Theatre City Budva /City Theatre, Podgorica

Vida Ognjenović

Nadpop Kojović

Director: Vida Ognjenović

Set Design: Vladislava Cunnington

Costume Design: Marija Pupučevska

Music: Damjan Jovičin

Stage Movement: Sonja Vukićević

Cast: Nebojša Dugalić, Pavle Popović, Mišo Obradović, Pavle Ilić, Davor Dragojević, Danilo Čelebić, Vukan Pejović, Ognjen Sekulić, Branka Femić Šćekić, Vanja Jovićević, Lara Dragović, Mina Mićović, Itana Dragojević, Anđela Radović

When explaining the reasons behind her decision to write about Antun Kojović , among all the other distinguished persons from Budva, Vida Ognjenović stated the following: In his journals Antun Kojović painted the accurate picture of his time, contemporaries as well as the neighboring countries and Europe in a brilliant way. The broad extent of his knowledge and the willingness to be at the center of and informed about the current happenings at the end of the 18^th century is fascinating. His attitudes and original thoughts whose maturity greatly surpasses his time are to be admired. He is a man that stood out from his surroundings in many respects but was at the same time highly devoted to it. Ognjenović also adds that what the story of the multitalented person like Antun Kojović teaches us is that the man of today’s society although being an inventor becomes more and more of a slave to his inventions, and less and less of a humanist. The entertainment industry is in its full swing, without constraints and unprecedented while the theatre, movie industry, literature and fine arts in general remain the only shelter from the attacks of banality, aggression and half-truths of various kinds present in today’s society.

Theatre City Budva /City Theatre, Podgorica

Vida Ognjenović

Nadpop Kojović

Director: Vida Ognjenović

Set Design: Vladislava Cunnington

Costume Design: Marija Pupučevska

Music: Damjan Jovičin

Stage Movement: Sonja Vukićević

Cast: Nebojša Dugalić, Pavle Popović, Mišo Obradović, Pavle Ilić, Davor Dragojević, Danilo Čelebić, Vukan Pejović, Ognjen Sekulić, Branka Femić Šćekić, Vanja Jovićević, Lara Dragović, Mina Mićović, Itana Dragojević, Anđela Radović

When explaining the reasons behind her decision to write about Antun Kojović , among all the other distinguished persons from Budva, Vida Ognjenović stated the following: In his journals Antun Kojović painted the accurate picture of his time, contemporaries as well as the neighboring countries and Europe in a brilliant way. The broad extent of his knowledge and the willingness to be at the center of and informed about the current happenings at the end of the 18^th century is fascinating. His attitudes and original thoughts whose maturity greatly surpasses his time are to be admired. He is a man that stood out from his surroundings in many respects but was at the same time highly devoted to it. Ognjenović also adds that what the story of the multitalented person like Antun Kojović teaches us is that the man of today’s society although being an inventor becomes more and more of a slave to his inventions, and less and less of a humanist. The entertainment industry is in its full swing, without constraints and unprecedented while the theatre, movie industry, literature and fine arts in general remain the only shelter from the attacks of banality, aggression and half-truths of various kinds present in today’s society.

Theatre City Budva /National Theatre, Sombor

Dušan Kovačević

Radovan III

Director: Vito Taufer

Dramaturg: Vesna Radovanović

Set Design: Lazar Bodroža

Costume Design: Biljana Grgur

Original music: Robert Pešut – Manjifiko and Aleksandar Pešut – Shatz!

Cast: Ninoslav Đorđević, Biljana Keskenović, Marija Maša Labudović, Danica Grubački, Srđan Aleksić, Nemanja Bakić, Lazar Nikolić, Pavle Popović

This is a painful comedy about letting oneself down.

All comedies worthy of seeing are painful. The manifold perspectives offered by the comedy are actually men’s mirrors. They reflect one’s life situations, fears and destiny in general. For instance, when speaking about the comical figures, they strive to be what they are not and often see the qualities in others which they actually don’t possess.

Orgon in Tartuffe , for example, sees not a pig but a holy man  and etc. The possibility offered by the theatre to laugh at our own big and small stupidities from a safe distance is of paramount importance for the health of individuals and society in general. According to the subtitle, self-betrayal is a central motif of this painful comedy. However, not wanting to interpret my own not yet finished play, I can only ask the following: If we imagine ourselves to be  the protagonists, the question that poses itself is- which self-betrayals could be present in this play? As opposed to,  at the same time funny and scary characters encountered  during the play, we as the audience have a choice of  keeping our self-betrayals to ourselves.

Vito Taufer, the director of the play, talking  about working on the piece.