Expansion and rejuvenation of the acting ensemble of the Montenegrin National Theater (CNP), renewal of plays that have never been performed or have not had a large number of plays, accessibility of plays to people with disabilities, as well as potential membership in the European Theater Convention, are some of the goals of the umbrella theater house in the jubilee, 70th season.
This was said by director Ilija Subotić, who took over the position at the end of the last theater season, in an interview with Vijesti. Subotić talks to Vijesti in more detail about his work at the Royal Theater Zetski dom in Cetinje, where he was the director from the end of 2020 until the first half of the current year, the situation in the CNP, the plan and program for the future.
As the new director of the umbrella theater house, what awaited you at CNP and did you gain a more specific insight into the internal situation?
The Montenegrin National Theater is undoubtedly the leading theater house in our country, and with its decades-long achievements, clearly conceived strategy and infrastructure, it is recognized as one of our most important cultural institutions. The status of the national theater of the CNP also determines its mission through programmatic orientation, role in the development of theatrical creativity and the establishment of aesthetic values, contribution to the promotion and presentation of Montenegrin cultural and artistic creativity, international cooperation and exchange, animating young theater potential.
All this contributed to the CNP becoming more than a theater house, more precisely - positioning itself as an institution that has a great influence on the socio-cultural state of our society. Also, I must say that as a graduated producer and in the field of theater activity, the functioning of CNP cannot be unknown to me. In addition, the previous experience gained from working for ten years in the former Ministry of Culture, where, among other things, I was in charge of creating and implementing development policies in the theater industry, enabled me to gain an insight into the work and functioning of the CNP, which includes its internal organization, personnel and professional capacities, repertory commitment, participation in regional and international initiatives - in a word, everything on which a well-founded theater company rests.
A special contribution to my work experience in this field was certainly made by the leading position in another national theater, namely the Royal Theater "Zetski dom". I was appointed to the position of CNP director at the end of the 69th season, so in the past five months, from the position of a so-called insider's view, I gained a complete insight into the functioning of the institution. What I particularly paid attention to when assuming the position were the started and unrealized theater productions, which, among other things, directed my work in the previous period.
What should be changed in the work of the CNP?
CNP is a well-founded institution whose work, considering the status of the national theater, is aligned with the prescribed public interest in culture and theater activity. This must be the backbone of his future work, which is also a prerequisite for the further development of a sustainable and functional system that integrates contemporary organizational, production and artistic tendencies in this area.
Although the work of the CNP is aligned with the requirements and standards of theater activity, to which the artistic program, personnel structure, production and technical-technological conditions, international cooperation and other segments are adapted, I am of the opinion that conditions should be continuously created to improve the functionality of such an established system.
In addition, the accelerated technical-technological development, characteristic of the modern age and all areas of society, has not bypassed the theater either, so for example the infrastructural strengthening and modernization of the technical-technological base is one of the conditions for the further development of CNP, which would make it more respectable in the wider regional and European context.
Also, rejuvenating the acting ensemble is one of the priorities of the current administration, so creating the conditions for personnel strengthening in this segment will be an important part of our plans and strategies. What should be improved is the work on better accessibility of performances for people with disabilities.
Which goal have you set for this season, and which one for the entire term?
The goal set for the period until the beginning of 2025 has been defined, and we will reach it by realizing the planned repertoire, which must contain aesthetic and genre diversity, the representation of dramatic texts that belong to the dramaturgical canon, but also texts created in the time in which we live. In this way, we fulfill what we call the CNP mission.
When we talk about long-term plans, then we have to think about this task much more comprehensively. We live in a time where it is very difficult to define the mission of art in general, including the mission of theater art. Although the syncretic nature of theater facilitates the incorporation of new artistic expressions, this openness would have to be conditioned by those aesthetic criteria that clearly demarcate interventions whose innovation expands theatrical expression from innovation for innovation's sake.
That rule is especially true for theaters like the CNP, whose repertoire, as I said before, must be balanced between what belongs to the theater tradition and what often radically reexamines that tradition, and sometimes even rejects it. However, in order to achieve this, it is necessary to maintain all the prerequisites for the smooth development of the artistic life of a theater.
You have already mentioned certain references, and what kind of cooperation do you have with the artistic director?
I am convinced that only teamwork and dedicated work can give a good result in achieving planned goals and implementing development policies.
The premiere of the play "The Visit" directed by Aleksandar Morfov, which was prepared in 2020 but has never been performed in front of an audience, is approaching. How does that process go?
The business policy and program goal for which the current administration stands for includes, among other things, the complete realization of all projects in which CNP has invested funds, which I consider primarily a socially responsible obligation. CNP agreed with the renowned European director Morfov to renew the play "The Visit", which due to the covid-19 pandemic and other circumstances did not have its premiere in front of the audience.
Although three years of suspension of work on one project is too long a time, appreciating the importance and quality of this play, as well as the invested funds, the process of its restoration and the final realization of the premiere imposed itself as one of the priorities of this administration, so I am glad that CNP created all the necessary conditions, and the director Morfov accepted this initiative with pleasure. The process started in the first days of October, and the premiere is expected on November 1.
How much money was previously allocated for the engagement of the famous director, and then for the restoration of the play?
CNP has an internal act that regulates the issue of compensation for the engagement of the author's team who are not permanently employed in the theater. And the compensation to the director Morfov is aligned with that act.
Will any other shows be renewed? Among others, there is also a play directed by Lidija Dedović, which was also never premiered. Announcing the repertoire, you mentioned directors such as Ana Vukotić, Boris Liješević, but also Vito Taufer, and there are also younger directors such as Hana Rastoder. What else awaits us in this jubilee season?
The entire 70th season will be a jubilee, and part of the important programs will be realized with the support of the Ministry of Culture and Media, i.e. the minister Maša Vlaović and her team. The season opened with the Podgorica premiere of the play "The Ship", according to the text and direction Ana Đorđević, and in the sequel, the audience can expect a number of classic repertoire titles and original projects, which will be directed by the reference names of the local and regional scene. They are: Ana Vukotić, Boris Liješević, Veljko Mićunović, Vito Taufer, Danilo Marunović and Hana Rastoder. We also included the final completion of the play "Death and its whims" in the set goals. Lidija Dedović.
Other activities include the realization of professionally designed music and film programs, as well as publishing projects, among which special attention belongs to the Monograph 70 years of CNP. One of the goals of the work is to provide support to young authors, including in the context of production. After several years of stagnation, we will once again organize the festival "Biennale of Montenegrin Theatre", we will continue with the support competition for new dramatic texts, the exchange of plays, and guest performances of our productions in municipal cultural institutions.
CNP, therefore, has the function of the parent institution of culture, which obliges it to contribute to the spread of theater art by performing its performances on other stages and initiate processes that are of crucial importance for gaining theater experiences and strengthening the sector as a whole, in which it should have the support of all actors of that process.
Will plays from earlier seasons be played and how many?
Active performances will be part of the CNP's regular repertoire, along with a number of performances from earlier seasons that will be possible to renew, as well as those that have yet to be realized. By the way, among the weak points of all theaters in our country, I see the fact that a number of very important plays are no longer part of the repertory activities, and therefore, except in a few cases, we can talk less and less about the longevity of plays in Montenegro.
What is the situation regarding the tickets, did you increase the number of "Gratis" tickets which, as mentioned earlier, was quite reduced?
CNP, like any other cultural institution, has its protocol list according to which it provides free tickets for premieres or special programs, and in accordance with the decision on the price list, so there is no need to reduce or increase the number of free tickets.
At the opening of the season, after a long time, a large number of people from the Ministry of Culture were present. Did everyone get free tickets? Does their presence mean something to you as the new director and was the same case with visits to the Royal Theatre?
The Ministry of Culture, like more or less everywhere in the world, can count on a few tickets for the premieres of plays or other important programs, which is, I guess, a legal and legitimate thing. For us, it means the presence of all interested parties, and for the culture itself, it should mean that in the state body in charge of the functioning of the theater, not only the administrative, but also the artistic aspects of the work are monitored.
In this context, I see the interest of the Ministry of Culture and Media in the repertoire of CNP and "Zeta House" as a completely natural relationship. As far as I have observed, representatives of the Ministry have always visited the programs of both national theaters, since the work of these institutions is part of their direct competence.
How satisfied are you with the Act on systematization, in which actors make up about one third of the employees?
CNP generally has a correct systematization act, which ensures its full functionality and provides an adequate response to the demands of the artistic, production, technical and all other sectors. However, as one should always strive to improve all working and business conditions, the innovation of that act will be considered in the coming period, while the expansion of the ensemble, as I have already pointed out, is one of the priorities.
During the last season, CNP participated in numerous festivals with its performances, and the number of guest performances was also enviable. Will you continue with that practice and have any exchanges already been announced?
A special part of the work will be dedicated to the participation of CNP in domestic and regional theater festivals, as well as other international events of this type. We will also be focused on hosting theatrical productions on our stage, exchange of performances, co-production cooperation. What will be taken into account in any case is that it should be on the basis of reciprocity, not only in terms of program but also in terms of status - that is, at reference theater festivals and with respectable folk theaters and under equal conditions.
I believe that this segment of the CNP's work greatly contributes to increasing its rating, popularizing theatrical creativity, gaining new theatrical experiences, increasing the audience and visibility of our culture and art, establishing professional standards, but also fostering good cooperation and friendly relations in the field of theater activities in the wider context.
How important is entering the international scene, but also within the country, for establishing and raising the image and visibility of the CNP?
The international scene is a motivating factor in the work of every theater, including ours. I appreciate that for many reasons it is important to face and compare with contemporary theater trends, which participation on the foreign stage provides. Also, it is very important that CNP participates in the work of regional and international theater initiatives, so we are already preparing for potential membership in the European Theater Convention, which will bring a number of benefits.
In addition to the improvement of cooperation between theaters and artists, development of talents and audiences, strengthening of personnel capacities, cooperation between theaters and the establishment of co-productions, it is undeniable that such projects greatly contribute to the visibility of CNP and our theatrical creativity, but also to the promotion of Montenegro as an important cultural and artistic destination. .
Otherwise, for a long time, cooperation and networking have been a key prerequisite for what today's theater art in the world strives for, which is to find ways in which the theater will be additionally involved in overcoming the lack of dialogue between different cultures, which is increasingly beginning to mark the general socio-political reality. .
Aside from the fact that the intensification of cooperation enables even less developed theater environments to be part of the dominant tendencies of contemporary theater, every cooperation is a participation in that high task and that is why the theaters of large cultural centers are also included in it.
It could be said that in today's theater art there is a high awareness of the necessity of constant and intensive intercultural communication, which, after the increasingly frequent disruptions of that communication, can be repaired.
The unfinished tenure at the Theater Royal summed up
Given that you did not use the full mandate and complete the program you started, are there any unfinished business in the Zet House?
I performed the function of director of the Royal Theater "Zetski dom" from the end of 2020 until the first half of 2023. In relation to a significant cultural and historical context, it is a specific institution for which I have special respect as a native of Cetinje and a cultural worker, so managing that national theater is an extremely important part of my professional biography.
The work engagement was dedicated to productions of high artistic scope, which confirmed their aesthetic values before the audience and professional domestic and international public.
Independently or in co-production, nine premieres were realized in that period, "Zetski dom" became a member of the European Theater Convention, the magazine "Protagonist" was launched, two books by the author Luka I. Milunović about "Zetski dom" were printed for the period 1884-1896, i.e. 1897-1909. year, established an online database of all plays from 1884 to the present day.
To the extent of financial possibilities, work was also done on ongoing maintenance of the building in the interior and exterior. The theater has adopted the Work Plan for 2023 and it is being implemented quite successfully.
Management in culture is the same in CNP or Zetski dom
Is there any difference in responsibility and vision when managing, designing programs and planning development, between Zetski dom and CNP?
The principles of modern cultural management are the same for any theater company. They are prescribed by laws and determined by development strategies, so the work of management and leadership bodies, issues of their responsibility, as well as development planning are standardized.
Since both theaters have the status of a national theater, their repertoire policy is essentially predetermined by that classification. This means that they are involved in the staging of works from the cultural heritage of Montenegro and the world cultural heritage, especially nurturing contemporary domestic and foreign drama, as well as other musical and stage works of exceptional artistic importance.
Observing the development of both theaters, it can be seen that they respected these tasks and that with their repertoire policies they adhered to the cultural mission that is expected from such theater houses, which is a balanced representation of the classical repertoire on the one hand and openness to new dramatic texts and contemporary theater research on the other hand.
If we talk about differences, they can be found in relation to total capacities. "Zetski dom" is a much smaller system, with a smaller annual budget, a simpler internal organization and a five-member acting ensemble that was formed only two years ago. All this conditions the creation and management of the program policy. We should not forget the traditional roles and meanings of these two theaters, as well as the needs of the environment in which they operate.
How do you evaluate the work of the Zetski dom so far?
"Zetski dom", in its history longer than a century, had a cultural, but also an educational and pedagogical role. It should have such a programming orientation even today, especially in relation to the fact that Cetinje is the center of art academies, for which this house should be institutional and infrastructural support, and the productions of young and talented artists should be part of its regular repertoire.
Also, in relation to the deficit of cultural institutions of contemporary creativity in Cetinje, the "Zetski dom", along with the newly formed Center for Culture, should support a wider circle of cultural workers who participate in the creation and confirmation of the cultural identity of the Capital and Montenegro. All of this does not exclude the need and obligation to engage "Zeta House" in the production of plays and the implementation of activities arising from the status of a national theater, which it very successfully achieves.
CNP is in a somewhat more relaxed situation, given that it is a large, complex and sustainable system, which, in accordance with its significant capacities in all sectors, is trained and ready to create, accept and respond to the challenges of contemporary theater trends.
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