The cocktail party after the premiere, at the Podgorica City Theater, opens up the question of essence and spectacle by showing on stage the events that take place behind the scenes, when the spotlights go out.
Contemporary dramatic text Valentina Krasnogorova transformed into a play - "Cocktail after the premiere" directed by Olega Tolochenkova, is a new drama on the Evening Stage of the City Theater that will premiere tomorrow, February 20th, on the big stage of the KIC “Budo Tomović” at 20 pm.
"A cocktail party space - an environment in which the protective layer of roles and representation disappears. There, the individual stops acting and shows his own, authentic face... In the Russian dramatic tradition, a celebration or feast often serves as a dramaturgical mechanism for revealing character," recalls the director from Russia, while during a break between rehearsals for "Vijesti" he comments on the staged drama, described as a humorous, but essentially tragic story about theater and people.
Through this text, Tolochenko brings a sharp and intelligent analysis of the relationships within the ensemble, revealing what happens when the spotlights go out and the actors are left alone with their truths, Gradski's announcement emphasizes. Creating an atmosphere that further emphasizes the thin line between comedy and tragedy, the dramaturgy is signed by Koča Milicković, and the set and costume design Julia Kolesova.
Actors and actresses: Miloš Pejović, Sanja Popović, Omar Bajramspahić, Pavle Popović, Danica Rajković, Smiljana Martinović i Zoran Dragicevic Through dynamic and emotionally layered roles, they bring to life the world of theater behind the scenes, announcing from Gradski - "a world in which applause is fleeting, and the truth is often painfully exposed."
However, Toločenko points out in an interview with "Vijesti" that "Cocktail after the Premiere" is not just a story about a theater or a theater ensemble, but a universal drama. The audience will be able to see this at the premiere on Friday and the repeat performance on Saturday, February 21st, and the director does not hide that he is looking forward to this meeting with excitement, joy, but also trepidation.
"As for working in the Montenegrin theater, for me this is a big experiment. Everything will be clear to me the moment we appear in front of the audience. Then I will find out how understandable my directorial language is to the Montenegrin audience," he says, and then he talks about theater, society, the Russian and Montenegrin ambiance, but also Bar, which has been his home since 2022.
“Cocktail after the premiere” is your first professional presentation to the theater public in Montenegro. How did you decide to choose this text specifically and what does it offer to future viewers?
When I got in touch with the director of the City Theatre, she asked me what plays I could suggest for the production. Among the several options offered was this play, which I had already directed once in Russia.
This play is extremely dear to me because it is universal - it transcends national borders and is adaptable to any climate, precisely because it talks about the theater itself. The plot and all the key events are set within the theater, so the story is close to all those who perceive theater as an important part of culture. And in Montenegro, as we know, theater has a special significance for the audience and is deeply rooted in society.
After I presented the options, I received a response that this particular play would best “fit” the sensibility of this theater. An additional advantage was that the text was available in English. The director read it, we immediately understood the vision, so all that was left for us was to do a quality translation into Montenegrin.
Contemporary dramatic text focuses on some tragic layers of theatrical life, and I assume society as well, which it portrays through comic situations. How would you introduce this play and was it challenging for you to portray the life that takes place behind the scenes, whether outside the theater or in the theater, when the curtains come down?
The narrative of this play is imbued with strong symbolism and can be read as an accurate depiction of the reality we live in. It acts as a suggestive allegory of the social circumstances of the contemporary era. I felt that there was no need to further clarify the meanings to the Montenegrin actors, because the meaning was revealed already at the first encounter with the text.
The reality we live in is recognizable to all of us. Today's civilization is connected on a global level, especially when it comes to the challenges that burden it. The problems of modern times cross borders and equally affect different environments - whether we are talking about Montenegro, Russia or some third country, the essence of these difficulties remains almost the same. It is precisely this generality and universal character that enabled the performers to intuitively reach the very essence of the dramatic text, without the need for additional interpretations.
Entertainment is sometimes a priority over art, culture and education. The very title “Cocktail after the premiere” prompts the question of essence, simply put - a show or a cocktail. Are we as a society and individuals increasingly and more often seeking spectacle, cheaper and easier content?
At the heart of the play is the parallel existence of two planes of reality. The first is the stage world of the play “Othello”, in which the performers are within a clearly defined dramaturgical framework. In this space, everyone strives to act dignified, sublime and aesthetically harmonious; the noblest features of human nature come to light, shaped by the rules of theater and artistic illusion.
In contrast, there is the cocktail party space - an environment in which the protective layer of roles and representation disappears. There, the individual stops acting and shows his own, authentic face. In the Russian dramatic tradition, a celebration or feast often serves as a dramaturgical mechanism for revealing character. A striking example is “The Wedding” Anton P. Chekhov, where, through a festive occasion, the characters' not-so-noble traits are gradually exposed.
In this piece, the festive atmosphere or reception functions as a trigger that activates deeply repressed, archaic impulses - those layers of personality that are often at odds with socially accepted norms. Although we label them as negative in everyday life, these elements are an integral part of every human being; the festive context only allows the hidden to surface.
You were born and educated in Russia, where you trained, worked and gained rich experience, achieving a notable career as a film and theater director, not only in your country but also abroad. What are your insights into the Montenegrin theater context and scene? How comparable is the theater aspect of Montenegro and Russia?
As far as I can see, the theatre scene in Montenegro is strongly oriented towards European movements. Contemporary and modernist poetics regularly find their way to local stages, and the local theatre shows a clear ambition to remain in dialogue with current events on the international stage.
What essentially connects us is a common pedagogical foundation - a system Stanislavsky. Both Montenegrin and Russian actors are formed on the principles of this school; it represents the basic point of professional development for both environments. Therefore, there were no obstacles in understanding the working procedure.
Harmonizing the rhythm of work and finding a common expression took place spontaneously, just like in the projects I realize in Russia. The focus was not on the interethnic, but on the artistic and psychological level of cooperation. I am used to building a common code of communication with each new ensemble, and the experience in Montenegro was no different from the process I go through when I start working on a play in a Russian theater.
How would you describe the creative synergy, but also the differences between the Montenegrin and Russian artists you work with? Through your work, perhaps through this play, do you offer some personal reflection on theater, certain weaknesses, but also needs?
There is an obvious difference in the temperament of the performers. Montenegrin actors naturally connect with the energy and rhythm of stage expressiveness; they strive for intensity and specific stage power. In contrast, Russian theater is based on pause, internal questioning, and philosophical reflection on every movement and gesture.
That is why Chekhov is still a standard in the world's theater repertoires today. Russian dramaturgy offers layered texts in which what is written at first glance rarely carries a literal meaning; the meaning is often found in a deeper, hidden layer.
In Montenegrin theatre, the principle of “what you say is what you mean” is somehow more natural. In the Russian tradition, however, words and meaning can be in counterpoint. This is where I have to explain to the ensemble in more detail how to say a line and convey a contrasting or additional tone. For the performers, it is a new experience, but I notice great enthusiasm and engagement. I believe that they will incorporate these methods into their acting arsenal and use them in their future work.
This is precisely the moment when our national theatrical approaches and experiences truly meet and enrich each other.
Do you think that theater today, despite everything, remains a space of absolute freedom and offers it to artists, but also to theater lovers?
Yes, but the degree of that freedom varies from country to country. We are witnessing a resurgence of censorship in some societies. When you are not allowed to call a spade a spade, you are forced to resort to “Aesopian language,” i.e., to use metaphors, allusions, and dense subtexts to get your message across.
As for the Montenegrin theater, my impression is that it currently enjoys maximum freedom. I really do not notice any traces of censorship or restrictions. For me as a creator, this is an immensely joyful moment. Here I have the privilege of not holding myself back as a director, but of expressing myself to the end, without reservation. This openness of the Montenegrin scene is precious for any artist who wants to speak honestly.
Censorship today is multi-layered. You have the classic one, which comes from political circles or dictatorships, but there is also the other kind - pressure that comes from left-wing movements, socialists or certain radical ideologies. That balance of freedom is rarely stable.
However, I believe that Montenegro is currently in that specific, precious moment where no one and nothing is putting pressure on the theater. This is a state that we must use and preserve at all costs. Theater must remain free as one of the key social institutions that has the power to influence the community. And how does theater influence society? By affirming essential values: humanism, human freedom and basic human rights. I am convinced that Montenegrin theater has all the prerequisites to carry out this mission to the end.
Considering that this is your first close encounter with a Montenegrin theater company, how did you experience it and how do you see the situation at the City Theater?
I am extremely glad that I was offered this engagement. I especially appreciate the trust shown, considering that they hired me without any in-depth knowledge of my previous achievements in Russian theater. It is always a risky move - to give a budget and a stage to an unknown director, with the expectation that the play will be successful. This willingness to take risks is an extraordinary trait of the current theater management.
It seems to me that the theater management is very open to new experiments. Considering that the director herself is Sandra Vujović A playwright and innovator in the truest sense of the word - someone who writes about contemporary issues without fear of censorship - she deeply understands the importance of new names and projects. Even when these projects are risky, they keep the theatre alive. The theatre must not become a museum.
It often happens that theaters camp for decades with the same ensemble and approach, which stifles development. Here, on the contrary, I see an understanding that theater is a living, open organism, and not some “canned” community. Moreover, Montenegro has currently become a place where many people with top theater education and experience reside. This is a huge potential that is recognized here and used in the right way.
After the premiere of the play and after the cocktail party, do you have any plans for any new projects in Montenegro?
My wife and I run our theater studio and work with theater lovers of all ages - from children and teenagers to adults. We currently have about 70 students from the Russian-speaking world: from Russia, Ukraine, Belarus and Kazakhstan, and so far we have performed about 30 plays intended for Russian-speaking audiences.
As for working in the Montenegrin theater, for me this is a great experiment. Everything will become clear to me the moment we appear before the audience. Then I will find out how understandable my directorial language is to the Montenegrin audience. I am eagerly awaiting that moment, because I cannot know for sure how the work will be received. Even in Russia, the audience differs from region to region, and here it is still a different country, a different mentality and tradition. If the Montenegrin audience accepts my play, it will be a sign for me that we understand each other and I would be very happy to continue our cooperation and propose new ideas.
I share more with Montenegrins than with many other nations.
What brought you to Montenegro and how did you decide to continue your life here?
We moved to Montenegro in 2022, although the decision had been brewing much earlier. The Covid pandemic temporarily put a stop to our plans, but it did not change our intention. Leaving was a deliberate and conscious step. Even on our first tourist arrival, we felt that we could make a home here. The space truly won us over.
How do you see your fellow citizens, social circumstances, culture, mentality, all in all, what are your impressions and impressions?
I especially appreciate the mentality of the people. I have the impression that I share more internal points of contact with Montenegrins than with many other nations. While I have been in various countries, I have often felt a slight spiritual distance; here that feeling has disappeared. There is harmony in temperament and worldview, a kind of spontaneous harmony that allows understanding without many words.
Foreign languages do not come easily to me, but over time I have achieved that I almost completely understand what I hear. This is due to the similarity of our languages, but also to an inner sense of closeness. I experience Montenegrin culture and Orthodox tradition as something natural and familiar. When I step into a temple, the atmosphere is as familiar to me as in a Russian church - the feeling of belonging is the same.
I am also attracted to music from the Balkans; I am particularly touched by sevdalinka and authentic Montenegrin folk art. The country's historical heritage is an inexhaustible source of inspiration for me. We live in a city surrounded by landmarks, and since I once dreamed of becoming an archaeologist, I feel like I have come to the right place. I always discover a new locality that I want to explore, whether by walking or driving.
It amazes me how diverse this country, although territorially small - less than a third of the Samara region where I come from - is. It gives the impression of vastness, as the possibilities for discovering new landscapes and cultural layers seem endless.
From Tolyatti, via St. Petersburg, to Bar
Oleg Tolochenko was born in Tolyatti, Russia, and is an experienced theater and film director with almost three decades of professional experience in his country and abroad.
He graduated in directing from the Saint Petersburg Humanitarian University of Trade Unions, in the class of prof. Zinovy of Korogodsky. During his rich career, he was the main director of various theaters for children, youth and adults, and his repertoire includes numerous works by classics and contemporary authors such as: Chekhov, Molière, Ostrovsky, Pushkin, Tolstoy, McDonagh, Schwartz, Beaumarchais and Bunin. Since 2013, he has participated in Valery Fokin's directing laboratory at the Alexandrinsky Theater in St. Petersburg. He has also been involved in pedagogical work, and is a member of the Union of Theater Workers of the Russian Federation and the Guild of Theater Directors of Russia.
Since 2022, he has been living and working in Montenegro, where he is the founder and artistic director of the acting school and theater "NACHALO" in Bar, developing his own projects, as well as cooperation with Montenegrin and regional theaters.
He has also directed several feature films and documentaries, including "Driver", "The Lake" and "Selfie with Destiny".
"His directorial approach is based on: emphasized bodily expression and physical performance, a simple but suggestive stage design that places the character and situation at the center, and an exploration of the relationship between the individual and social norms, through intimate, psychologically complex, and often poetically coded questions," his biography highlights.
Tolochenko's work has been recognized for its interdisciplinary nature and dedication to theater as a space of freedom, introspection, and creative dialogue between actor and audience.
Bonus video:
