Everyone carries their own Glembay

What is the modern elite? What are their ethical standards? What are their codes of ethics? Who are the people we recognize as part of that elite? What is the perversion of that elite? What are the good sides of that elite? What is the attitude of the contemporary elite towards all of us? All of this is offered by the piece "Gospoda Glembajevi" through its layering, but also the engagement it carries, and with strong melodramatic moments and plots, thus functioning and communicating on countless levels with the audience.

That's right Danilo Marunović, at yesterday's press conference, announced the play based on the famous text Miroslav Krleža directs at the Montenegrin National Theater (CNP). The premiere of "Lords of Glembaje" is tonight on the Great Stage of the National Theater at 20:XNUMX p.m., the repeat is tomorrow.

"This is the most demanding, the most challenging, the largest, the most creative, the most stressful, but also the biggest professional theater project that I have done. "The Lords of Glembe" challenges to the limit what a director, an ensemble, a theater, a theater culture, tradition can do and requires all the capacities of theatrical art, magic that a theater environment possesses. It is a text that is full of everything that a dramatic piece can have, and that is why it is precious and that is why it is considered the greatest ever written in our languages", said Marunović.

Artistic director of CNP Vesna Vujošević Labović, she recalled the presence, but also the almost six decades of neglect of Miroslav Krleža in Montenegrin theatre.

"Miroslav Krleža is a writer, playwright, essayist and critic whose work left an indelible mark on the literature of the 20th century. It can definitely be said that he remains a post-Yugoslav writer to this day. This is supported by the fact that his dramatic texts are performed not only in Croatia, but also throughout the region. The dramatic text "Gospoda Glembayjevi" was performed in Montenegro for the first time by the National Theater of the Zeta Banovina on January 23, 1932 in Cetinje under the direction Slavko Batušić, a guest from Zagreb. On the occasion of Miroslav Krleža's 70th birthday, in 1963, the Montenegrin National Theater in Titograd performed his play 'In Agony' directed by Milan Topolovacki. In 1966, Krleža received the Njegoš Award, which was solemnly presented to him on September 28... And from then until today, not a single play by Miroslav Krleža has been performed at the CNP. A poetry reading was held in 1973 on his 80th birthday, and in 1983 a dramatization of the journalistic text was performed. Bora Krivokapića "I asked Krleža", adapted and directed Nikola Vavić", summed up Vujošević Labović.

In this CNP theater season, entitled "Strong female characters and family drama", adds the artistic director, we have the opportunity to witness the crisis and downfall of the Glembaj family, which can also be read as a crisis of a society.

It is especially valuable, Marunović believes, that the author's team presented the Glembajes in a contemporary context, and the author's team consists of: dramatist Bozo Koprivica, she is a costume designer Vanja Ciraj Džudža, stage designer Valentin Svetozarev, he signs the stage movement Tamara Vujošević Mandić, stage speech Dubravka Drakić and is an executive producer Nela Otašević.

Marunović was also in charge of the choice of music, as well as the adaptation, which he worked with Bojana Mijović who pointed out that the entire process was a big professional challenge for everyone.

"It was important to me that, although we modernized the text, we did not lose the Krležian element, its chorus and tone, and the anti-heroes themselves, who are at the same time defensible, are something that is very important and potent for the work. What was important to me in the adaptation was the defense of the character of Baroness Kasteli, who in earlier productions was portrayed as a distinct villain. In the prose written by Krleža himself about his characters, he said that Baroness Kasteli is a very intelligent woman who grew up on the street, literally as a wanderer, and that when the action takes place, she had little choice but to become a trophy woman who did her best so that her child lives better and does not survive all the horrors that she was going through. That was my goal, and the director and Kristina Obradović who is fantastic in that role", said Mijović.

Obradović shared her belief that there is no actor, no matter how much he strives for an avant-garde or contemporary expression, whose heart does not tremble at the idea of ​​grabbing the opportunity to deal with a play that he describes as a jewel of the world's classical drama.

“Like antiquity, like Shakespeare, it's the very top of theater, dramatic literature, those moments when you go straight to the bottom, going down into your own Hades and under it, where you didn't even know there was something", she pointed out and further approached her role.

"Krleža is generous in his characterizations, especially in the characterizations that come out through the words and through the mouths of others, when it comes to her. I, together with Danilo, Boža, Bojana and everyone else, decided to, to begin with, try to emphasize and shed light on what she says about herself, because quite often everything that others say about us, the way they portray us or perceive, it really depends on their self, on the point they have consciously or unconsciously taken to look at someone or something from. I ran away from essay writing, from analyses, from anti-heroines, any kind of heroines, I dealt with the human, the real, the tangible, even the physical, the one where the two of us completely meet", said Obradović, who added that each of us wears some of his own, one hundred percent, unadulterated Glembaj.

The roles are played by: Svetozar Cvetković, Mišo Obradović, Una Lucić, Danilo Čelebić, Lazar Dragojević, Emir Ćatović, Kristina Mrkić, Stevan Vuković i Predrag Pavićević.

The condition and actuality that continue even today

Cvetković said that, in the context of the dramatic structure, Krleža's sentences are the strongest and best he has ever uttered as an actor, and the texts are the best he has ever read. Koprivica added that no one could more precisely describe the situation in which Krleža lived a hundred years ago.

"That situation and that actuality extends until today, both when it comes to the European context, and when it comes to Yugoslavia and the states that were created after the breakup of Yugoslavia. Every writer has his own punctuation mark. With Krleža, it is a sign of his life, artistic and social attitude, and it is an exclamation mark," Koprivica pointed out.

Obradović said that, although the role of Leone Glembaj was extremely difficult for him, he often felt luxury during rehearsals.

"Krleža was always resistant to all trends, to every form of banal modernity, and I think it's important to keep that in mind and think that way. An extremely difficult role for me, but during the rehearsals there were some flashes that make you think that you are blessed, that someone has honored you in your life by going through some of those moments," he shared.

Koprivica pointed out that the scenes of Silberbrandt and Leone "will enter the anthology of plays of the Montenegrin National Theater", sending compliments to Stevan Vuković.

"The words and support that I feel from the very beginning, from the first rehearsal mean a lot to me, and it seems to me that everything is easier when you feel that support", answered Vuković and added that, unlike the others, he did not feel excitement, but fear, but also that everyone can be satisfied with what has been achieved.