Montenegro is a country that has been in transition for years, people do not live but survive and struggle for a bare existence, and all this strongly affects awareness, not only about the subject of abuse but also about many other topics that are taboo in our country, he says in an interview for "News" young Montenegrin actress Jovana Todorović.
As a result of her internship at the Montenegrin National Theater, she staged the monodrama "Abuse" by Ivo Andrić on the Studio stage, for which the dramatization was done by Siniša Kovačević. With two masterful performances in mid-November, Todorović announced her return to Montenegro, after graduating from the Faculty of Contemporary Arts in Belgrade, in the class of a professor. Vide Ognjenović, and is now in doctoral studies. Todorović was also engaged as an assistant in the subject of acting under the respected Vida Ognjenović, who accompanied her student to CNP.
The monodrama "Abuse" describes the life of a young woman from a poor family who is married into a rich house for the influential businessman Andrija Zereković. Siniša Kovačević describes how life in a rich house, with a husband whom everyone respects and respects, is difficult and unbearable for Anica, through a great dramatization interwoven with Andrić's timeless words, in an extremely current way.
"This monodrama will put us in a situation to think seriously and ask ourselves how frequent and present psychological abuse is all around us. Among other things, this play aims to encourage women, to awaken in them the strength to understand that they are not alone and that they should not suffer any form of abuse", CNP states.
They also add that, although Andrić resists the scene, this dramatization is a valuable and successful attempt to capture a fateful dramatic moment in which the fate of a woman is broken, a moment of liberation from the constraints imposed by the petty-bourgeois environment.
Actress Jovana Todorović talks to "Vijesti" about monodrama, abuse, theater and her involvement.
Since the beginning of 2021, you have presented yourself to the Montenegrin audience several times, first of all with the monodrama "Confession of Princess Olivera Lazarevic", which premiered in the Stanjevići monastery, and then recently when you performed the monodrama "Abuse" at the Montenegrin National Theater. What impressions do you have and how important was that for you, considering that you grew up as an actress in Serbia?
For someone who finished school and started his career in Belgrade and after a certain time decided to return to Montenegro, where he comes from, it was extremely important to present himself to the Montenegrin audience in the best possible way. In January of last year, the audience had the opportunity to watch the monodrama "Confession of Princess Olivera Lazarević" in the Stanjevići monastery as my author's project, and recently the monodrama "Abuse" at CNP.
The impressions from both premieres are really very good, the audience reacted wonderfully to both performances and I am very happy about that. It was extremely difficult in the process of working on both plays, as well as a great responsibility, but now I can freely say that I am more than satisfied with the work done.
In a rather intimate atmosphere, on the Studio stage of the Montenegrin National Theater, you shared Andrić's play written back in 1946 with the audience. You performed the piece twice, two nights in a row. Was it emotionally, mentally and physically exhausting, with everything going on and what you bring to the stage?
The monodrama "Abuse", which was performed on the stage of the Studio of the Montenegrin National Theater on November 16 and 17, was based on the short story by Ivo Andrić and dramatized by Siniša Kovačević. Both performances were extremely important for me and of course emotional in every sense of the word.
The work process itself was very difficult because it is still a sensitive topic, namely the psychological abuse of a woman. The playing itself was not exhausting in a negative context, showing and conveying the pain that Anica (the character I play) goes through was not at all easy to express, but it was very healing both for me, who plays her, and for the audience, who did not remain indifferent to the plot itself and the story that this monodrama carries.
How did the audience react and how satisfied are you with the reactions? How relevant is this topic today and has anything changed for a woman - wife, daughter, sister, even (potential mother) compared to the first half of the 20th century?
The audience responded really well to the performance, the energy the actor feels while on stage, which comes from the audience, is a real example of that, as well as the applause at the end of course. What I set as a task, which is to reach the audience, to make them wonder how important it is to speak and not close their eyes to violence, I think I have fulfilled.
This topic is more relevant today than ever, especially when newspapers are flooded with articles about various types of abuse every day. Andrić recognized this psychological abuse back in 1946, and little has changed since then. Women are still exposed to violence and live in fear of reporting it because they are not sure of the state system, especially in smaller communities.
To what extent is the society in the Balkans, which still somehow nurtures the legacy of patriarchy, aware of the issue of abuse, violence in any form, and primarily that which is not physically visible?
We are much more aware when we mention physical violence and somehow we have the need to protect the victim, but that is not enough. Violence is not only physical and not all that hurts is a slap, we are not yet aware as a society to ask ourselves what precedes that physical abuse.
In most cases, it is preceded by psychological torture that we do not see or do not want to see. However, this type of torture is sometimes even worse for the victim than the physical attack itself. The victim is most often afraid to confide in order to avoid being condemned by family or the environment, so he suffers until it is too late. We still have to work a lot as a society on ourselves so that things like this can be stopped and processed on time.
The practice of collective silence has long been common in many segments of society, but that seems to be changing lately. However, it is still taboo to talk about some problems, why do you think that is the case?
With the advent of the Internet and the availability of information at every turn, there has been more talk about topics such as abuse, for example. We still live in an environment where it's a shame to talk about such things, so most often they are covered up, starting with the families, as the people say, "So that there is no trouble".
We are a country that has been in transition for years, people don't live but survive, they fight for a bare existence and all this has a great impact on consciousness not only when it comes to the subject of abuse but also on many other topics that are taboo in our country. With economic development and an increase in living standards, I'm sure that taboos would slowly turn into normal topics to talk about and problems that could be solved in a more painless way.
In what way can this be changed and to what extent can art influence social trends and current affairs, does art have that power and what is its position in the 21st century?
As I have already stated, by increasing the economic standard and progress, we would have a significant impact on the social flows themselves. Art is healing in every sense of the word. It ennobles, makes us think, opens our horizons, presents problems that we have not thought about and leads us to solve them, it caresses the soul and brings us a completely new and more beautiful dimension of life.
Unfortunately, the least amount of money is always allocated to art and that is a big mistake, because it is art that makes us better and should be a priority for every government, which unfortunately is not the case here or in other countries of the region. It is art that survives through the ages and is indestructible... No matter how much it is put aside it always wins, we are not aware of that, and we should be.
And in your play we witness the flows that precede the moment of release or liberation, as well as everything that hinders an individual or a group in the step that leads to it. How difficult is it to stand up for freedom, whether it is domestic violence or the collective struggle of a society?
Sometimes it is very difficult to stand up for freedom, but it is not impossible, it takes courage and determination, and we saw that in Anica's example in this play. We are somehow used as a people to suffer and to follow the line of least resistance even though we know that it affects our life and happiness.
Sometimes it is necessary to grit your teeth and speak up, to get rid of the restraints that torment us for the sake of personal happiness.
It takes a lot of courage because we live in a society that prefers to attack rather than listen, but regardless, I believe that one should not accept the facts but take the helm of one's own life into one's own hands, no matter how difficult it may be, it will pay off in the end.
It seems that the monodramatic approach is close to you. Why do you choose such pieces and how much responsibility and challenge does it bring on the one hand, but also on the other hand how much space and tools it provides you to express your own acting and theatrical abilities?
Monodrama is the most difficult form of dramatic text for us actors to perform. Acting is a team effort and we always like to have a partner we can rely on, which is not the case in monodrama. We have an imaginary partner there and that makes the situation difficult for us.
Monodrama as a form was very challenging for me and I didn't run away from it, it helped me understand how much I can do and where my limits are, which was very important for me as an actress. In monodrama, you can encounter one type of trap, and that is that it does not turn into a smurf as such.
If that doesn't happen, it really gives you opportunities and space to show all your abilities and skills. She really opened up some possibilities for me that I didn't know before and gave me certain types of advantages for my further career.
You hinted that the play "Abuse" represents your "return" to Montenegro. How did you decide to do it and why? Also, is there any engagement in Montenegro on the horizon?
The monodrama "Abuse" is my ticket to return to my country of origin. I gained knowledge and experience in Serbia and decided to return to Montenegro, to be near my family and friends and to transfer my acquired knowledge here. Many people told me that it was a "crazy" move that I made, but I don't think so. I think this is where I belong and where I belong.
The road will probably be difficult considering that the audience here has yet to get to know and recognize me, but certainly challenging for me and I am sure that I will persevere on that road. As far as engagement is concerned, the play "Abuse" will be in the repertoire of the Montenegrin National Theater and I am almost certain that it will open the door for some new future projects.
How would you describe the current situation in Montenegro when it comes to theater and cinematography? What kind of content is provided to the audience, how many opportunities do artists have or get and what could be improved?
The situation in Montenegro as far as culture is concerned in general is very bad and that is nothing new, just like the state that was under the paw of one man for 30 years.
What makes me very happy are some developments that are really visible, at least as far as the Montenegrin National Theater is concerned, where I spent some time, as well as the new manager, Mr. Marko Baćovica who really returns the theater to the people with good performances with full enthusiasm and enthusiasm.
The excellent play "Youth without God" is almost out, which I highly recommend to your readers. Of course, it takes a lot of work, effort and time to rise from the ashes of what has been desecrated for thirty years.
Considering your work experience, as well as engagement at the faculty as an assistant to Professor Vidi Ognjenović, can you compare education and production in Serbia and Montenegro when it comes to this invitation?
As for education in Montenegro compared to Serbia, I don't see any big difference. And in Montenegro, we have the opportunity to watch some really wonderful actors who captivate the stage from year to year.
The only difference is that the accomplished actors in Serbia have more chances because the market is bigger, there is more filming and work than in Montenegro, so then we have a different picture, but as far as the quality is concerned, I think the quality is the same.
In the last year, more than ten series and the same number of films of serious production have been filmed in Serbia, while in Montenegro this is not the case. that Serbia is many light years ahead of us.
I hope that the situation will improve and that the state will start allocating more funds for cinematography, and maybe even open another theater and thus give young actors a chance for a job, which is very questionable after finishing the Academy.
What are your plans for the future, what are you currently working on and would you like to announce or add something?
I am currently looking forward to playing this monodrama, I am working on my doctoral thesis which should be finished next year and I hope for new projects.
During the time of the former government, politics entered deeply into our profession
You are politically active in the sense that you publicly support a party of which you are a spokesperson. How much can it affect your artistic engagement and how much can one obligation affect others?
I accepted my friend's invitation to join his team and I am proud of my involvement, because these young people did no harm to anyone, and did not embezzle a single euro from the citizens' budget. They love their country and fight for their future in their own way. Although I have not been formally politically active until now, I have never been ashamed to say what I think. I consider that my virtue, not a flaw, although some people want to present it that way.
Politics does not only affect my profession, it affects the lives of all of us. The fact that some people perceive politics as a dirty activity does not mean that politics is dirty - but that the dirty people who, due to a combination of various circumstances, found themselves in the positions from which they managed our country for the last thirty years.
Speaking of responsibilities, although I am young, I have long since entered the serious sphere of life, both through the teaching job I was doing, and through the school of life. In other words: I know how to plan my time well.
Why did you decide to take such a step, given that most of your colleagues avoid joining parties?
The fact that most colleagues avoid formal party engagement does not mean that they are not involved in politics. On the contrary, during the time of the former government, politics entered deeply into our profession, especially theaters, academies, film centers, etc., where it was simply known: you get roles if you are close to the ruling structure. If you are not - you are gone. You don't exist.
However, it is important to note that I have achieved everything through my hard work and talent, from being the epithet of the best student at one time, to the present day. Finally, I appreciate more those who publicly stand behind their words, even if they never agreed with them, than those who are loyal only to their bottom, usually from the sidelines. Jovana is a free man, hence Free Montenegro as a natural choice.
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