The premiere of the play "Death and the Girl" on the stage of Studio CNP

The premiere of the play "Death and a Girl" on the stage of Studio CNP was announced for Wednesday, April 17 at 20 p.m. Based on the text by Ariel Dorfman and directed by Goran Bulajić, this powerful psychological drama with elements of a thriller describes the state of people and society in Chile after the dictatorship.

Three brilliantly constructed characters find themselves in a situation full of tension and constant unexpected twists.

Julija Milačić, Miloš Pejović, as well as Dragan Jovičić, the champion of the Sarajevo Chamber Theater 55, play in the play. The same play will be played on the Studio stage on April 18, and Miloš Pejović, who plays the lawyer Gerard Escobar, talks more about this play for Kroz grad.

• How did you come to play as a guest actor in the play "Death and a Girl" and what was the collaboration like with the director Bulajić, as well as with the rest of the crew?

Goran and I have already collaborated on one play, and then we had several unsuspected joint projects. It's just that we didn't manage to fit in with the appointments. We finally managed to agree on all obligations and I am glad that it happened with this play, because it is an exceptional text. Cooperation is very nice, we know and understand each other well. A small team brings more room for rehearsals, so that you can dedicate yourself to each role in a thorough way. Towards the end of the process, I can claim that we have a good show.

• What is your role and what did this political thriller awaken in you when you accepted the role?

I play a lawyer, a defender of human rights, a man who was persecuted by that former regime and dictatorship, and now he gets the opportunity to be at the head of the commission that investigates those crimes. Therefore, it also enters the world of politics, not only law. He encounters problems that come right from his house. The role I accepted was different from anything I had done before, so it was a challenge for me. I like when I get a wide range of roles to try out in, so that I don't get into a kind of mode where everything starts to look like one another.

• The story may describe the events in Chile, but can it also be connected with the war in the Balkans that took place in these regions at the end of the last century?

And how can you. We did not want to change the time and place of the play, the director was in favor of it, and we also agreed that the place of action should not be changed because the story is very applicable to this place and some kind of evil that did happen in the 90s in the Balkans. The action of the play takes place 10 years after those terrible events in Chile, but I think we will very easily relate to our space and time.

• Can personal revenge bring satisfaction, liberation or is it the new slavery?

It's a philosophical question, it depends. We in Montenegro can understand this story because we had a blood feud maybe even up to 50 years ago, maybe even less. I believe that violence begets new violence if kindness is returned and that justice satisfies, not revenge.

• Three thousand stages around the world have covered this story, and many famous actors had the opportunity to act in this play. When you started working on the play, were you afraid of how your performance would turn out?

Personally, I try not to think about it. In the past two years, I had the opportunity to do just such plays, which were performed a lot and had a lot of film settings. With such roles, I always try to exclude all that, because by doing so, I also exclude a kind of fear and trepidation about how it will turn out. I look to think concretely about the analysis of what I'm doing. That's how I approached this time as well and I think it helps me a lot. Of course, you have a kind of responsibility because famous works carry them, but responsibility is a good thing. If you put too much weight on the same role that someone else played, then that's fear and that's not good.

• This show is played on the Studio stage, which is smaller and more intimate. Do you see such spaces more as an advantage or a disadvantage?

It depends on what, but I see it as an advantage when it comes to projects like this. Such projects are a big challenge because you are very close to people, and they can see if you are true or not. Both big and small scenes have their advantages and disadvantages. The big stage is for some bigger pieces and bigger divisions, and definitely smaller divisions and pieces should be played on the small stage.

• Given that you have been preparing the play since March 1st, was that enough time to finish this story or was the deadline for working on it too short?

I think we are knap. Right now we are at that stage when we need dress rehearsals and acting rehearsals. I think we've got everything sorted and now we're just working on the finesse, so I think there's been enough time.