The premiere of the play "Magic Mountain - a stage essay in three parts" was performed on Wednesday in Cetinje, at the Zetski Dom Royal Theater, and the rerun is today at 18 p.m.
The play, as explained in the press release, is conceived as a stylistically and genre-diverse triptych whose overarching theme is the relationship between the individual and time.
"It analyzes the subjective flow of time within a theatrical act, but also the relationship with time that is not (meta)physical through the relationship between the epoch and the individual, with the question: what does it mean to be a man of one's time? Each part of the play individually treats one of the three thematic corpuses of Mann's work," the statement reads.
He signs the direction Mirko Radonjic, dramaturgy KFather Djarmati i Milana Matejić, was in charge of the scenography Smiljka Šeparović, costumes Lina Lekovic. The music is signed by Hana Rastoder (God I), Nina Perovic (God II), Igor Pejović (Part III). The producer is Marija Backović.
The play was produced by the Drama Studio Prazan prostor, the Faculty of Dramatic Arts in Cetinje and the Kotor Art Festival, with the support of the Public Institution Royal Theatre Zetski dom, and was realized as a practical part of the master's thesis at the Department of Theater Directing at the Faculty of Dramatic Arts in Cetinje.
Played by: Aleksandar Gavranić, Bogdana Kostić, Ivan Bezmarevic, Jelena Laban, Krsitijan Blečić, Slaviša Grubiša i Ilija Gajević.
The first part of the play "Room 34" represents a kind of motivational framework for the work and addresses the seductive nature of illness and death.
"The space of the sickroom here is not just the physical framework of the plot, but rather a topos - a place where one died, where one dies, where one lives until death. The memory of space thus allows the motif of encountering the illness of one's neighbor to be perpetuated in the search for the eros of death. Following the author's reflections on the dual nature of death as an act that is sacred and otherworldly on the one hand, and devastatingly physical on the other, and in line with the director's theme of questioning the givenness of the era in which we live, we ultimately build a narrative about the triumph of matter over spirit," the description emphasizes.
The central part of the play is "Walpurgis Night", the second act of which premiered this summer as part of the KotorArt Festival. It is a musical and theatrical work that emerges as a counterpoint to, but also as a conclusion to, the first part, and thematizes the carnivalesque prosaicness of life.
"The illness and the proximity of death in this case do not have the potential to be confronted, but rather are a thought that needs to be banished, and the phrase 'living life to the fullest' becomes a kind of modus vivendi. However, sThe freedom afforded by the carnival mask and the ultimate indulgence in pleasure still fail to hide the fact that the lung is worm-eaten. On fragments of Man's fable, with musical reminiscence of the symphonic poem 'Afternoon of a Faun' Claude Debussy "We are building a narrative about the festive hedonism of a civilization," the statement emphasizes.
The final part of the play, called "A Strike of Thunder," they add, represents a return not only to the setting of Mann's narrative, but also to the conclusion the author reaches in the last few pages of his novel - that no escape can hide civilization's fascination with war.
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