Naked, he opens the corridors, Aleksandar Gavranić, traveling through the labyrinths of self, society, everyday life... Seemingly routine, but ritualistic, he arranges words, sparingly, yet generously. He thus creates poetry collected in the book "Hodnici" (Hallways), whose poster form asks you to unfold it when folded, while the scattered poems are etched into memory and soul, and their echo resounds with whiteness.
Montenegrin actor Aleksandar Gavranić has published his new, third collection of poetry, "Hodnici" (Hallways), published by the house "Žuta koranjača", whose editor he is. Ilija ĐurovićThe authentic book-poster can be purchased in Podgorica, in the new premises of the Drama Studio "Prazan prostor" in the Cultural and Information Center "Budo Tomović", in the catering facility "Tarantino", as well as online, on the Book Platform.
“With his poetics, Aleksandar Gavranić has previously stood out from the mainstream of Montenegrin contemporary poetry, and this deviation is further intensified by the new book. The collection 'Hodnici' consists of about thirty extremely short, strong and exciting poems. The specificity of the form of Gavranić's new poetry is also accompanied by a non-standard design of the book. The collection 'Hodnici' was created as a book/poster, and the designer is responsible for the specific look of the new edition of 'Žuta kornjaca' Lidija Rabrenovic", the description points out.
In an interview with Vijesti, Gavranić reveals that the book was written during his "return to silence and listening", but also that acting has had a significant impact on how he lives, writes, and interacts with people.
"I learned the value of truth through acting. I am sensitive to lies and any kind of manipulation. I currently disconnect myself when I am with people who are "playing" some fictional character of their own, because they don't have the courage to reveal who they are," he says in an interview.
The award-winning Montenegrin actor is also involved in regional film and television projects. He plays the lead role in the spy film "Hand of Justice" directed by Nemanja Ćeranić, which has already been half-filmed, in Argentina, where part of the action takes place, which Gavranić talks about in more detail in an interview with Vijesti and shares exclusive photos from the filming. In addition, the premiere of the series “Tvrđava” in which he played is also awaited, and the actor shares his impressions and recalls the process. In view of this, Gavranić also comments on the correlation of film, history and society, but also on topics from the past of the country and the region that tend to, as if by default, provoke divisions, discord, comments and revive ghosts and traumas, neglecting the film and artistic aspect of the work.
Although a member of the Montenegrin National Theatre ensemble, Gavranić is an indispensable part of the contemporary independent theatre scene in Montenegro. He is part of some of the most significant theatre projects in that field, and now he is announcing the play “Çarobni brijeg” (The Magic Mountain) that he is preparing. Mirko Radonjic produced by the Drama Studio “Prazan prostor”. While waiting to shoot the film “Rooms”, which is based on the popular play by the same team, Gavranić has returned to his professional duties in Belgrade.
Seemingly hermetic, the poems in “Hodnici” are extremely short, charged with emotions and images, with motifs of home, loss, various routines and rituals, but also tenderness. How much of this is a collection of some personal hallways, thoughts and preoccupations, and how much of it is a collective feeling?
The book "Hallways" was created during my return to silence and listening. I tried to archive everything I observe in a simple way, to move towards empathy and free myself from the linguistic excesses that make a person more boring than he really is.
Sometimes in just three words you achieve poetic completeness, while leaving it open to interpretation and dialogue with readers. How does a poem like that come about, it seems to be a matter of careful and dedicated construction, rather than spontaneity?
It's important to be open so people can see inside. If you're honest, you'll attract them. But you have to open up. So they can see that you're full of shit. If you want to create a polished version of yourself in any way, that's your downfall.
The poems are full of contrasts, oxymorons, personification, with a reflection on time, society and relationships, with an introspective tone, but also an engaged character. How do you now perceive poetry and the book “Hodnici”?
I would say that it is a book that had no pretensions to be anything. It is not in the tension to prove anything. It was written in peace. My being is at peace right now. I have no need to prove to the world how good I am. Nor am I burdened by how others perceive me. I spent 15 years on that. That is the wrong path because you are constantly in some kind of conflict with existence.
The collection comes in an unusual book/poster format. What led you to this solution and how does it affect the reading and the experience of the readers?
The book got its form and visual identity thanks to Ilija Đurović, editor and publisher, Lidija Rabrenović who did the design, and Mirko Radonjić who did the photography. I trusted their intelligence and sensitivity and let them turn my material into a book, and I am extremely grateful to them for that.
The poems carry an almost stage-like tempo and rhythm, with a lightly imagined atmosphere. Do acting and theater in some way shape the writing of poetry, and in what context?
In acting, you have two paths. To hide and to reveal yourself. You have people who become bigger and bigger fakers the more they act, and you have people who become free and open human beings. I learned the value of truth through acting. I am sensitive to lies and any kind of manipulation. Right now, I shut myself off when I am with people who are “playing” some fictional character of their own because they don’t have the courage to reveal who they are. Acting has greatly influenced how I live, write, and how I am with people.
You have been entrusted with the lead role in the spy thriller “The Hand of Justice”, which is being filmed in Serbia and Argentina. The film tells the story of Blagoje Jovović, originally from Montenegro, who in 1957 recognized Ante Pavelić in distant Buenos Aires and wounded him, who died two years later. What is the focus of the plot and how did the first part of the filming go? How challenging was it, mentally and emotionally, to get into the atmosphere and defend the character?
It's a pure movie story. You have a man who wanted revenge and who was willing to risk his life and the lives of his family to get revenge, and then kept the assassination a secret for nearly forty years. Revenge as a phenomenon is something that essentially defines these places of ours. We take revenge on each other again and again and we always have justification for revenge, because "they did something to us there". Each side has the same logic. And there is no end to it. Our search for justice has ended many times throughout history with new bloodshed...
The whole story is set in Buenos Aires in the 1950s and I sincerely hope that we will succeed in making an authentic spy thriller that can relate to all of us. I believe that the film will be different from what people expect.
Did working in a different cultural and geographical context leave any special impressions on you?
The fact that we shot part of the film in Buenos Aires still feels like a dream. We shot in the most authentic parts of the city and that will definitely add a new level to the aesthetics of the film. The film stars foreign actors. Half of the film is in Spanish. It is truly a special project that can bring something completely new to regional cinema in the language of the film.
The premiere of the series “Tvrđava” (Fortress), in which you play a member of the state security service, is also expected. Announced as a story about the fate of a young couple, a Croat and a Serb, who fall in love in Knin during the breakup of Yugoslavia, the series takes place in a specific historical, but also socio-political framework. It was previously announced that it would be shown this fall, when the 30th anniversary of “Storm” is celebrated. What can you say about that project?
The series “Tvrđava” is a huge project. I play the role of Dane, a man from state security, and I was very happy to have the opportunity to work with him. Saša Hajduković who is one of the simplest directors I have ever worked with, and he is not banal, but very lucid in that simplicity. It was a great life experience, because you rarely have the opportunity to work with so many actors on one project. I literally worked with a different actor in every scene. The series is scheduled to air in the fall.
In the Montenegrin and regional climate, topics like these always provoke numerous comments. The filming of the series “Tvrđava” in Montenegro, specifically in Nikšić, has already sparked various controversies and interpretations, and it is to be expected that something similar will happen with the “revival” of the character of Blagoje Jovović. What is the role, but also the obligation, of the film/series when such topics and characters are in question, and which, both then and today, are a source of division in our, mostly already divided, societies?
Unfortunately, in our region, ideology often suppresses aesthetics. And there is always a struggle about that. As an actor, you are obliged to fight for aesthetics that are on moral grounds, as much as you can. A lot of money is allocated for series and films, and it has always been a propaganda machine in which the actor often does not have much influence. But that does not mean that you cannot influence things. Your role is still your role. I always approach the material with the idea of making something meaningful and telling a meaningful story. If something bad is made, of course I am responsible. It is important to fight for your aesthetic standards. You do not always succeed. But when you succeed, it feels good.
Your artistic expression is multi-layered and multimedia. Does the combination of different disciplines provide additional inspiration and is it necessary to find some kind of balance?
I love to create. I become nobler from it. I think a person has the opportunity to know themselves on a very deep level through what we do, and I really try to maximize my talent before I die. That sense of meaning that arises when you create something is calming.
After a short stay in Montenegro, you are back in Belgrade. What does the production there offer, what are the opportunities compared to Montenegrin ones, and what else awaits you, in addition to all of the above?
Belgrade is a big city that offers an actor many opportunities to work. Many events. Many castings. Projects. I learned a lot working in Belgrade. You have to fight for yourself and your talent there. No one will wait for you. Every casting is an opportunity to get to know you. You have to move. To communicate. To have a showreel. To have new photos. A larger environment always motivates you to take action.
I have new projects coming up that I wouldn't talk about yet, because it's too early for that. But I also have the filming of the film "Rooms" in Podgorica, which makes me very happy. It's important to be energetic and deeply motivated. If you know why you're doing this, then it doesn't matter much where you are. The meaning is the same everywhere.
The institution carries the risk of turning you into a scoundrel
You have been present on both the independent and institutional cultural scene for years. What is their position and mutual correlation in Montenegro? What are the circumstances in which artists work and create here?
The institution carries the risk of turning you into a slob. You become an actor who doesn't really feel like working. You get paid and give up on yourself day after day. You enter into a monotony. It takes a lot of awareness and discipline not to wither in the institution.
As for the independent scene, the problem is money. There is always some tinkering and finding a way. The biggest challenge is to make a living from acting, and not be a phony and a piece of shit. Because, in our country, the circumstances are such that a solid number of people think that they need to morally prostitute themselves in order to pursue acting.
An authentic journey with a special appearance in our theater
In addition to being in front of the camera, you are also present in the theater. You are currently working on the play “Çarobni brijeg” by Mirko Radonjić, for which you announced that you will prepare for the whole year. What does such a process look like in the theater, given the long time frame, unlike standard rehearsals that usually last a couple of months?
The process of working on the play “Çarobni brijeg” for a year brings so much to an actor in every sense. It kills superficiality in you. It teaches you dedication and giving, because you still spend a year of your life with the idea that maybe you are creating something worthwhile. I think this play can be an authentic journey. All those who have seen Mirko’s plays “Rooms” or “Anna Karenina” know what I am talking about. Mirko Radonjić is a special phenomenon in this theater space of ours. These are processes after which you know that you have become a better actor and a better person.
Towards something
gentle
to go.
God
What am I living for?
and I don't have
in an empty house
I collect
at your place
to convert.
Small gourmet,
entrance where they are
They suffocated that child,
hilarity, mayonnaise, cabbage.
Cracked
all patched up,
I meditate.
Bonus video:
