrg, and going downNarodni Front and How about you? Balkanska all the way to Lomina Street. The day is very DRAGICA: Oh, me, I... beautiful, one of those lovely sunny days that dawn in Dragica utters this in such a manner which makes Belgrade once in a while, and the route is now treaded it clear to Rose that there is a great, tremendous painbe- byan older woman, around Dragica’s age, a nice elderly hind it. And that she needs company; a friendly female- woman without any special features. From her appear- company, just as Rose needs it too. And naturally: > 64

ROSE: I am not going to ask you a thing now. It hasn’t been easy for you, I can tell Come over to my place. Well, tell me now, woman-to-woman We should catch up a little. Do you live well How is your health She takes Dragica by the arm, and they slowly walk Do you ever hear to the left. Rose’s house is, of course, right there, in thev- From old friends ery same street. And the two women go in. DRAGICA: Oh, my dear Rose, 5 ROSE ‘N’ ROSES I don’t know who is still alive anymore And I don’t even know why I am. It’s a bit difficult to reach Rose’s house, because ROSE: Hey, I did not invite you here to wallow in despair the­re’s a pileof bricks, mortar, scaffolding and other equi­pment fora brand new buildingin the making. It is But to talk; and share. an attractive location, so there is no use inwasting all these valuable square meters on small decomposing pre- And stare. At each other’s wrinkled faces, Rose war buildings. They explained this to Rose as well, but would add, if she wereinclined to maudlin pathos, which she did not quite understand them, beingthewife of an she is most certainly not. architect from the era of socialist modernism, she inev- ROSE: Let me make us a cup of coffee first. itably despised allpost-socialist transitional architecture. Whether Rose understood it or not, the investor DRAGICA: Don’t forget the jam. wouldnot give up on her parcel so easily, but we will get Nice place you’ve got here to that later. For now, what’s important is that that her ROSE: Sure it’s nice; it’s goingto be evennicer when they apartment wasin a one-storey building in Lomina, simi- come to demolish it. Or so they threaten me every lar to the one from my memory, looking outtowards the day.They came in here a couple of times, offering me river and with creaking and squeakingpre-war decking. money and apartments; they have already demolished It is late afternoon, and the doily curtainslet the light in, a few other houses in the neighborhood this way. And a yellow light that cannot possibly be more yellow, for why wouldI need money and a new apartment, I’m it is around time for the sun to go down, and it gives a certainly not moving now, in my old age. unique aura to the room. DRAGICA: And the kids? Against one wall there is a sofa and another so- fa against the other;in a classic combination of green ROSE: At the other end of the world. They come for Christ- and brown you would find in any old apartment. A ta- mas and on holidays. ble with two chairs leans against the third wall and a TV But Zaga comes every day; to get away from her own. set is right next to it. On the table, you guessed it right: DRAGICA: Who is Zaga? a vase with flowers. ROSE: A neighbor. We’ve been friends for years. ROSE: But let’s drink a shot. As that song says: Make yourself at home Old friends, where are you today And relax a bit Youth quickly withers away... 65 >

DRAGICA: Ah, that voice of yours. He would not go before me when the time comes ROSE: It’s gone. I haven’t sung for years. I’ve had some And if he did, the time wouldstop; offers, they called me, but I rejected them all. And then, not only did it not stop DRAGICA: But why? There are still active singers from But our generation. It was already so long ago ROSE: Oh, Dragica, dear. Both my heart and my soul were My heart is beset by woe Yugoslavand they broke apart along with Yugoslavia; Ever since he poured that brandy shot, so I broke apartas well and retreated. Why would I Took his last gulp, sing for them, let’em sing to themselves. And slumped down like he was never up.

Conversation is in a standstill. Rose and Dragica Just this morning, I received a letter. should now catch up and recollect thetime they spent Dear Mum apart, which is an entire lifetime that measures in dec- Children are growing up and I got a new job ades. But Dragica can’t speak because ofthelump in her throat, and Rose is also feeling a little uncomfortable, So, he died but at the same time she is anxious to hear everything. And then my son left So shedecides to talk after all. Oh, I don’t even know what is what and when is when ROSE: Maybeit’s for the better. So, how about you? Anyway, what’s important is that I make ends Family, grandchildren, sons, daughters, husband meet all by myself Where is everyone I read something today... where was it? And where do you live, anyway? That when you turn sixty your life isn’t over But your story is told. Do you have a good pension (And how long it has been since my sixtieth!) How did you get through these times Where haveI read this?

I thought that See, I can’t even remember what I’ve read and When he died where, and soon I will not be able to read at all. It would be the end of me and that I’dwant to Soon, I’m sure of it. Oh, well, whydo I need to go as well read in my old age, anyway. He was the reason I came here to stay And she continues, as if singing a popular ballad: To always mix the two dialects whenever I speak To endure all those hateful nationalist letters they I used to sing I used to be happy used to leave in my mailbox And the world,too, was happier then Love is greater thanlife itself Both the country and the incomes were great And greater than my song; Not to mention record sales I thought that I used to sing I used to be happy > 66

I had a son DRAGICA: And a husband, too I’m sad Husband is now six feet under My dear And the son is six thousand miles away I have never been so sad To the song I gave everything I had As yesterday I sang about unhappy love Or today And rainy nights in the park When I look at myself standing or sitting About the beauty of a spring day Reclined and languid And one beautiful country Bony In fact, everything that those songs were about Sunken is gone; Wretched Gone is the beautiful country Like I never have been before And I have nothing to sing about anymore. Ofwhat was once abody Anda woman, and all that DRAGICA: This morning I went to the cemetery. I wish I Only half of itis left lay in that tomb as well. But I am still talking. ROSE: Hasyour husband died? Sometimes I’m afraid there will be too much talk Dragica doesn’t answer but starts crying, already but the body will no longer have anything to say. on the verge of tears halfway through Rose’s monologue. And that it’s just going tosit there and rot away Rose, tactfully, pulls back. and the voice will keep coming out of it, ‘n all.

ROSE: Come on, now. Don’t despair. Terrible is Dragica’s story, and terribly great is Rose’s compassion, as well as their friendly love that hasawak- You, my darling Dragica, have always been ened again, after many years. The two women will now A woman with two hearts hug each other tightly and lovingly, happy that they are Even if one stops, the other one will keep on beating unexpectedly spending an afternoon in this apartment, shattered by memories and reflecting on their current And all has suddenly vanished; the decorum, the status in the society. shame, the withholding. All but Dragica’s tremendous Or, in short, as Rose says: sorrow, and Rose’s infinite understanding; and the old friendship, restored in all its strength and love in one af- Be strong, dear ternoon. Therefore, Dragica dares to ask, timidly: Maybe these are not the happiest of times, but if nothing else, we now have each other again. DRAGICA: Rose. May I stay over for the night? ROSE: Of course you can. I’d be delighted if you did. “Maybe these are not the happiest of times, but if nothing else, we now have each other again,” Dragica You just keep sitting there played these words in her head over and over when she And tell me everything went to bed.And there, in Rose’s home, she cried her- It’s always me talking. self to sleep. 67 >

groggy, she can smell the coffee and hear a quiet murmur coming from the kitchen. She then notices roses on the PART II: coffee table and remembers where she is. Rose is at the dining table and Zagorka chatters whilst brewing the coffee, like every true neighbor who PROLOGUE: feels at home. All of this, DRAGICA: This city and thisneighborhood Good morning. Transportation and apartments ROSE: All of it is ingrained with silent death Good morning, dear! This is my Zagorka; life would Drenched in ourbygone sweat be much more difficult if she weren’taround. The sweat shed through the years of reconstruc- ZAGORKA: tion Here, there’s coffee for everyone. The sweatthatyou recognize no more I’m telling you, Rose, they don’t have a permit for You dwell in buildings bathed in our sweat that. If you refuse to sell, they cannot kick you out. Atop our sweat you drive your cars The city’s culture is soaked in it ROSE: Too much of it was spilled It used to belike that in your time. Now they can Too many times you have ran over it do whatever they please. So many times, that our old age can never be Can’t you see they are drilling like maniacs? peaceful and carefree. Anyone would have moved out by now. ZAGORKA: Look, you can sue them. 6 THE MORNING CHANGES IT ALL ROSE: I cannot imagine anything worse than a court trial. Rose’s dilapidated house begins to shake as the drilling on the parcel next to it starts. Contractors and a ZAGORKA: private investor are carrying out construction works; im- Woman, you’re talking nonsense, proving the city, as they say. Othersole inhabitants like Life is in the court! Rose used to live here, and now, when they finish it and All of you old ladies are afraid to step into the if there is no commotion about it, mothers, fathers and battleground! children will move in. Construction mafia also cherish- ROSE: es family values. I don’t have the money, either. The rising building casts a shadow over Rose’s house, And I’ll probably be dead by the time it’s finished. so the lawn is obscured as well. Rose says this is not good for her roses, either. ZAGORKA: Dragica is awakened by the noise, feeling a little That’s exactly what they are hoping for. disoriented for she had not slept in her bedroom. Still But you cannot let them! > 68

ROSE: ROSE: Well, how would I know for how long I shall live? Younever gave her a chance to talk. DRAGICA: ZAGORKA: It’s true. Death always comes when you least ex- Well, alright, I’ll admit I overreact sometimes. pect it... ROSE: ZAGORKA: Apologize right now! Dragica! And who the hell are you? Where is she? Rose, you have unidentified persons in your house. ZAGORKA: ROSE: I haven’tchased her away, haveI? That’san old friend of mine. Yes you have, Zagorka, you have. And we forgive ZAGORKA: you, of course, you couldn’t have known how unusually Some friend. oversensitive Dragica is these days. However, now you What kind of an attitude is that? have to clean up your mess. Rose, there’s a defeatist element in your house. Rose is alarmed, as she realizes that Dragica is no- What rock did you crawl out from under? where to be found. And she reacts accordingly.

This is too much for Dragica and she storms out. ROSE: Rose tries to calm Zagorka’s rugged nature, which isn’t Well, you really are something. so hard actually; after all, she is thetype of woman who Why did you have to talk to her like that? quickly snaps and grunts for no particular reason, but ZAGORKA: even more quickly cools off and retreats. Well, what is she, some gentleflower? ROSE: ROSE: She’s beensensitive lately. Zagorka, do not be rude! ZAGORKA: That’s my friendDragica Well, how was I supposed to know that? Sudden- We bumped into each other on the street yesterday ly I see a strange woman in the house who hasn’t I’m surprised we recognized each other at all got anything smart to say. ROSE: We have not seen each other since... Oh, Zagorka, please! Where could she have gone...? Well, I better not say it aloud ZAGORKA: Now, stop that rumble of yours, Home, where else? You’d startle a bear! ROSE: And go apologize to her! I’m afraid that’s not an option. Why else would she have slept here last night? ZAGORKA: OK, I’m sorry, but what am I supposed to say Zagorka is still baffled by all this, but she is also a When she’s talking nonsense. little concerned now, in her own way. 69 >

ZAGORKA: She is sitting on a bench at the graveside, when Well, I’ll be damned.I chased your friend away suddenly Rose and Zagorka emerge through the gates, to the street. and – to use the Partisan vernacular – they conduct an ROSE: offensive at the New Cemetery. If this werea cartoon, or Wait, what wasit that she mumbled about last night a movie, we would see them hopping from plot to plot, That she had come back from the cemetery... My calling out for Dragica. But since it’s not, we have to im- god, Zaga, she’s at the cemetery! agine that they are doing all that, and then, just like in ZAGORKA: a movie, they gather at Ivana’s grave, where Dragica is sitting on a bench, cursing Ivana’s family for putting a Why would she be there? cross on her grave; for Ivana, asa prominent AFŽ (Wom- ROSE: en’s Antifascist Front) member, thought of religious sym- She buried someone yesterday, bols what she thought of illiteracy, in other words – she She wouldn’t say whom. despised them from the bottom of her heart. ZAGORKA: A husband? ROSE: I knew you would be here. You and your foreboding. ROSE: DRAGICA: Oh, my dear Rose. No; I don’t think so. ZAGORKA: Don’t you “Dear Rose”her. She lets you into ZAGORKA: her home, she gives you a nightgown and everything, A child? and you run off like that with no goodbye. ROSE: ROSE: Leave her be, can’t you see she’s shook up. I don’t know. All this mollycoddling starts to get on Dragica’s ZAGORKA: nerves. She is, after all, a woman who knows how to Well, let’s go get her, then. compose herself.

DRAGICA: I’m fine. I can’t stayat your house all day, can I? 7 A CEMETERY OFFENSIVE ZAGORKA: Where is your house then, you poor wretch- Here we have a scene that we need to envisage,since ed soul? we are in the theater, naturally. DRAGICA: It’s right here. So, our Dragica stormed out of the house because ROSE: Oh, shut your trap, you silly old bat! You’re not she was very upset,but she nevertheless remembered to dead yet. Let’s not jump the gun. grab the roses from the vase; and now we find her sitting ZAGORKA: Who did you bury here? next to a freshly dug grave, crying. Those who pass by and noticethefresh mound and dates of birth and death Dragica would like to answer, but how does one just on a gravestonethink that Dragica is crying for her sister; blurt out a thing like that; so she just mutters something naturally, nobody would even assume that she is mourn- to herself. Rose and Zagorka weren’t born yesterday of ing her lover and life partner, and also herself a little bit. course, so they know better than to poke their noses in- But that’s the case with all the invisible female-to-female to it any further; there will be plenty of time for that. loves, and othersimilar relationships. So Rose speaks, with all the care and love in the world: > 70

ROSE: Let’s go home, Dragica, dear. ZAGORKA: You didn’t repay a loan? And then, for a moment, all three of them could ROSE: swear they heard a voice uttering something out of the blue. But it’s was probably just the wind, for it would real- Grandchildren gambled itall away? ly be too much if the dead suddenly began to speak to us. DRAGICA: So the three friends take each other by the arm, No, nothing like that. and walk slowly toward the exit. They let out a concerted sigh. These two are tired of guessing and Dragica gasps, realizing that shenow 8 THE LOVELIEST WOMEN IS THE ONE has to tell them, although she doesn’t not know where to start, and frankly, how does anyone start such a tale YOUR HEART ACHES FOR before the erstwhile strangers? Still, little by little, tim- Rose’s house is out of roses this time, but there’s idly, she starts to talk. still homemade jam and coffee. And brandy, but I didn’t DRAGICA: tell you that; it’s not very polite to reveal private details Well. of the elderly ladies’ life. What can I say? ROSE: I lived there for forty years. Dragica, talk to us, please. In this apartment, I mean. I lived with... DRAGICA: A friend; and she is now dead. I haven’t got much to say, really. Since recently ROSE: So her family came and threw me out. Look, dear. I know we have not seen each other for ZAGORKA: decades, but I know you through and through. I found youliterally on the street, you have no place to go, and And by friend you mean... then you go and cry at some woman’s grave. You need ROSE: to tell me what is going on. ... you mean a friend? DRAGICA: DRAGICA: You’re right.I lost my apartment. Yes, a friend. That’s exactly what I mean. ROSE: How? The other two look at each other in bewilderment. ZAGORKA: It’s not every day that you hear a story like this. Did you fail to pay off your mortgage? ROSE: ROSE: Now when I think about it, you have always been Was it the guarantors? a bit of an odd bird, even in highschool. 71 >

DRAGICA: you can only imagine. Snow everywhere, a lot That’s true. of it fell, and little was cleaned. I decided to go ZAGORKA: to the cinema. By the time I arrived, the tickets So, that was her grave, there? were sold out, and then I ran into Ivana who had an extra ticket. ROSE: Oh, mylordy! And she looked quite dapper in that uniform, I must say. After the movie, we went to the “Mosk- DRAGICA: va” hotel for cake and a few nips of brandy. When Yes, my Rosy. we got out, the snow was falling again, and she invited me over to her place for another round As Dragica says this, they all burst into laughter and of drinks. And so it began. Fifty years of sheer laugh and laugh. For these ladies and friends – with all happiness. their life experience – understand each other quite well; and any heartbreakneeds to be mended here and there. ROSE: Fifty years! ZAGORKA: ZAGORKA: Well, I’ve never heard of such a thing before! Sheer happiness, you say? And I guess there were ROSE: no fights and arguments? Oh, please. Stop being so provincial. All that talk DRAGICA: about parades and what not, nowadays... likeit Oh, we argued alright. Then we’d make up. And wasn’talways there, since the beginning of time. all over again. Just like everyone else. ZAGORKA: Good times. So, well, how did that happen? ZAGORKA: ROSE: So, now what, you can’t goback there? Really, Zagorka.You and your inquiries. ROSE: ZAGORKA: But it’s your apartment. Well how am I supposed to know how these things DRAGICA: go?! Sure it’s mine. But what can I do. ROSE: She left it to me, we even signed a contract. But They go as all others go. Young folks fall in love, her son sued me, he’s forcing me out, he’s got the and do shenanigans... lawyers, the connections, everything. There’s a DRAGICA: hearing in court today, but why would I go when I believe I’m the one who should tell how it was. I already know the verdict. ALL TOGETHER: ROSE: Well, do tell! Do tell! If only our Party was still in charge, that would DRAGICA: never have happened! We weren’t even that young; well, she wasn’t, ZAGORKA: anyway. It was wintertime. Winter in the city, You are so gullible, Rose. > 72

ROSE: ROSE: Well it’s the truth! The Party would never let What? I’d like to know, I’m curious! this happen! Dragica will not respond to this, of course, her in- To be honest, there is some truth towhat Rose is trinsic courtesy prevents her to, but she was glad some- saying. If things were in fact as Rose imagines them to one had asked. So she keeps talking, telling the story of be,and her Party had stayed, somewhere at the beginning her beloved Ivana, and the time simply flies. Every now of the twenty-first century a historic decision (a decree and then one of them asks: what this and what that, and even) would surely be made, stating something like: “Fel- what was that like, and Dragicaasks back for details of low Comrades, the League of Communists of Yugoslavi- their private lives. ahas decided to correct the historical injustice towards Suddenly (and a lot of time has passed), a doorbell comrades homosexuals and, as of today, they shall enjoy rang. Party breakers, who else. They all go silent at once, full rights likeall other Yugoslavs “... But what ifs are of and start whispering frantically. no importance to us now; what’s important is the apart- ment issue which rekindledan old passion in Zagorka ZAGORKA: for her old career, extinguished the day she had retired. Don’t answer it! ZAGORKA: DRAGICA: That party of yours would have tochange all the Why? laws first; Law on Inheritance, to start with. ZAGORKA: Rose doesn’t really want to argue with Zagorka on Do not answer. this subject, so she decides to lighten the mood. ROSE: Same old story, once again. ROSE: I’ll chase them away this time. So, who kissed whom first? ZAGORKA: DRAGICA: No, what am I going to do later? Oh, I cannot remember! ROSE: ROSE AND ZAGORKA: They cannot treat you like this. Do not lie to us! ZAGORKA: DRAGICA: OK, OK. I think I kissed her. However, if she we- Let it go, what can we do? realive, she’d say it was the other way around. She ROSE: always had to be first at everything. Quiet down, then, so they don’t hear us in here. ROSE: ZAGORKA: And how did you... you know, that...? They know perfectly well where we are. ZAGORKA: DRAGICA: Rose! What is going on? Don’t ask her that! 73 >

A loud banging at the door. And a voice behind it But how can they treat her that way? shouts: “Rose! Zagorka!” ROSE: Oh, how can they. She had a child late in her life, ROSE: and her child had itschild late, so now Zagorka No, no, no... is a grandmother and a mother who is expected VOICE: to help around the house, or else she’ssimply a Open the door! We know you are in there! burden whodoesn’t have a purpose in this world. That’s life for you, some get thrown out of the And what else can Rose do but get up to open it. house, and some are forced into it.

VOICE OF SOMEONE FROM ZAGORKA’S FAMILY: Dragica would have sighed, but Rose doesn’t let her. Shame on you! Have you got no shame? She takes medication. And she needs to go home. ROSE: ROSE: Don’t you worry about a thing. You’re going to- She is not a child. stay here. If there’s room for me, there’s room VOICE: for you. Until they throwus out. Oh, you two are worse than children. ZAGORKA: 9 WHERE THERE’S ONE, Nevermind, Rose, I’ll go. THERE ARE THREE She gets up, sullen, and leaves. Rose yells after them: Voyager was launched into space in 1977, the same ROSE: year when Nada Topcagic sang “I’m waiting for you, you’re waiting for me – we’re getting old, can’t you see.” We Don’t let them get to you, Zagorka! are already well into the 2010s, and the Voyager is out DRAGICA: of the solar system, and we have all grown oldtogether. Well, I never! A grown woman, and to be treat- Life is seemingly not fickle, and neither is Rose’s nature ed like that... and generosity. ROSE: This generosity of Rose’s, we’ve learned so far, has Oh, it’s always the same story. She slips out like no limits. But there are no limits to investors’ greed, ei- that every day, she comes here, we havecoffee, ther. Over morning coffee, our friends receive a letter, and at lunch time they come to fetch her. and it’s not a love one.

Dragica pauses to think and sighs. Well, some get ROSE: thrown out of the house, and some are forced into it. No There you go. matter how you cut it, it’s hard being a woman. And it’s not easy beingZagorka, either. It was probably the only thing she could utter at the moment. Dragica and Rose sit down, and tears fill DRAGICA: their eyes. > 74

Quite inconsiderately, Zagorka storms into the Zagorka’s eyes shinewith determination, but her house, like a tornado. enthusiasmsubsides when she sees that Rose has burst into tears. Rose keeps crying and Zagorka is confused, so ZAGORKA: Dragicajust passes her theletter from the beginning of the I stood up scene. Zagorka reads it and slumps down into herchair. And told them: I’M OUT OF HERE! They answered, with a sneer ZAGORKA: Listen to this old bag My god. A worn-out hag Where am I going to go... ROSE: Don’t pay attention, they said, she’s got one foot Where are all three of us going to go? in the grave, anyway. You really picked a great time to run away from And then I said, well, then I’m putting my oth- home! er foot down! Like you’re 18 years old. Your grandma is out ZAGORKA: Freeloading is over, have no doubt Well, you know how they always say that old peo- I’ve been rotting here for too long ple behave like children. You are old, the children have grown When are they knocking it down? Remember how you were blessed and happy DRAGICA: When grandma would get up and changed the Very soon. nappy ROSE: Oh, if only there was something we could do. Grandma is great DRAGICA: When she cooks a dinner If only we had my apartment. But a real deadweight When she needs a doctor Indeed, where would the three of them go? Their place in the sun is long gone, social housing – alsogone, Now you can’t wait for me to drop dead so the friends begin a lamentovertheir lives: To free some space in this old pad To put a nice bar instead If only we had those days again After you put me to my eternal bed Those days and years; My love would build us a home This grandma has left the building! My song would paint the walls I’m tired of cooking and gilding My wisdom would sign us a contract Of changing nappies and cleaning up My body may be old But I have no love no more But my mind’s made up! And I don’t sing songs anymore And my wisdom is retired 75 >

We are the women who built this city; women who – that we are no longer capable of working, or that gave birth to those living there today. To those who what we do does not generate profit. now kindly ask us to be gone as soon as possible. And no one knows what to do with that labor, our bygone labor. Not to waste more budget money for pensions Not to occupy their seats in a tram. A mass death sentence for millions, for all of us. Not to makethe long lines atthe post-office We have multiplied, there’s too many of us, over- For, we are nothing but mad old hags. flowing on all sides. We don’t work butwe are ex- pected to; and unpaid domestic labor counts for In this city there are few things left of our world. nothing, as usual. Gone are the shops and companies wherewe worked, where we shopped for clothes and fur- Rot away, niture. Gone are the housing funds we have paid As if we were never there for from our salaries. Gone are some children as I have a whole life behind well. And not tomention our friends. That is worth nothing We were building socialism, the best we could, And all that’s left after me and it is our greatestsin. Is also worth nothing Let’s face it, my comrades – we are no longer needed in this world. Not a damn dime My working years are behind me I believe But nobody cares about it We are all going to rot I am now merely a burden for the state budget Rot away, as simple as that A worn-out old pensioners’ League From mere poverty From despair that we are so poor But I look at this youth That we didn’t make enough on time They will have it even worse They tell us –work hard and earn money I was able to work They tell us that today, right now While there was still strength But I worked and earned, yet my earnings I can Work and earn no longer see In a stable workplace Rot away, I’m telling you Clean-handed and immaculate All of us, just like that Where I once came Rot away As a fresh university graduate In such numbers that it’ll be a silent genocide There I spent my whole life Of an entire generation And I lacked nothing Of pensioners A genocide Yet today Without a single shot fired You come and you go, in the blink of an eye But still – a genocide, for they will clean us up I hadnot been a member of the Party based on one trait only Still, I had a job > 76

I don’t know what my children will do IVANA: With these hot salaries Well, I couldn’t stand listening toyou whining and 40.000 dinars complaining anymore.Old bats. Probation work is mandatory DRAGICA: This means you can get paid – but not necessarily Said one old bat to another. This means they can exploit you as much as they What else was I supposed to do but whine, after want you left me like that? This means c’est la vie IVANA: And que sera sera Well, what did you expect? I was ninety-two! You are always so irrational. 10 PARTISAN WOMAN EX MACHINA DRAGICA: Correct me if I’m wrong, but I see nothing rational As this elegy of theirs sinks to the very depths of about an appearance of a deceased woman’s ghost. despair, or whenDragica mentions the court hearing, They all stop and laugh at this, ‘cause it is quite whatever the reason was, suddenly there is a whirlwind amusing, to be honest. in the room, the lights begin to flicker, and the transis- tor, the TV and other home appliances go a little crazy. IVANA: A bona fide stereotypical appearance of a ghost. I just dropped by to tell you a story. It was 1943, Ivana appears as if she werenot buried only a few at Sutjeska, you know the story, the Fifth Enemy days ago. Rose uttersa high-pitchedsoundin shock, and Offensive, Fall Schwartz and everything;we’re sur- Dragica, also shocked, screams “What are you doing here” rounded from all sides, Tito wounded, Sava killed, and Zagorka: “Who is this”, almost at the same time. we are hungry, it’s over for us. One of those Eng- ROSE: lishmen, from Special Operations Executive came Be still my heart, either you’re adame’s or a so- along. So we’re surrounded, and he asks me, since cialist’s! I wasthe commander, why we refuse to surrender. I tell him to ask other comrades for their opinion. IVANA: They all laugh in his face. Andthe poor thing had Oh, calm down, you chickens. What, I don’t even to go into breach with us. So we’re in the midst get a cup of coffee? of the offensive, bullets are flying, shells explod- Rose gets up, faltering, and heads toward the kitch- ing, but we are advancing, we do not stop. And en, but Ivana stops her. when everything cleared up, we had no food or weapons left, we lost a few comrades as well, but IVANA: those of us who survived – we had each other. I’m kidding, have you ever seen a ghost drink- Moral of the story: stop whining. And you, Drag- ing coffee? ica, why the hell did we sign that contract for if DRAGICA: you weren’t going to use it? Ivana, how is this possible? 77 >

DRAGICA: You act like you’ve never even lived here. He told me that he could easily challenge it, and that PART III: would be the end of it. IVANA: DEATH TO CAPITALISM, FREEDOM TO THE PEOPLE He’ll sure try. But what are you going to do about it? PROLOGUE: DRAGICA: Your son is set out to take the apartment, and Have you ever noticed, you young people, how what can an old lady like me do about it? they teach you to think old people are disgusting? That’s IVANA: what’s really disgusting. Don’t mind my son, he is a greedy imbecile. They teach you it’s disgusting when your old aunt or some other relative gives you a kiss on the cheek and ZAGORKA: you turn your head so they’d kiss your hair instead, and And who raised him to become one, I wonder? that is also a little bit disgusting. Then you see their wrin- IVANA: kles and their eyes that are slowlyclosing and grey, grey, Good point. But you’re not going to let him get and grey. Grey hair has a different texture; old people’s away with it, are you? moles scare you, gnarled fingers too. Stooped posture. DRAGICA: Canes. The slurping and the chomping; old people in Well, tell me what to do! What would you do? the family always slurp and chomp. Even if they don’t, it He’s got the lawyers and the money, and I’ve got seems as if they do. I guess it’s because of the teeth. And nothing. their clothes that simply reek of old age. These clothes IVANA: are always ugly. You have the damn paper we have signed. So Nobody wants their love, they want it only when you go to court and claim your right. I’ll let your they need them friend here explain to you what that document Nobody wants their love, they want it only when represents. they need them Ivana winks at Zagorka and disappears, as won- Nobody wants their love, they want it only when drously as she appeared. they need them Nobody wants their love, they want it only when they need them

And we’ve had enough.

Through the forests and mountains Of our proud country March the troops of mad grannies, Bringing glory to the battle. > 78

11 NEW YEAR, NEW HOPE ZAGORKA: He has nothing to figure out. The law is clear. A whirlwind of air stirred up by Ivana’s departure ROSE: – or should I say disappearance – hasn’t even subsided And we do need a place. yet, and our three heroines are already continuing at a Come on, get ready now, I’ll bring you some rapid pace: clothes. DRAGICA: ZAGORKA: This is so like her. She appears, stirs things up All you need to say is: we signed a contract... and leaves. I’m going to prepare you well; there is nothing ROSE: to worry about! Oh,how I wish I had had that kind of love... ROSE: ZAGORKA: Hold you horses, grandma, you’re retired! Women, focus! That Partisan woman is right! ZAGORKA: What was that contract she mentioned? Don’t you hiss at me! DRAGICA: Dragica, go and tell them like it is; I have a con- A lifelong care contract. tract – end of story. That’s all. Go there and de- ZAGORKA: mand the case files. The contract must be some- So you have it? where in the file. The judge is in obligation to ROSE: find it. Aw, it’s just like real marriage! DRAGICA: ZAGORKA: Judge, in obligation?To me? Well, what are you waiting for, then, you silly ZAGORKA: goose! Run to the court! Well it’s his job, you nitwit! Go on, run! DRAGICA: I don’t see the point. ZAGORKA: 12 WHERE THE SHOE PINCHES Look, let me explain it to you. The memory of a different life and opportunities is When you said he’s suing you over theapartment, still alive; This explains how it is possible that now, af- I thought she left it to you in a will. ter sendingDragicaoff to court, the other two women are If that was the case, it’d be hard to do anything sitting and drinking coffee – well – champagne, actual- But that one obviously knew what she was doing ly, with Ivana’s ghost, and they are convinced it wouldall This is the only contract they cannot overturn go well. It was intense at first, to tell you the truth, but Now, off to court! then, as usual, champagne and good company takes the DRAGICA: conversation in another direction. Pouring their hearts Oh, he knows that. And I’m sure he has it all fig- out, as they say. ured out by now. 79 >

ROSE: DRAGICA: Oh, and the travelling... They say a paper is missing. I swear, no one has travelled that much. Festivals, IVANA: music, Italy, overseas. What paper?! I sang, to New York and back! DRAGICA: ZAGORKA: The one that confirms you were not insane. And all of them were golden records! IVANA: IVANA: Well, did you tell them we have it? Ah, that generation of singers... DRAGICA: ROSE: How should I know if we have it or not. I went Many of them are long gone... and asked for those files as you instructed. And he ZAGORKA: took it,glancedat it and said – I’m sorry, ma’am, When your favorite singer dies, it’s as if an entire apaper is missing. generation has died with them So, they said it so, IVANA: I said it’s impossible. Theend of an era. That she was of sound mind and memory when she signed it. ROSE: IVANA: Indeed. As I was. IVANA: IVANA: The death of a singer makes one think about the passage oftime... Why would you think I wasn’t?! DRAGICA: So they are reminiscing the good old times, past It’s no use when you don’t have a written confir- years and careers, when the time comes for this moment mation that you were right in the head. of escapism to be dispersed. Dragica is back. IVANA: But I went and got it! DRAGICA: DRAGICA: I see. I’m glad you made yourself at home. I said that. IVANA: But the judge searched through all the documen- We talked a little while we were waiting for you tation and said it wasn’t there. to come back. IVANA: ZAGORKA: Well, where is it, then? To come back as a victor! DRAGICA: ROSE: I don’t know. A victor, damn sure. He says it’s simply not there. They are starting to realize something is wrong. IVANA: All eyes are on Dragica. Who says? > 80

DRAGICA: ZAGORKA: Notary Lukic. Nonsense, you say. And onmy way out, that son of yours said to me We’ll see about that. “I told you how this was going to play out”. IVANA: And she leaves. Wait, I’ll go and check. ROSE: Ivanadisappears in a whirlwind and returns almost See, now she’s offended. immediately. DRAGICA: IVANA: Well. It’s not like she has never offended anyone. Yup. ROSE: ThekidLukic took it. She’ll get back soon. ZAGORKA: Ivana is smirking, for she knows where Zagorka He’s not the son of the judge Lukic, is he? went. We, however, can already guess, unlike Rose and IVANA: Dragica who are not aware that Zagorka’s authority in He is. certain circles was once rock-solid, such that not even ZAGORKA: old age, or years of harassment in the family could shake I knew it! Damn swindlers, both of them! its foundations. DRAGICA: You know him? 13 COURT MATTERS ZAGORKA: Damn right I do. We worked together for a while, Busy people are hastily passing through the corri- dors, some have been waiting for hours andare still wait- He was always afraid to look me in the eye. ing;a popular singer Ana Nikolic appears inappropriate- Snake. ly dressed in hot pants, and occasional delinquent slams ROSE: the door, frustrated by his sentence. Good day, everyone, Well, it’s over then, and welcome to the Higher Court in Belgrade aka the He could have thrown it anywhere. “Palace of Justice”. ZAGORKA: Thelittle notaryLukic is prancing about. The fact that he is only a clerk mustn’t fool you, for he is a seri- Not so fast. ous player. This means he is very open tocooperation re- That kid is my business now! garding thecases he handles, if you know what I mean. DRAGICA: Today, however, the little peacock is about to get Your business? his feathers plucked. ROSE: ZAGORKA: Oh, don’t listen to her nonsense. Good afternoon, dear boy. Something comes over her from time to time, LUKIC: She’s just reliving the old days. Ms. Zaga! 81 >

Long time no see! Since our Slava three years ZAGORKA: ago, I believe. See, I always had nothing but utmost respect for ZAGORKA: your family; you were devout Orthodox believers Yes, and look at you, you’re all grown up now. even before it was popular and now even more so. How’s your father? LUKIC: LUKIC: Well, that’s how the old man raised us. ZAGORKA: He gets by, you know how it is. Good man, your father; always very attentive. ZAGORKA: LUKIC: Good, good. And he always speaks so highly of you, ma’am. LUKIC: ZAGORKA: So, what brings you here, haveyou come to rem- Well, since he raised you in such a good Chris- inisce about the old days? tian manner ZAGORKA: He must have thought you that old proverb: You could say so. I’ve got some business to take “Might makes right”. Right? care of. LUKIC: Poor Lukic pretends not to understand this, but he is on pins and needles. Anything I can help you with? ZAGORKA: LUKIC: Sure. I can’t remember, really, he has taught me a lot Actually it was you I was looking for. of proverbs. You see, my dear ZAGORKA: There is this one case you are working on... Ah, yes, I remember him bringing you here, hold- LUKIC: ingyour hand;we would give you a lollipopand Oh I work on a lot of cases, you would recite proverbs to us, in return. You were so adorable. And you always enjoyed mess- Who couldremember them all! ing with the old court documents. ZAGORKA: Oh, you’ll remember this one, I’m sure. Lukictries to put on a fake smile. Poor bastard. And In fact, I only need you to remember one paper Zagorka is slowly getting tired of this baby talk; she just – the one you took from the case folder. can’t afford to waste any more of her precious time on this little swindler. Lukic already knows he is busted. And he would snap at the old woman, and wiggle out from this some- ZAGORKA: how, but he’s just not that kind. So he feigns ignorance. Now listen to me, dear. For the sake of the good old days, LUKIC: Thefriendship your father and I have God forbid, Ms. Zaga, I’d never do such a thing! And all the Slavabreadwe’ve cut together; > 82

You will do something for AuntieZaga; after Zagorka had cornered thelittle sleaze. Up- Just a small matter on returning home, she explained to the others But a just one; what she had done. Then she dragged Dragica Quite appropriate, really, considering we are in back to the courthouse. At the hearing, little Lu- the “Palace of Justice” kic suddenly “discovered” a misplaced certifi- cate which confirmed Ivanahad beenright in the You need to put that paper back in its place head. Dragicahad only to say – followingZagorka What you shall do with those other little papers instructions – here’s the evidence, the expert has you took in order to make this important piece of testified, the contract is authentic. And the judge paper disappear, is none of my business. had only to say, the complaint is dismissed, the It is essential that this one is put back. apartment shall remain in this lady’s possession. You can do that for your old aunty Zaga, am I Since the apartment remains in the lady’s posses- right? sion, there was nothing for her to do but to take The cunning old shark has devoured the poor scrive- her girlfriends and return to her property. And, ner in a matter of seconds. He cannot utter a singleword, although I abhor private property, in this case I’ll and how could he? Dad has landed him this job, andZa- make a compromise, and fly over there quickly ga had landed Dad his job, or so the family story goes. to see what will happen. He only knows that they could hardly wait to see her through thedoor when she was about to retire, and now hecanhardly wait to see her through thesame door, in 15 THE COUNTEROFFENSIVE hope that she would never come in again. It goes without saying that Rose, Zagorka and Drag- You simply can’t tell which is more piercing right ica are now happy beyond measure. It is time to invade now:her glare, her authority, or the sound of her voice. the apartment and thetime forjustice to be served. So,LukicJr. doesn’t have much of a choice here. However, this, too, cannot pass without obstacles. They enter the apartment, butIvana’s son is still there, 14 LAYING DOWN THE LAW notin the leastinclined to let it go easy. And why should he; if we take all the factors into count, the execution of IVANA: this judgment could take forever. The law is clear on this. If two people have signed a contract of lifelong care in exchange for an apart- DRAGICA: ment, and the party who is giving the apartment You see, my dear away is of sound mind, memory and understand- ing –then that’s it. Not an entire army of sons and Here we are again, at this very doorstep daughters, husbands, wives descendants and rel- I have to admit I am gloating a bit atives can challenge it. In this way, those who re- Although nothing was supposed to be this way mainunrecognized by law can be indemnified, but But you just had to hold out your itchy palm – as we have already seen – not without a fight. Even though you know this has never been yours Anyway, we will make a short interlude here, and I just hate to do this to my wife’s son quickly but thoroughly explain what happened But you left me no choice 83 >

You and your greed And then wait months for the bailiffs If you had only had patience, and waited some To come and kick us out more You know you’ll have to pressure them If you had only waited for my inevitable departure Well, let’s see about that None of this would have happened Who will dare tothrow out a family IVANA’S SON: Over anold bat! You can babble all you want, old hag You should have taken my offer of the nursing Not one, but three mad hags on my doorstep home Toothless, stooped Now I wouldn’t care if you dropped dead in the street. What will you do? ZAGORKA AND ROSE: You got that piece of paper from the court We are here as well, just so you know Let’s wait and see what good it does Wherever she goes, we go Let’s just wait and see how exactly you are going to kick me out Was it our fault that your little bribe scheme didn’t work out? By the time they hold another hearing I took her in after you chased her away You will have been dead and buried And you hope we are all going to drop dead, just And if it does happen, and you get the paper like that? Only then we’ll see what you can do IVANA’S SON: I will not budge from here Damn right you are. I’m moving the children in as well ZAGORKA AND ROSES: And no court wants to evict children How kind of you. No one will touch the little ones, I assure you. Well, we refuse to! We will disregard the fact that “the little ones”area IVANA’S SON: couple oftwenty-five and twenty-seven year old deadbeats. Yeah, let me know how that worked out for you. I spit at your damn court! DRAGICA: ALL THREE: Face it, you’ve lost this You don’t say? And it was never yours, to begin with Well, we spit right back at you! You are rolling in money And yet it’s never enough for you IVANA’S SON: IVANA’S SON: Why, you mad hags! Get out already! Never enough, you’ve got that right It’s a stalemate, indeed. The three of them know And what are you going to do about it theycannot simply evict him. But if he wanted to, he The judgment needs to be put into effect first could throw the three of them out easily, under physical And then you need to register the property in duress, of course. And it seems that the man is already the cadaster annoyed with these perky old ladies, and that he’s at the > 84 verge of kicking their butts. After all, the law of the jun- And back in the apartment, happy times can com- gle is applied here. However, the very law of the jungle mence. will put this fool into his place. Again the whirlwind, again the oddity, again the madness.Again Ivana. 16 SMALL SKY PARLOR You can only imagine the confusion, amazement and fear that a son experiencesbefore the spirit of his dead Tears fill Dragica’s eyes, out of love and disbelief. mother, knowing that due to his actions, hehas danger- And others follow. ously stepped on her metaphorical toes. DRAGICA: IVANA’S SON: You did it. Mom? Dragica would hug her, but she knows it’s not possi- IVANA: ble. If she even tries to, her hand will merely pass through Make mother happy, my son, will you? What are the air, and likely disperse the mirage that is Ivana; and you doing? Dragica wishesto at least talk a little bit more. IVANA’S SON: What are you doing here?! IVANA: IVANA: I am wishing for the same, darling You’re not happy see your mother? But let’s not go there What do you think you’re doing, you little maggot? Dragica is aware of it, and she just smiles gently. IVANA’S SON: But Mom, our apartment... DRAGICA: IVANA: Ah, that tough Partisan heart of yours. This is not your apartment, you hear me? It nev- ZAGORKA: er was. You worthless piece of trash. What will you do now? IVANA: As Ivana’s spirit keeps growing, it looks as if her Go back to where I came from, what else. son is literally shriveling up. But his spirit is already pit- iful enough, so there is not much shriveling space left ROSE: in this regard. Perhaps you could occasionally haunt that build- ing they are going tobuild instead of my hut. You IVANA: know, just for the sake of it. Buried me under a cross, a professed reborn Or- IVANA: thodox! Well here’s your mother, a reborn commie! Maybe I could. Ivana’s son cannot believe this;Ivana’s son is scared Ivana’s somber gaze hints that the end has come to death;Ivana’s son runs off with his tail between his legs, and that she must go. She’ll only utter the most impor- dropping the key, never to return again. We are certain tant words: he will find some way to explain to his wife and children that the apartment is not going to happen. I love you, dear. 85 >

And she vanishes. Our three friends are left in a nineteen-forty-five, wandering across Yugoslavia with a special mood. So special, that it is really high time for rifle. Grandma probably remembered other things too, their collective final song. So they stand there silently, but I never had the time to ask her. I once asked grandpa untilRose – who else – breaks the silence. This time, af- and he told me very little. Then he died. My dad told me ter so many years, she is truly happy and in the mood more about grandpa, how he would throw stones from the for a song, and the other two follow: top of Avala at the Germans and how they would shoot back at him. He also told me about grandma’s father, a I used to sing I used to be merry doctor who treated bothChetniks and Partisans without Now sunshine is back again, ma cherie distinction;or something like that. Grandma also mentioned once how grandpa and his I have a new home, I have my friends brother wonall competitions in fife playing in the village, I really don’t need anything else during the occupation. Grandpa told me that he went to No golden tooth the Syrmian Front instead of his brother who was then No fountain of youth expecting his first child; Grandpa was seventeen. When you put all this knowledge in one basket, The country where I sang is dead though, it appears that I know very little about my fam- The country where I boldly tread ily in World War II. But what’s important is still here My friends, my roses, this blessed cheer Anyway, it’s time to get back and finish our story. I will sing at the top of my voice It is a spring afternoon, April still remains the most Until the old body leaves me no choice beautiful month in Belgrade, at least until the climate The state may have wiped out our lives changes destroy our beautiful springs;the investors and their architects have finished what they started and de- Still, a smile always survives stroyed the city, and our friends – fortunately or not – This friendship revived one youthful trait – will not be around long enough to witness it, after all. To fight for dignity, it’s never too late It is a spring afternoon, and the windows are wide And that’s what this song shall celebrate! open, allowing in a light breeze, and a big, beautiful ter- race is all set up for sitting down and beginning new con- versations. A new life is breathed into Ivana and Dragi- EPILOGUE, ca’s apartment, and it will continue to be so every night, untilthe end of time, or at least until the end of their OR HOME IS WHERE THE HEART IS: abundant lives. It is possible that this happy ending is- There are a number of stories to be told, such that unreasonably too happy, and it is almost certain that only women like Rose, Zagorka and Dragica can truly in real life it would never have ended like this, but that depict. But no one ever asks to hear them anymore and should not be our concern. After all, it’s all very simple. even if one day we remember to ask, it might be too late. If we cease to envision more virtuous worlds, well,then My grandmother, for example, remembered the Russian we are completely doomed. ladles and a chocolate bar she got from a German. Grand- pa remembered how he wore off two pairs of boots in THE END

Jelena Popović GLOOMY MONDAY Three act tragedy > 88 Jelena Popović

elena Popović (born Vlahović) was born in Priština, Republic of Serbia, on March 31st 1981. She graduated from the Academy of Arts at the Univer- J sity of Banja Luka (Bosnia and Herzegovina) at the Drama Department – Department of Dramaturgy. She has worked as a mentor and a member of the Centre for Oratory and Rhetoric “Institutio oratoria” at the Law Facul- ty, University of Banja Luka for over 10 years. Jelena worked as a cultural journalist in several print media and on the radio. She is the author of several plays: a monodrama Marko Kraljević (pre- miered in Novo Sarajevo, 2012), Kiša (Kisha, premiered in theatre Pozorište “Boško Buha”, Belgrade, on February 9th 2014), Mrki Ponedeljak (Gloomy Mon- day, published in 50th Edition of Savremena srpska drama, 2013), Bubama- rac (Misterbug), Odvratna priča (Awful Story), Ista stara pesma (The Same Old Song), and novels such as: As u kategoriji zgaženih (Ace in the Category of the Crushed, published in 1998) and Lena (published in 2006). Jelena is a member of the official association of Serbian playwrights (Udruženje dramskih pisaca Srbije). She is married and a mother of two boys. 89 >

Jelena Popović GLOOMY MONDAY Three act tragedy

Translated > Dubravka Vlahović

CHARACTERS:

MILUTIN, 27 years old male STANA, his mother, 55 years old BRANA, a neighbor, 59 years old female JOVAN, Brana’s son, 28 years old MARIJANA, five months pregnant, 18 years old MOCA, a barmaid, 23 years old DANE, Moca’s father, a local alcoholic JAVORKA – The Javorka, our Javorka, man. BODYGUARD > 90

MOCA: This is the song written by Dino Merlin, it was his ACT ONE No. 1 song for the album, but Vesna Zmijanac2) an- noyed him until he gave up on it and gave it to her... DANE: Scene one Vesna is the woman of all of my past lives... Pour an- other one, and I’m leaving. But on the house! In the name of the wedding! A small-town pub, a bar and just a few tables, late evening. STANA: Stana is sitting at one of the tables with Brana, who is Pour him another one, and may God be with him 1) reading Stana’s coffee cup . Dane is drinking his sor- down the road... Turn that radio down. rows away at the bar and Moca is smoking and search- ing for the station on the radio. DANE: Had you married me, I would have been the one leav- BRANA: ing this world with the music! You wouldn’t have had A wedding, I swear to God! There you go, a trumpet! to turn it down. Look! BRANA: STANA: You would have turned it up, actually! Stop making A trumpet, for Christ’s sake, we are still not done it worse, Stana, you should take that off on the first wearing black clothes! A trumpet... Turn that down, girl! (Moca is turning down the radio, Dane is signal- Saturday and start wearing all the possible colors! ing her to turn it up.) Now, when your daughter-in-law arrives, (Moca ac- BRANA: cidentally breaks the glass and starts cleaning imme- diately) open the door and fill both your home and Oh, come on, Stana, you are the only one to still tie your pub with people! And play some music, enough the black shawl! Such a young woman! And in this heat! He was twice your age, it was his time to go! with the lifelessness! And put down “Gloomy Mon- day” pan and name your pub decently! While Sveti- STANA: slav was still alive we were able to still put up with it, Can you hear yourself, woman? Who do you suggest after all – he was gloomy, but today is different time, wearing it for if not my late husband? and different people! DANE: DANE: Me! MOCA: I’m the same. I don’t mind “Gloomy Monday”. But the music I’m up for! Pour, Moca. Come on, dad, drink it up, we’re closing! DANE: MOCA: (Sings) “Your beauty would wrap me in black again...” (Turns the music up at his signal and serves him the brandy) And this is it! 1) An old custom of fortune-telling by looking at the coffee cup, brought to Balkans by the Turkish people 2) Vesna Zmijanac – famous Serbian folk singer 91 >

STANA: MOCA: Music, music, are you all completely nuts? It hasn’t It is his Golf, but I can’t see how many of them are even been a half of the year! inside. Should I unlock? MOCA: DANE: Yup, Brana is right, it is wedding! Even the uncle Unlock, what are you waiting for? Is this a pub or Sveta would start singing right now... He has always not? preferred the daughters-in-law from the “above”! STANA: STANA: (Ties the shawl) This is not going to end well... Move, Why should I sing, for the fact that I was the last to let me see! know? Is this how you marry your only son?! BRANA: BRANA: Well, well, a pretty daughter-in-law! Modern! Stop, nobody told us either...and, to be honest, it didn’t show so far... STANA: MOCA: He really brought her up here... Now what I’m going “Told” us? Please, do you know what he told me? He to do?! told me to take a vacation and that he is going to work BRANA: for ten days! And he’s mocking me, “go to a seaside”, You are going to welcome the bride. Moca, pass me he says. Yeah, right, I’m really upset for the fact he the tray! (Moca brings it, unwillingly.) Here, a salt and is getting married! And now I have to deal with his bread, a honey... Pour some more brandy here! wedding preparations! MOCA: STANA: (Wrests the bottle from Dane and hits him with a rag.) What wedding? We didn’t even finish the upper floor, Great, to make her sick right from the door... where are they going to live? Where should I invite the people? BRANA: BRANA: Come on, you are not expecting Tito!3) In the pub, woman, where else? And she will have to The sound of gun shots, doors open, Jovan, Milutin and get used to your kind of living, period! Marijana enter the pub casually dressed. DANE: In the pub, in the pub, word! To break some glasses! JOVAN: MOCA: God help you, godmother, I brought you the daugh- Yes, of course, in the pub, where is Moca, the mule... ter-in-law, and now it’s up to you to defend her! All of you! BRANA: BRANA: God damn you! Is that how you say it? (She throws a Turn the radio down... There, I hear a car coming! rag at him.) STANA: 3) Marshal Josip Broz Tito was a Yugoslav revolutionary and statesman, See if it’s him! a very popular public figure both in Yugoslavia and abroad. > 92

STANA: BRANA: Welcome, daughter, bring us the joy and find you joy The woman is afraid... under this roof. STANA: (She serves her.) Let’s go, Brana, sister, let’s go explain the people... DANE: BRANA: Let’s drink to that! (Moca takes his glass from him.) Explain what? They are not blind not to notice that a MARIJANA: large kid such is this is missing! You, kiddo, I’m sorry. Thank you. Should I take this in a certain order? (To Brana) Is she over 18? – She is. She should deal with them. We did the honorable thing! We know BRANA: in which order things work! We need to survive the First you take a salt and bread, by the Serbian cus- night, and call them in the morning to make up. If toms, and then the honey, to make your life sweeter, they come, they are welcome, we’ll serve them what and then you cheer with brandy... we have by our customs and everything will be great! STANA: They are not going to fight women, right? Oh, come on, for Christ’s sake, the girl is pregnant... MILUTIN: Just lick it a bit, daughter. Moca, bring the coffee! I There are some men here as well... wanted to do it differently, to come to your house, to DANE: ask for your hand... There are! JOVAN: BRANA: We did, godmother, ask for her hand. All by the book, there, even the ring is here. We would be better off without them... BRANA: STANA: You know what’s by the book.... When I find you tied What if they don’t come? to the fence one day for kidnapping their daughter, BRANA: you’ll know about the book! If they don’t come, we’re not going to kill ourselves! MARIJANA: She is ours now and they can just try to touch her if No one forced me, I’ll tell that to anybody. they can! Is that right, kiddo? There, good luck! JOVAN: Everybody kisses and congratulates to each other. Moca Tell it, godmother, to your family when they come in hides behind the bar and makes coffee. Dane stands in the morning to take you home. line and congratulates only to Stana, he kisses her once MARIJANA: on the cheek, she detaches from him. Mother knows. And to my father I couldn’t... STANA: JOVAN: Let it go, Brana, what happens – happens... Come, Mother doesn’t worry us... kids, let’s go to the house, give me your stuff... MARIJANA: BRANA: I begged her to tell him, but she didn’t... We’ll go in a minute, too... 93 >

STANA: MOCA: Then you lock, Moca, so I don’t need to come back... Did you listen to her: she doesn’t know how to make Good night. upper floor for them! My paycheck is the same as it Marijana, Milutin and Stana go into the house. was the first year, and she ordered an Italian kitchen for her only son. The hell she didn’t know... (She gets MOCA: up and turns the lights down, one by one.) Svetislav left (Comes running to the table.) Tell me everything! them with enough money to make three weddings! But JOVAN: they won’t do it because of the shame, fifth month! For Christ’s sake, God knows if it is his, since she ran A classic setup! All of a sudden all of the dogs were away so easily... on the leash, not one jeep, not one gorilla in sight! The harder thing would be to steal a rabbit out of its cage then her. She walked out of the house normal- ly, locked the door behind her, got into the car and Scene two here she is. MOCA: Are they really rich or villagers lie about it? A living room with the kitchen. Stana and Marijana sit JOVAN: at the table in the death silence. They own almost every house! Mob village, let me tell you! Luckily, it takes forty-five minutes to get STANA: there... Should I turn the TV on? MOCA: MARIJANA: I’m such an idiot... No need to... (She gets up and starts cleaning the bar.) STANA: BRANA: Never mind, we’ve been grieving long enough. Not This is a tough intrigue... Her – to run away with the paltry Milutin..? even his mother would cry over him like that... (Turns the TV on, on the local TV station the local clairvoyant MOCA: foreshadows the destiny of a woman.) Did she at least bring anything with her? JOVAN: Sound coming from the TV: You made a wrong, how to say, thoughtless move. Now this is hard to fix, a lot of One bag. people is involved, but your biggest problem is that now MOCA: it is already... how to put it, an open secret. Therefore, A snob. you need to take the matter, say it, in your own hands. BRANA: You are lacking action, courage... Of course, why would she need more... People like that keep their money in the bank accounts... They MARIJANA: don’t saw money in their pillow cases, like others... Should I try once again? > 94

STANA: STANA: Half past midnight...OK, try again, it’s the case of She should have asked him... emergency, I guess. (She turns the TV down.) MARIJANA: Marijana gets up to make a call, Milutin, with the tow- He says that these villages by the road who knows el, exits the bathroom. who inhabited and with who did the “greengrocers” mix. MILUTIN: STANA: Still nothing? I came just like you, and just like you I “mixed with MARIJANA: the greengrocers”. They are not answering. MILUTIN: STANA: And look what she gave birth to! Oh dear God, maybe they are looking for you... STANA: MARIJANA: Let’s go to bed. Moring is smarter... It has to be that mother told him... They are upset with me. I’ll call again. MILUTIN: Now, don’t you worry. If they do not answer by the Scene three morning, my best man Jovan and I will call them. Is that ok? STANA: You should have picked someone older to be your The same room. Milutin sleeps at the table, set against best man... You are doing everything wrong... What the phone. There is a beating on the door. Milutin grabs if they just come? a rolling pin of the refrigerator and comes near the door peeking through the curtain on it. MILUTIN: You ran away with dad and nothing happened. MOCA: STANA: It’s me, you coward, open up! That was a different time back then, it was considered Milutin lets her in. almost a custom. It was romantic back then. If you wanted to be with the one you loved, that was the on- MOCA: ly way. Parents always had some richer for you. But Your wedding started really fast... then you didn’t have the chance to go back, but you had to deal with your own mess. But this... I don’t MILUTIN: know, kids, I’m scared. What wedding? MILUTIN: MOCA: What are you scared of? If the man insists, we will Look, Milutin, save those peasant crap for the peas- do the wedding in the proper way and that’s it. ants, don’t fool me, I educated in the city! 95 >

MILUTIN: MILUTIN: Moca... You didn’t unlock? MOCA: MOCA: Don’t you “Moca” me. I’m here strictly on business. Hell no, Stana told me to lock the door and not to let Meaning, as the waitress from your pub. Therefore, anyone in. What, you want me to fight the daughter- act in accordance with it. in-law’s mafia? MILUTIN: MILUTIN: Please, not you too. You are the only one who under- What mafia, come with me! stands me. Milutin goes to the pub, and Moca, seeing Marijana’s MOCA: open suitcase by the door, starts fumbling through it. Yeah, right, babe, I’ll understand you, and she’ll give Stana enters the room. birth to your children... MILUTIN: STANA: This is not the time... Where’s Milutin? MOCA: MOCA: It was never the time! Especially now. Now it’s time In the pub. for the wedding bash. Get up, host, the guests have STANA: arrived! And what are you doing here? MILUTIN: MOCA: What came into you? Where do you see the wedding I came to call him. bash? STANA: MOCA: Bring us the coffee, since you’re here. In front of the pub. A lot of people are gathering, cars MOCA: full of people! If I knew, Milutin, you had that much From the pub? family abroad, I would have considered you... STANA: MILUTIN: From a well! What are you talking about? I don’t even have a fam- ily here, let alone abroad. MOCA: MOCA: I know you like it home-made... Well, fast cars, foreign license plates... They certainly STANA: didn’t come to see me! I didn’t sleep last night, bring whichever you want. MILUTIN: MOCA: Let me see... (He looks through the window and then I’ll make home-made. For everyone? leaves towards the door.) STANA: MOCA: Of course, for everyone. Why are you going towards I wouldn’t unlock it if I were you... that door? > 96

MOCA: MOCA: Well I don’t know what kind of coffee the daughter- It’s like they’re waiting on something, I have no idea, in-law likes, so I thought I should ask... we’ll open now. (Opens the door and looks.) Jesus, a STANA: pub is packed! I got to go! (She takes the chair Mari- A bitter coffee! jana planned to sit on.) I need the chairs. STANA: Moca leaves. OK, OK, bring one more coffee, for Brana. STANA: MOCA: There’s no place she wouldn’t stick her nose in... (She Let her drink Milutin’s, he won’t come soon. looks through the window) What’s with all these people MARIJANA: outside? Moca! (Starts telephoning) Brana! Did you drink coffee this morning? Did you see the crowd Why? outside? What, no, they are not ours, woman, I have MOCA: no idea who they are! Now why don’t you come here, We’re busy! (She leaves.) pun an apron on and while you’re passing, you know, STANA: the way you do it... not directly... Come on, the coffee will be here in a minute! (Finishes the conversation) Don’t worry about her, she’s not that bad, she’s just Daughter-in-law! Come over here! upset she was the last to know. (Quietly) And Brana... She wanted to die! And I purposely didn’t want to say Marijana comes in, dressed and with combed hair. anything! MARIJANA: MARIJANA: I didn’t sleep last night... I’ll go outside to see what is going on! STANA: STANA: Marijana, is this maybe your family outside? No! Are you crazy?! Look, daughter, don’t get me MARIJANA: wrong, but I believe that this entire mess has some- (Looks through the window) No, I don’t know them. thing to do with you being here. In this pub, and he (Moca comes in, bringing the coffee.) There is so many named it well, God damn it, only the scumbags come, of them... Is it a market day4) today? we barely sell five coffees and two brandies on a dai- ly basis. And now, all of a sudden, this crowd! MOCA: MARIJANA: In our village people drive trucks and tractors on a market day, not the BMWs and the Mercedes... All these people and cars I see for the first time in STANA: my life. Don’t get all smart on us, Moca, but tell us what are STANA: all these people doing here? That’s ok, sit and settle down, Brana will be here in a minute... 4) A market day in villages is one day of the week when people sell the groceries, fruits, vegetables on the improvised market, and this is the day when the streets are crowded. 97 >

Scene four BRANA: We always drink our first coffee here... MILUTIN: The pub. Milutin and Moca are bringing the chairs in She won’t be coming here, she’s drinking coffee with and making room for a lot of people who are waiting, Marijana, go to them, why would you sit here, you Brana is sitting and enjoying alone at her table, eaves- don’t know anybody... dropping on the guests. The guests are mostly silent, they DANE: drink their coffee fast and they obviously do not know She knows me! That’s not a thing to neglect! (To a each other. Dane is sitting at the bar on his chair and is foreigner) And that Stana, my brother, she was my arguing with the dark foreigner, who is staring at him in silence. first and only love. I got married twice, negligently, but Stana... Have you ever listened to Toma Zdravk- DANE: ovic? That is our Serbian singer who sang about the I won’t let you have this chair! half of female population of Serbia. He sang about MOCA: Danka, and Branka, and Jelena, Mirjana, Sanja, Al- eksandra, Ljiljana... About all of them, but not about He can’t understand you, dad, he is obviously Turk- Stana. This is why I drink, I can’t write a poem... ish! DANE: Javorka enters the pub, looks at the crowd and looks for I won’t give it up, period! Do you know, brother Mu- the available table. rat, when did I start sitting here?! When I was young, just like you, and I was able to stand on my feet... and BRANA: I should have, of course, there is a difference between Javorka! Is that you? the younger and the older! Even then – with respect – JAVORKA: people were bringing a chair to me saying “Sit, Dane, It’s me, Brana... Have I changed that much? don’t stand”! And you, you came here five minutes ago and you would like to sit right away! BRANA: BRANA: Well, I can see you have new fancy clothes, looks good When was this, Dane? God damn me if I recall you on you... And you... well, you’ll always stay the same, ever being able to stand on your feet! I’d recognize you standing million miles away! DANE: JAVORKA: (To the foreigner) They were bringing chairs to me, Well, thank you, Brana. Are you waiting for someone? and pulling chairs away from her! Can I sit with you? (She sits, without waiting for the BRANA: answer.) Milutin, pull away that bottle from him, and he’ll let BRANA: go of that chair in a second! (To Milutin) Bring us two coffees. (To Javorka) I’m MILUTIN: waiting for Stana, but she got a daughter-in-law yes- (Discretely) Mother is up, I think she’s drinking the terday, so now she has a younger company... See how coffee already... everything changes over night... > 98

JAVORKA: JAVORKA: I can see that, look at all these people! Who’d say... I see she’s already “yours”? It’s so cheerful here with yours, and ours are gone... BRANA: BRANA: For some time now, God help me, I just can’t see how Wait, who is “yours”, Javorka? As I recall, you were you didn’t figure it out while she was “yours”. ours, too... Don’t tell me you are no longer a “green- JAVORKA: grocer”?! We’ve noticed you’ve already started celebrating, and JAVORKA: since we have the policy that a woman who stays too I was never a greengrocer. My mother is from “above”... long with the greengrocers shouldn’t bother to come BRANA: back home – I better get going. Stop by, see where I nested... (Hands her a business card and leaves.) That’s true, but your mother preferred market over fields... I remember, not even the buses started go- BRANA: ing there yet when she had a stand! These people are neither yours, nor ours... JAVORKA: DANE: My mother had a stand, and I, so help me God, a bou- It’s better to be nobody’s than everybody’s... (To the tique! In the city! foreigner) Cheers to you, bro’... BRANA: Yes, I heard about that, but to tell you the truth, I would have never believed in it if you hadn’t told me. Scene five JAVORKA: And why is that, Brana? Is something wrong with me so I cannot be a boss? The house. Brana comes in very fast, crossing herself BRANA: with both hands. No, Javorka, come on, it’s just that you cannot really believe in good news anymore! If someone said you BRANA: are, God forbid, sick or, God forbid, in jail, or that My, my, my, all these people... There are thousands you are unhappily married, everyone would believe, of them! but this... STANA: JAVORKA: And? I married well, don’t you worry. BRANA: BRANA: Mostly “abroaders”! There you go, that – I didn’t know... To what family? STANA: JAVORKA: Well, what are they doing here? To Marijana’s. BRANA: BRANA: Resting. I guess they travelled a long road, so they What?! Family of our Marijana? feel like resting now. 99 >

STANA: MILUTIN: All thousand of them? Business started going like in the movie, we cannot BRANA: manage to serve them all, and half of them have no place to sit! Approximately twenty cars. BRANA: MARIJANA: Make them sit on the floor, it wouldn’t be their first Where are they heading when there is so many of time... them? STANA: BRANA: Do you have everything you need? Everywhere, as I understood, they are going on hol- MILUTIN: idays. I need more chairs. And I’m going to have to go to STANA: get some groceries, right away. You, mother, be at the What holidays, Easter is two weeks from now... pub while I’m gone, Moca cannot handle everything BRANA: by herself. Catholic Easter, Stana! Europe doesn’t give a damn BRANA: about our Easter... See, the Turks celebrate along She can, she can... with them... The pub is packed with them, they are MARIJANA: going home, too. What about me? STANA: MILUTIN: To Turkey? You, you are my lucky star! See how everything start- BRANA: ed going well as soon as you arrived! The construc- tion on the road can take up to few months! We may Some of them to Turkey, some of them to Kosovo... 5) as well get rich! I’ll make sure to provide more chairs There are also our people, “the gastarbeiters” . They and tables today! (Takes two more chairs and leaves, got transferred from highway because of a construc- Brana is the only one sitting, Marijana and Stana are tion zone I guess, this is the only possible answer, so standing.) this place turned up to be very convenient for them. MARIJANA: Milutin enters the room. You promised to go to my family... BRANA: MILUTIN: Oh, there’s no need to do that... by the way, while I Imagine that! They shut down the main road right was ... in my own way... I met your aunt. I didn’t even there in front of our turn..! know in what village she got married... BRANA: MARIJANA: We heard, Milutin... What aunt? BRANA: 5) German term referring to migrant workers who moved to Germany in 1960’s and 1970’s seeking a better job and living. Javorka, of course, what do you mean – what aunt? > 100

STANA: lowed her and now, all of a sudden, she decided to Our Javorka? resurrect, God damn her! BRANA: BRANA: Ours, Stana. Both ours and theirs! We are fighting over She came, I’m telling you. She walked in the pub and her as if she is the mayor. And she came to check out came straight to my table. Ask Milutin. (To Marija- the situation, to see if here is a celebration or people na) Oh, come on, girl, get it together, nobody’s par- just talk about it. ents are happy when their kids are getting married! MARIJANA: And when the child is born, they drink and hug as if they are the closest family in the world! Is that right, What did you say to her? Stana? BRANA: MARIJANA: What should I say? The woman sees the crowd, even My parents won’t come, not even when the child is I wasn’t sure until I investigated everything... born, I know it! MARIJANA: STANA: I’m doomed... (She starts crying.) Let’s get you to lie down, come on... Damn him and STANA: his pub! Now he needs to work... Don’t worry about Javorka, she twists every story! We’ll explain everything. Now, try calling them once Darkening. again, I’ll talk to them. BRANA: Oh, one more thing... (To Marijana) Your family said to tell you: once you go to Greengrocers, do not both- er calling or coming back.... STANA: Brana! MARIJANA: Sweet mother of God! I knew it! (She cries.) BRANA: Now look what you did... (Pours water and gives her to drink.) BRANA: Javorka became really snappish, I didn’t expect this from her... STANA: And where did Javorka come from, Brana? She’s been gone from the village for years, like the earth swal- 101 >

foreigners, coming from the long trip, hungry as hell – so we opened the kitchen! ACT TWO JAVORKA: Stana really got it going... BRANA: Scene one Ah, you know Stana. Never satisfied: “Who will cook?” Like it matters who will cook, after all, she got a daugh- ter-in-law, I suppose she is able to cook something! Javorka’s boutique, cheep, tacky. A small, wide table and JAVORKA: cane armchairs in the middle of the boutique. Brana is Marijana? Cooking? Dragutin won’t like this... sitting and admiring everything. Javorka is serving coffee. BRANA: JAVORKA: And why’s that? What’s wrong with that? I waited for you and waited, put the water to boil JAVORKA: twice, but I didn’t see you coming... I can see, sister, that you don’t know our customs very BRANA: well. We have a chef for cooking, a cleaning lady for Well, when you waited all these years, you didn’t lose cleaning, and a driver for driving. We do not deliver your feet now, you were sitting. I, on the other hand, children to drive us around and to cook for us. was standing and standing waiting for the bus for at BRANA: least an hour! The city is far away! I know you don’t deliver children, although you could, JAVORKA: and I wasn’t really interested in others. Don’t tell me you didn’t pass the driving test all these JAVORKA: years..? Well maybe weren’t, but Dragutin will definitely be BRANA: interested to whom and what his daughter is going to No, not me. Why would I? When my Milos was still deliver. He cherished her too much to have her toil alive he used to drive me around, and now I have in a pub for some Stana. And pregnant... I wouldn’t Jovan for that. I got myself a son, so I don’t even want to be in your shoes when he finds out. have to go to the city, he brings everything to me. BRANA: JAVORKA: Why in my shoes? It’s their shoes, I’m just a neigh- So why didn’t he drive you here, then? bor. BRANA: JAVORKA: He needed a car for the goods for Milutin’s pub. Today you’re just a neighbor, tomorrow the closest JAVORKA: family. I hear your Jovan was the part of that mass, Is that so? Meaning the business is blossoming! and that he’s going to marry them in church. BRANA: BRANA: Yes, I swear to God, for two weeks now, we even had So he should marry them, there’s nothing shameful to open the outdoor section! And there are loaded about it. It’s not Jovan’s fault for what they did, and > 102

as for being the best man, well, it’s not mine to say BRANA: anything, they should do as they please. And now it is deep? JAVORKA: JAVORKA: Let me tell you, Brana, honestly: he’s lucky he is your It was. Had they asked for her hand properly, they son, otherwise the one in whose car the bride gets would have gotten fifty thousands. kidnapped wouldn’t have a nice way out of this com- BRANA: plication. It’s too bad we didn’t spend time hanging Fifty... thousands of what? out earlier, so that you could have told me few things JAVORKA: in advance... Come on, stop acting all surprised, and tell your son BRANA: to quit the tricky businesses and to come to his aunt Tell you what? Javorka, I’ve got a better job for him. JAVORKA: ... and so that I could have told you some things in advance, too... Scene two BRANA: What things? JAVORKA: Restaurant kitchen, few dishes are cooking in pots on Few things, formalities, little things, but again worth the stoves. The board with the sign “Gloomy Monday” is knowing in order not to make anything stupid. leaning against the wall. Right part of the scene is dark- BRANA: ened. Marijana is sitting and chopping the vegetables, What little things, what stupid things? Stana is filling the plates passing them to Moca, who enters the kitchen every minute. JAVORKA: Just tiny things... Such as dowry. MARIJANA: BRANA: He doesn’t even mention the wedding anymore... He I don’t know anything about that dowry! doesn’t give a damn that I cry every night. JAVORKA: STANA: Of course you don’t, they didn’t get it. What were His father was exactly the same. Nothing that wouldn’t they thinking, taking her away like that? What, they kill him worried him... thought – we’ll send them money by post office, for MARIJANA: stealing our child? I would die, right away, if it wasn’t for this child... BRANA: STANA: There’s more than one child... Stop saying nonsense! God forbid! You will live long JAVORKA: life both with him and without him. God, forgive me, Which makes it even worse, if there were only one he’s mine, but ever since this show began, I feel you child, the suitcase would be shallower. are more my daughter, than he is my son. 103 >

MARIJANA: JOVAN: And he has Jovan to be both his wife and his mother, Even my grandmother would have remembered it, more than both of us! the man explained it to you ten times. MOCA: MOCA: (Returns a full plate) He says there is pork in this! He Then bring your grandmother! Or even better, here can feel the smell! (She walks away.) you go! (Throws her apron at him) Deal with it your- STANA: self! What pork? There’s no pork... The things I have to JOVAN: deal with... (Crossing herself) Like it is not enough I That’s probably the best way! have to make all this meat during the fast, the entire house stinks, and now the scumbags are messing with MOCA: me! Oh, I’ll go serve him this! Down his neck! (She (With eyes full of tears) Is that so, Milutin? leaves.) MILUTIN: MOCA: Wait, guys... (Enters the room crying and unties her apron.) He should JOVAN: find some other fool! At home I have that drunkard killing me, here everybody rides me as they wish, and There is nothing to wait, business is business! I don’t all I needed now were the truck drivers! care about your unsolved issues. MARIJANA: MILUTIN: What happened now? Leave my private things alone. Who do you think will MOCA: serve all these people? Ask your beloved husband! MOCA: Your wife can serve. You, obviously, don’t need me Milutin comes in and Jovan is following him. anymore! (She leaves.) MILUTIN: JOVAN: I told you I would find another girl, I cannot make What? What are you looking at? Like she was a spe- her happen, and nobody wants to come to village! Be cial waitress! She can’t even speak Serbian proper- patient a bit! ly, and she wants to trade with foreigners! I’ll bring MOCA: some real waitresses! How long do you expect me to be patient? Until some- Milutin goes after Moca, and right after, upset and one smashes my head? speechless Marijana leaves through the second door. JOVAN: Brana enters the kitchen and bumps into Marijana. Someone should really do that. JOVAN: MOCA: Now what do you want? You stay out of this, or I’ll take your eyes out with this fork! (To Milutin) I have waited long enough, Mi- BRANA: lutin, long enough! To ask you when do you plan to go home! > 104

JOVAN: JOVAN: Why, what do you need? To you, something always stinks! BRANA: BRANA: Nothing, I just want you to come home. Back out of this situation! JOVAN: JOVAN: Ma, I got work to do, stop bugging me, please... Go I work here! Do you understand? cook some food, watch one of your TV shows, do BRANA: something, there, I’ll send Stana to you... If you really want to work, Javorka said she had a job BRANA: for you. Jovan, listen to me! Something’s not right here! I JOVAN: went to see Javorka... What kind of job? JOVAN: BRANA: Who the hell is Javorka? BRANA: (Hands him a business card) Better take this, be your own man, work for yourself and not for these spend- One of ours... she got married in this kiddo’s family. thrifts! Is that clear?! Now, get your ass back home! Her people are true mobs! I’ve seen it with my own eyes! JOVAN: You’ve seen what? Scene three BRANA: The suitcase full of money! Javorka showed me, I saw it with my own eyes! It was meant to be a dow- In front of the pub. Moca lights the cigarette and wipes ry, ready for the proposers! Even month before you her tears. Milutin comes after her. two idiots went to take her away... Now, you tell me, MOCA: what normal person would run away from their par- ents while having such a dowry? Go back inside, Kazanova, you have more important JOVAN: things to do. Maybe they wouldn’t let her marry him... MILUTIN: BRANA: It’s not more important. Yeah right, well who else, now that she’s five months MOCA: pregnant?! Screw it, it is more important, I don’t have the preg- JOVAN: nant belly. Maybe she didn’t know... MILUTIN: BRANA: Don’t say that now. Oh, she knew it, son, she knew everything. And she MOCA: doesn’t seem to me like she doesn’t like the money. Then what? When? When it starts hanging, healing, Something stinks here, I tell you! when it infuriates? Then? 105 >

MILUTIN: JOVAN: Come, let’s get back inside... All right, if all this is nonsense, let me ask you some- MOCA: thing clever. What do you plan on doing with the I’ve been coming back to you long enough. wedding issue and all these mountaineers up there? MILUTIN: MILUTIN: Where are you going? I’ll make the wedding bash when I make money. MOCA: JOVAN: To go fuck myself. Wanna come? And do you expect any dowry? MILUTIN: Milutin is not saying a word. A head on my shoulders would be nice. MOCA: JOVAN: I thought so. Good luck, babe. And what if they, besides your head, plan on leaving you something else in addition? MILUTIN: Scene four You’re talking about that asshole? He wouldn’t leave money even to his mother, and I’m not really sure about her head either. Brana heads out and bumps into Milutin at the door. They JOVAN: give each mean stares and they pass next to each other. Well, you see, from what I’ve heard, they are prepar- ing dowry for her, and they were ready to give it to MILUTIN: you if only you proposed regularly. What’s up, manager? Trying to find a waitress, a chef and a barmaid all for one paycheck Moca used to get? MILUTIN: JOVAN: Did Brana give you that news? Bearing in mind how much she actually worked, it JOVAN: seems that you paid her just enough. You’ll get the She says it’s not a small amount of money. new staff tomorrow. MILUTIN: MILUTIN: If you want that dowry that much, go and propose, I see you’ve got it all figured out... I already proposed on my behalf. JOVAN: JOVAN: Yes, I have. I have also figured out that you shouldn’t Are you sure that the child is yours? have the one who still didn’t realize you dumped her – in front of your wife’s nose. MILUTIN: MILUTIN: Why, is it yours by any chance? Jesus, stop bothering me with these nonsense, I don’t JOVAN: know what to do with myself right now. It could’ve been, if she was my type... > 106

Milutin tries to punch Jovan, but Jovan stops him and You’re my best man, Milutin, I won’t let them make knocks him on the kitchen table. fool out of you! Now, you go borrow the money for your wedding bash, and I’m going to go and negoti- MILUTIN: ate. Hookers are your type. MILUTIN: JOVAN: Borrow money from whom? You spend all of Stana’s And waitresses are yours! savings to the outdoor café! MILUTIN: JOVAN: (Takes the bottle of brandy and threatens Jovan with it.) And what would you do, let it rain all over your guests? Leave her out of this! MILUTIN: JOVAN: I can’t afford the wedding bash! (Takes the bottle from him, opens it and drinks from it, JOVAN: and then he offers it back to him.) My best man, let’s Find it, beg for it, steal it, but you have to make that not insult each other. I’m asking this for your own wedding bash! Let go and propose her! It will pay off! good. It’s just strange that they prepare that big of a MILUTIN: dowry for a pregnant girl... MILUTIN: And who should I ask for her hand, since she’s al- ready with me? Stana? (Stana comes in to take a crate Will you spit it out already? of beer.) Dear mother, I came to ask for the hand of JOVAN: your daughter-in-law, for your son, that is – me! Take it easy. STANA: MILUTIN: God, Milutin, leave me alone, you better come and I don’t have time to take it easy. My mother is alone help me outside. (She leaves.) with the truck drivers, the other one is whining... MILUTIN: JOVAN: There you go, she wouldn’t give her to me either. Which one? JOVAN: Get serious. Javorka will arrange everything for us. Milutin sits on a chair and starts drinking from the bottle. We just need to show up. Ha? What do you think? JOVAN: And Marijana would be delighted... OK, how about I go over there tomorrow and see what MILUTIN: they are offering? In that way if they have something Javorka who? – we’ll bargain for it, if not, we’ll give it up! JOVAN: MILUTIN: What do you mean “Javorka who”, our Javorka! Give up what, again? JOVAN: 107 >

Scene five all the work, she doesn’t even come in here. I sit here alone and I welcome each one of you to come in, to have lunch and to leave again. The living room. Milutin is sitting at the table, Marija- MILUTIN: na is laying the table for him and sits next to him. Well, now when Jovan... MARIJANA: MILUTIN: Jovan is making up and bossing, he practices his Aren’t you going to eat? skills on you. And he sends that snake to check out MARIJANA: our dirt. God forbid to ask how we’re doing, let alone I already ate. help with something. MILUTIN: MILUTIN: So, why did I come to eat here, with all that food in I’ll bring help tomorrow, I promise. And I’m going to the pub? buy a big rocking armchair for you to just enjoy and MARIJANA: knit baby clothes! As soon as Jovan brings you the waitresses, you won’t MARIJANA: even have to bother coming home at night either. I don’t know how to knit. MILUTIN: MILUTIN: Marijana, money doesn’t come magically. Everything we have we got thanks to that pub. And somebody Your mother didn’t teach you? has to work in it. MARIJANA: MARIJANA: You promised you would go... This is not good, Milutin. Why do you need all this MILUTIN: mess? I will. When I promise something, I fulfill it. But you MILUTIN: can’t go empty-handed, you silly goose! But just im- What is wrong with you, woman? Do you have any agine when we dress up, and take the main road to idea how much profit we made during this past week the church by foot, and we schedule the wedding! since we opened the kitchen? And I’m going to put the sign on the door that says MARIJANA: “ONLY FOR THE GUESTS WITH THE INVITATION”, And do you have any idea how much we lost? and Stana is going to get the perm, and I am going to take her up the hill to invite all of them in the gala MILUTIN: manner! Only that small savings Stana had, but this will get MARIJANA: tripled! The outdoor café can take three times more people than that burrow! Really? MARIJANA: MILUTIN: Three times more people in the café and your house Really. And I am going to buy the most expensive is empty. Your mother is barely standing because of gown for you! From Javorka’s boutique! She’ll die! > 108

MARIJANA: Scene six You silly man, in Javorka’s boutique you’ll find only clothes for skinny girls! MILUTIN: Javorka’s boutique. Jovan is sitting and checking out I’ll pay her double to make one more pocket, for him! Javorka’s bottom, while she’s fumbling through the plas- (He puts his hand on her belly.) tic bags under one of the shelves. MARIJANA: Perhaps it’s a girl... JAVORKA: MILUTIN: (Pulling the shirt out) Here she is! In this you’ll look Girl is great too! For him... or her, we are doing all like a businessman, not in that tracksuit! You, as the man with the career, you always need to look like this! To have someday for the wedding, or dowry, so somebody people can trust, not like some charlatan! they can just love each other, so they don’t have to You think those politicians like being strangled by deal with stupid things like us! their ties wearing them every day? MARIJANA: JOVAN: I don’t need anything but you. Not the dowry or the I’m not here to become fashionable or educated. pub. Mother said you are offering a job. MILUTIN: JAVORKA: Don’t talk like that, you deserve... Maybe Jovan was Easy, son, I only trade with serious people. You didn’t right. Maybe we should’ve done things differently. come here to peek under my skirt either. Mountain- MARIJANA: eers don’t easily give up on money or that other thing. It was impossible to do it differently! It will be hard to make a deal when it comes to Mari- MILUTIN: jana... Don’t worry. Everything will fall into its place. Slow- JOVAN: ly, one thing after the other. First I need to glaze the I didn’t come here to make deals with mountaineers, outdoor café, and then I need to re-register the com- but with you. How much do you ask? pany... JAVORKA: Marijana starts cleaning the table without paying any Half of it. attention to his words anymore. JOVAN: So, twenty thousand? MILUTIN: JAVORKA: This “Gloomy Monday” only brought us misfortune! We need to find the staff, you two cannot cook for all Twenty five! Javorka is not stupid! You think I don’t know how much you said to Milutin? these people! You’ll see, by the end of the summer we’ll finish the upper floor too! My, my, when I take JOVAN: you to the city to choose the curtains... Ten goes to the wedding expenses. That doesn’t count. 109 >

JAVORKA: has no one to borrow money from, and his mother Yes, it does, it does! What, you think I’m going to already gave him all she had. organize a wedding bash for him? As far as I’m con- JAVORKA: cerned, I don’t need the wedding bash. I’ll give him the money he needs, and on the wed- JOVAN: ding day – you give me back my loan and the other To tell you the truth, me neither. part that on which we agreed. When Dragutin gives JAVORKA: the dowry. Slow down, kiddo. Bear in mind, one word from me JOVAN: and these expenses will be unnecessary. Meaning – all of it. JOVAN: JAVORKA: All right. Have it your way. What is his request? This is how it turns up... JAVORKA: JOVAN: To bring his daughter home, so you can propose to Nice idea, I got to tell you... But what do I get from her regularly. all of this? JOVAN: JAVORKA: It’s a deal. You, (she pulls out the envelope) you get ten thousands. JAVORKA: That’s Dragutin’s way to send his regards. He heard Nothing is still a deal. You pay for the wedding your- that you are a very smart and diligent young man. selves, you come to propose a bride carrying gold and You get the half right away, and the other half after ducats with you, and you shoot the apple in front of the business is done. the gate. The mother-in-law buys the dress and we JOVAN: attire only the wedding guests. You can take care of All right, I’ll trust you... (He tries to take the envelope, that in my boutique, for a lower price... but Javorka won’t let go) JOVAN: JAVORKA: What about the money? Patience, kiddo... there is one more condition. JAVORKA: JOVAN: Money comes with the bride. Which one? JOVAN: JAVORKA: That’s never going to happen. Milutin doesn’t have Dragutin wants to enter the business. the money for the wedding. Me neither. Being the best man today costs you a lot of money. JOVAN: JAVORKA: What business? Easy, I told you not to rush. JAVORKA: JOVAN: The pub business. If you’re about to refer to the pub profit, forget about JOVAN: it, we still haven’t got back what we invested. Milutin That’s going to be hard. > 110

JAVORKA: JOVAN: You have the premises and the guests, we have the Everybody in your family seems to have the same rest. values of fairness... JOVAN: JAVORKA: I didn’t educate for this, but this much of a pub life I The lot and the pub one divided to two and the half had so far, taught me, Javorka, that in this business of the profit. when you have the premises and the guests, you don’t JOVAN: need the rest. And I should choose a side? JAVORKA: JAVORKA: That pub life you had so far you can forget right away. For you I have something more valuable. (Hangs a shirt on a hanger and pulls out one suit, meas- JOVAN: uring Jovan’s height) without the connections, the in- spectors and the cash, you can only make the same More valuable than money? pub as it was before. JAVORKA: JOVAN: Kiddo, this is an era where the money doesn’t play Well, we made more than just a pub, all without your the main role anymore. help. JOVAN: JAVORKA: (Laughs) Then what does? Dragutin would invest three hundred thousand. JAVORKA: JOVAN: Information. At the right time, a true information An act of a fatherly love, I suppose... values more than any other job. Be smart, while oth- ers work for the same money, your mission is only to JAVORKA: know what other people don’t. You can only dream that kind of money, if I under- JOVAN: stood that business well. All right, let’s see, what kind of information you have JOVAN: for me? Milutin I might talk into this, but Stana won’t accept JAVORKA: it... The one that could leave you without your legs if it JAVORKA: leaks. But it could also make you a fortune, if you Kiddo, that pub can make a fortune if someone in- play it smart. vests in it when the time is right. (She hands him the JOVAN: envelope) And you – take it, or leave it. Speak up. JOVAN: JAVORKA: How much does he want? In six months, the construction of the highway be- JAVORKA: gins. According to the new project, the highway should A half. pass right next to your houses. 111 >

JOVAN: JOVAN: I’ve seen that movie before, Javorka! We are also able (Vigorously takes the envelope from her.) Javorka, if to watch the national television, not only you in the you make that apple out of the boiled sponge as you hills! Good one, really... But I’m not Danica Maksi- people do... 6) movic! JAVORKA: JAVORKA: I like you, kiddo, you’ll be the man someday. What the hell are you talking about? It would be bet- ter if you paid more attention to the news, instead of staring at the movies! They don’t build highways only on TV. Scene seven JOVAN: In this country, they don’t even build it on TV. The pub, early morning. Stana is sitting at one of the JAVORKA: tables, alone, in silence, looking at her coffee cup. There You are wrong. Now that we are closer to the Europe is knocking on the door. She comes near, peeks to see more than ever, when the boarders are opening, the who it is, and then she opens and lets Dane inside. He is money will come by itself, you just need to be in the dressed fancier, and behind his back he hides a bouquet right place at the right time. of roses, wrapped in newspapers. Stana pays no atten- JOVAN: tion, she goes back to get her cup and carries it to the bar. You mean next to Dragutin? With this much money? STANA: JAVORKA: Where are you going this early? If anyone knows I told you not to rush. Don’t say a word about this when this pub opens, it’s you... to Milutin, and if you seal the deal for Dragutin, you DANE: will get a nice bonus. And you will become a partner. That’s the only thing you didn’t change about it. JOVAN: STANA: And based on what should I trust you? Give them time, they’ll change that too, so you won’t JAVORKA: have to go home, ever. Pay attention to your behavior. I’m not some green- DANE: grocer’s apprentice to wrap the goods in the newspa- I would go home if you would be there waiting for me. per. Inside you have a contract. Bring it to your best STANA: man to read it, and if he wants, we’ll do the business. No, you wouldn’t, Dane, not even if Olivera Katari- If not... everyone keeps what’s theirs. (She takes the na waited for you there. You would be waiting like a envelope back.) dog in front of this or any other pub just like today, for someone to pour you your morning doze. Here you go. (Pours him a brandy.) DANE: 6) Famous Serbian actress. No, thank you. > 112

Stana now looks up and pays attention to his looks. DANE: STANA: Stana, I came to ask you the thing you never really wanted to hear. (Pulls the paper out of his pocket and Look at you, all dressed up. For what occasion? delivers it to her officially.)Once upon a time you asked DANE: for a poem, and I didn’t know how to write it. (Gives her the roses) Rosa the flower lady picked these STANA: up for you. I’ve been saving them from last night not to wither. She can give you the old flowers sometimes... A poem? And these from “above” wanted to buy everything, DANE: but I stood up and didn’t move a bit. She gave the It not a big deal, but I personally wrote it. I swear on bouquet to me first, and then to them – everything my Moca. that left in the store. But she gave it to me first. STANA: Stana sits on a chair and starts reading. She smiles brief- Thank you, Dane. But it’s still not for congratulat- ly, and then starts laughing cheerfully, like a child. ing... On Saturday, God help us... STANA: DANE: Dane, dear Dane! Like a teenage boy... What is this? Would you like to make me a coffee? And for you, so DANE: we can drink it together. STANA: I didn’t want... it to be funny. I intended it to be ro- mantic. Maybe even a bit sad... Not too much... I’ll make you coffee, and I just had mine. (She turns around, puts the flowers in water and makes the coffee.) Stana gets up, leaves the poem on the table, gives him a DANE: brotherly hug and laughs once more, full heartedly. Don’t do it, then. I don’t feel like drinking if you are DANE: not drinking. STANA: I’ll write another one! What do you mean? Stana goes to the door and unlocks the pub. DANE: STANA: I can drink by myself at home, too. He wants to write poems... It’s easy to be happy when STANA: you’re mad. (She goes towards the house.) Oh, come on, don’t be like that. You cannot be feel- DANE: ing worse than I do today. DANE: I still love you, Stana! The kiddo returns home after all? STANA: STANA: I love you too. (She smiles and leaves.) Now they have an idea to go and propose to her all Dane goes to the table where Stana sat, picks up the po- over again. Snobbish business. And where are you em, turns around few times like he doesn’t know where heading dressed like that? to go, and then rushes out of the pub. 113 >

Scene eight STANA: It’s all to make peace. Your sisters are waiting for you to make wedding garlands, it’s what every woman de- The living room, evening. Stana packs a big basket, puts serves to have. And to remember forever. a honey in it, a brandy, fruits, home-made juice, coffee MARIJANA: and one hand-made crocheted tablecloth. Milutin looks Garlands are meant to be... through the window and at his watch, alternately. STANA: STANA: Stop it! They are making a big send-off, since they You’re making a mistake, Milutin. One sin after an- ordered the flowers from the lower flower shop. Hey, other... a greengrocer’s flowers! Now it is good enough for MILUTIN: them! Come on, mother, pack that thing, he’ll be here in a MARIJANA: minute. Nothing is ever good enough for them... STANA: STANA: Ever since you were born, things went wrong... And the poor child in that belly, poisoned by her tears, Don’t go, daughter, without your roots, your father every night. Poor woman, left by the God... (She cross- knows what he’s talking about. And we’ll be there as es herself in front of the St. Petra icon.) soon as the sun comes up on Saturday. Marijana shows up at the door wearing the same clothes Marijana hugs her and starts crying, at that moment she came in, carrying the same suitcase. With tears in the sound of horn is heard and Brana and Jovan appear her eyes she looks at Milutin. at the doorstep.

MILUTIN: MILUTIN: What’s with the whining, like we all died?! Stick it Let’s go. You’ve been saying your goodbyes ever up until Saturday, it won’t harm! Isn’t this what you since this morning, all you’re going to do is invoke wanted? Hey! Yours agreed to a wedding! It will not bad luck.... hurt to do everything from the beginning, properly? Jovan says your old man even asked about our busi- JOVAN: ness, that he even wants to help us! And we expected We have to go to the “Golden Bell” afterwards, Mi- the worst case scenario! sa is waiting for us, and he’ll bring a singer and the STANA: musicians... It’s best to hear them first... It will give Let her be, Milutin! (To Marijana) Here, child, bring us the time to study those contracts... this to your mother, from me. Just sleep and it will MILUTIN: all be over soon. What contracts? MARIJANA: How am I supposed to sleep, mother? I gave up one JOVAN: family, a came to another to have him, and now he We’ll talk about this later – we’re on the good track returns me like the sack of pepper, until its price falls! here! (To Marijana) Godmother? What the hack is > 114

wrong, it’s like you’re going overseas! If my Brana everything! They want to make a motel, gentlemen! loved me the way your parents love you, I wouldn’t Who for? For the foreign trash, to prostitute all over have been leaving the house, and yet you’re crying my house?! Leave me alone, please! Why didn’t he because they are waiting to treat you like a princess! use your house to build it, instead of mine?! BRANA: BRANA: (Lifting her eyes from Marijana’s basket) Go to hell, Is this how you thank him for looking after your house you idiot! rather than his own? My child is not sleeping under his own roof anymore! Sleeping or eating! You feed Jovan takes his bag and leaves, and Milutin and Mari- him here, good for you, but it’s his time to get married jana follow him. Brana sits on “her” seat. as well, but he wants to take care of your son first! Is BRANA: this how you thank him?! Remember this day, Stana, this is the last day I stepped on your doorstep! See, that’s the gratitude I get for giving up on my life to raise him! Brana leaves towards the door to go out. At that moment, STANA: Moca appears, wrecked. They are still kids, they have no idea... MOCA: BRANA: He hanged himself. I got to tell you that I’m not pleased that my Jovan STANA: has to take her home! Who hanged himself? STANA: MOCA: The one who brought her should get her back. If they My dad hanged himself... asked me, they should’ve done this a month ago. BRANA: Brana helps her sit down, and Stana rushes outside, lights the outdoor light and terrifyingly looks at the hanged Your Milutin would hardly be able to propose to her Dane. by himself... STANA: Darkening. And why is that? Is he lame? Is he mute? BRANA: No, of course not, but when a man doesn’t have the money, it is worse than being lame. Luckily enough, Javorka didn’t forget what I used to do for her when she had no one, so she helped, otherwise, how you would pay for the wedding today? STANA: From cheese and jam, Brana, just like yours welcomed you! Look what they did to my pub?! They destroyed 115 >

them, they won’t move a finger without their pay- check! And Moca was the best, sister... ACT THREE STANA: They don’t ask for my opinion. BRANA: Scene one If only your daughter-in-law was here to help you, and like this, you’re stuck with me, and even I’m good... Moca comes in carrying the plates, Milutin comes in af- The living room. Stana washes the dishes in the big bowl ter her. and Brana stands next to her and rinses. MOCA: BRANA: These are leaving too. There you go, life. Instead of the wedding – a funer- al! STANA: STANA: I’ll take the plates, and you go see people off. Hush. BRANA: BRANA: Please don’t tell me you are still opening the pub to- morrow? I was thinking, crazy Dane was not that big of a rel- ative to us... MILUTIN: What else I’m going to do? Are you going to pay my Stana leaves the dishes and starts polishing the glasses debts? (He leaves to get more dishes, Moca goes with at the other side of the kitchen. him.) BRANA: STANA: ... but still – it’s wrong! It is not right to cheer where He’s dealing with the mountaineers now. a man recently died! The wedding will not go away... BRANA: but why is Milutin hurrying with the opening, when Really? he doesn’t make the wedding right now? STANA: STANA: When they came with their jeeps yesterday, my heart Moca said so. almost stopped. BRANA: BRANA: Poor girl, she had to find him... out of all people... What do they want? STANA: STANA: You should’ve gone there, to eat something, I could’ve Their piece of the cake. They offer me money, mak- handled this by myself. ing me sign it, the pub is still on Svetislav’s name... BRANA: and I don’t like it, Brana, it’s like I need to let dogs No, why should I go there? I prefer the kitchen, I come into his grave! work a bit, it makes the time goes faster... and there BRANA: is no one to help. These new waitresses, did you see God forbid! > 116

STANA: BRANA: I cannot do it, period! Why my son? He has nothing to do with this! You BRANA: know, Stana, that the title of best man you don’t re- fuse just like that! Dane really went after the “Gloomy Monday”... STANA: STANA: What best man, Brana, woman? They postponed the We all will. wedding for the fall, until at least half of the year BRANA: passes, those won’t let their daughter go without the I swear to God, Stana, I don’t like any of this. This music! was always a respectful house, you shouldn’t have BRANA: mixed with those... As if she’s a virgin, Jesus... STANA: STANA: I didn’t mix. He’s bloody thirty, what was I supposed They didn’t tell her yet. Poor girl waits. She thinks it to do, go after him and take notes and identify? was postponed until she leaves the hospital... BRANA: Moca comes in and sits. And what does the kiddo say? STANA: MOCA: Oh, I don’t know, he goes to the hospital every day. I can’t sleep there. She called me yesterday crying, saying it’s all her STANA: fault, that ever since she came, everything started Sleep here. Go to that room, find some pajamas and going bad... go to sleep. I’ll go there. I’ll take care of everything. BRANA: BRANA: God forgive me, but she did bring all of this! I’ll go with you. STANA: STANA: She’s afraid, they told her – she won’t be able to take I’ll go alone. I need to do this alone. this by the end. She’s stressing too much... MOCA: BRANA: Take everything out... What about Milutin? STANA: STANA: I will. My Milutin acts as if someone’s punched him in the BRANA: head! Everything is going well for him, poor me... Are you going to burn it? BRANA: STANA: It’s not easy for you, sister... I’ll wash it and give it to the Gypsies... STANA: BRANA: And that son of yours is no better. He loved Gypsies. 117 >

(They leave.) MILUTIN: Milutin comes in, sits at the table next to Moca, pours the You’re still upset with me... brandy and turns the TV on. The voice of the clairvoyant MOCA: comes from the TV: You are, how to put it, a lonely per- No... Upset... Like it’s too hard to forgive. But we’re son. What happens to you right now is not only a desti- idiots. ny, you have your share of guilt. You, how to say, simply push people away from you. You want them near, but by MILUTIN: putting them first, you place yourself in the second place You’re right, I’d be upset, too. and they keep you there. Not in the second, but in the MOCA: third, and forth, and some of them don’t even notice you... Right, when you have no reason to be mad anymore, MILUTIN: and the anger is not surpassing, it can be very danger- Do you want me to turn it off? ous! You did something wrong yourself, and you’re MOCA: mad at someone else, just to not be mad at yourself... And it’s my fault just as much it is yours. Don’t. MILUTIN: MILUTIN: Don’t, it’s not the right time. (Turns the TV off and takes the bottle of brandy) You want some? MOCA: MOCA: It is never the right time. There, he is gone. I have Pour. no one to look after anymore. But now, you are no longer waiting for me. When it’s not meant to be, it’s Milutin pours the brandy for both of them. They spill not meant to be. few drops on the floor and then start drinking. MILUTIN: MILUTIN: Let’s not talk about this. You’ll always have a job here, you know that. MOCA: MOCA: We won’t, I’m just saying... Thanks, Milutin. I’m going to go to my aunt in the MILUTIN: city, and after that we’ll see. MILUTIN: We won’t... This isn’t how it supposed to... MOCA: MOCA: We won’t... Well, it had to happen somehow... They hug sadly and then they kiss clumsily, pitying each MILUTIN: other. Javorka shows up at the door and catches them in When do you go? action. MOCA: Tomorrow. They’ll come to pick me up, we just need JAVORKA: to sort some of my dad’s stuff out... My apologies... I called, but no one answered! > 118

MILUTIN: JAVORKA: We had a funeral. Moca’s dad... It doesn’t matter who was the mediator, but who the JAVORKA: money was intended for. The one I send it to, the one Your wife had a miscarriage. owes. BRANA: Well, thank you, godmother, you know it’s not pleas- Scene two ant... JAVORKA: And you don’t call me “godmother” anymore, there’s Hospital hallway. Bald bodyguard is standing in front no written agreement about that. of the door. Milutin, drunk, with a flower bouquet, tries JOVAN: to enter the room. Don’t you worry! The deal is still on! I keep my word, BODYGUARD: Javorka! It’s just that he’s a bit crazy right now, he Stay away! smashed everything in the pub, closed it, he’s having a hard time. MILUTIN: Move! That’s my wife! I want to see her! JAVORKA: BODYGUARD: Hard time or not – I don’t know. All I heard was that Stana want to assign him the pub. Listen, asshole, she’s not your anything, especially not your wife. Dragutin wants me to tell you to re- BRANA: turn the money you took for the wedding and to stay Stana is... Pure evil! away from his house, at least 3 villages away! JAVORKA: MILUTIN: It changes things significantly. She( puts her hand on That was my child! (He swoops down on the bodyguard, Jovan’s shoulder.) They have the location, and we have who bounces him away and knocks him on the floor.) the information! Besides, we have the money and we wanted to invest, but if they don’t want that... JOVAN: Scene three I’ll talk him into that, after all – business is business... JAVORKA: Business is business, and relatives are relatives. Now Javorka’s boutique. Brana, Jovan and Javorka. that the wedding is off, everything changes. Who JAVORKA: knows, you and me, Brana, can become a family at (To Jovan) you have nothing to hide about! It’s not the end! your fault that Milutin doesn’t know what he wants! BRANA: BRANA: What family, what the hell are you talking about? Those were big money, Javorka, and he was the me- What child do you have for us? diator... Who knows what’s going to happen now... JAVORKA: 119 >

What, you pretend not to know that Marijana doesn’t BRANA: want to hear about Milutin... What estates, Javorka, this small garden is all I have... BRANA: JAVORKA: Seriously? This idiot tells me nothing! (She hits Jovan What more do you want? Stana didn’t have much with her purse.) more, and she opened the pub... JOVAN: JOVAN: Yeah right, like I’m going to tell you! Damn right! If only they were smart enough, they JAVORKA: could’ve had the motel by now! Yup, first she flipped when she heard the wedding JAVORKA: was postponed for fall, and then the word came out But Milutin didn’t have a mother like yours, Jovan, that he hooked up with that former waitress while she was at the hospital... Somebody saw them, I guess. ready to sacrifice this little lot for her son! I have al- ways found them strange, the sign “Gloomy Monday” BRANA: was a good description of them... With Moca? Again?! I knew that wasn’t over! This JOVAN: is why she moved to her aunt, so they can hook up better! That trash! Her father didn’t cool down yet! Not everyone has a good sense for business.... JAVORKA: JAVORKA: And when Dragutin heard about it, he even raised And now, when I take a closer look, your house is in the dowry! even better location, to tell you the truth! JOVAN: JOVAN: How much? I was thinking, a gas station is not a bad investment, JAVORKA: especially when it comes to a highway... A double. JAVORKA: BRANA: Both the pub and the gas station, trust me, in Europe Poor kid, it will be hard for her to recover from they make it all in one... everything... BRANA: JAVORKA: Well, I did see a trumpet! And a trumpet in a coffee Why? Nothing’s wrong with her! Imagine she gave cup never fooled me... birth to it in this situation! What would she do with a child and a fool?! Darkening of the scene. BRANA: Sometimes a man just perishes in ignorance... JAVORKA: THE END And the two of us, with two healthy kids, look at each other over hills, instead of merging our estates! CIP – Каталогизација у публикацији Библиотеке Матице српске, Нови Сад

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SCENA: Theatre Arts Review / Editor in chief Zoran Đerić. English ed. 1978, 1-. – Novi Sad : Sterijino pozorje, 1978. – Ilustr.; 21 cm

Godišnje ISSN 0351-3963

COBISS.SR.ID 16237058