One couldn\u2019t feel weariness in the KIC \u201dBudo Tomovi\u0107\u201d venue brimming with people. The witty dialogues were a perfect counterpart to the acting ensemble of the City Theatre, led by the brilliant Neboj\u0161a Dugali\u0107.<\/p>\n
Although in some moments certain features of the regional dialect were lacking, Dugali\u0107 strived to follow the natural rhythm of the language the best he could. He succeeded to a great degree in illustrating everything the reader can find in Kojovi\u0107\u2019s Memoirs and Annals<\/em><\/strong>.<\/p>\n It is important to mention that Antun Kojovi\u0107 was an active participant in Budva\u2019s everyday life and its manifold problems: food scarcity due to sometimes infertile soil, robberies, and conflicts in volatile times. However, there were also the rare moments of winding down during the carnival.<\/p>\n He worked as a teacher to the children of Budva without being paid and was even a tutor to one of the most distinguished persons in Budva-Stefan Mitrov Ljubi\u0161a. Even though he was a priest, during the quest of Pa\u0161a Bu\u0161atlija he proved that he was always ready to take on a new role of catering for the ones in trouble. They were, in this particular instance, forced to hide on the islands near Petrovac. \u00a0Also, he didn\u2019t always see eye to eye with the church\u2019s viewpoints and was a member of the Masonic lodge (a basic unit of Freemasonry). He was also one of, if not the most important person when it came to organizing Budva\u2019s cultural life with the no so abundant means that the town possessed.<\/p>\n Vida Ognjenovi\u0107\u2019s version of Antun Kojovi\u0107 (with the assistance of Branka Kne\u017eevi\u0107) took the stage as a figment of the imagination of a young scientist Du\u0161an. The two timelines were in sync due to the scenography of Vladislava Kanington.<\/p>\n Speaking of the atmosphere, the play wouldn\u2019t be what it was without the support of the dynamic City Theatre ensemble. Branka Femi\u0107 \u0160\u0107eki\u0107, Smiljana Martinovi\u0107, Lara Dragovi\u0107, Una Lu\u010di\u0107, Itana Dragojevi\u0107 and An\u0111ela Radovi\u0107 are the ones who take the most credit for the epigrammatic town scenery and the carnival atmosphere which absorbed everyone\u2019s attention. Mi\u0161o Obradovi\u0107 provided an interesting and a little bit eccentric actor interpretation of Stjepan Zenovi\u0107 who was Kojovi\u0107\u2019s contemporary and a famous \u201chacker\u201d of that time.<\/p>\n With good assistance of the actors Pavle Ili\u0107, Davor Dragojevi\u0107, Pavle Popovi\u0107, Danilo \u010celebi\u0107 (CNP), Vukan Pejovi\u0107 and Ognjen Sekuli\u0107, the stage, especially in parts representing the carnival, became a small visual spectacle. The final touch were the \u00a0\u00a0costumes by Marija Papu\u010devska. The dynamic stage movement was thought through by Sonja Vuki\u010devi\u0107 while Damjan Jovi\u010din was responsible for the music. There is no doubt that by the time of the \u201cTheatre City\u201d premiere the play would be additionally polished and the dramatist solutions more accurately realized.<\/p>\n Kojovi\u0107\u2019s life and authorial expression were always resisting conformation. His literary legacy consists of comedies written for specific purposes with the addition of \u00a0\u00a0the lyrical canon which is satirical and not too extensive. All this gives us much food for thought and should be taken into account but doesn\u2019t reveal another side to Kojovi\u0107: namely Kojovi\u0107 as a writer of Memoirs and Annals. His picturesque and detailed chronical writings accurately reflect all the difficulty of the political change and the internal drama of a critical mind in volatile times.<\/p>\n The author had a difficult task of integrating into the framework of a play a life that spanned for almost a century (1751-1846). While the French Revolution was sending an old world into an oblivion and the new one was emerging as a necessity, a tiny Budva was changing administration every couple of months.<\/p>\n The Austrian, Montenegrin, Russian and French administration were taking each other\u2019s place at a fast pace after more than three centuries of Venetian rule. Budva was in a constant state of siege, while Kojovi\u0107\u2019s unchanged reaction was to fight for the autonomy of the town, the protection of its physical territory and that without religious exclusivity or leaning towards one side or another.<\/p>\n Vida Ognjenovi\u0107 stayed true to Kojovi\u0107\u2019s writings that she transformed into interesting disputes between characters that held opposing views \u00a0\u00a0and \u00a0\u00a0fruitful dialogues. Her hero explains to young Du\u0161an that he shouldn\u2019t admire him and says:\u201dYou\u2019re right but tribe rebellions are a tradition here. They are as common as weddings and funerals\u201d. \u201dOur people \u00a0get bored when everything is as it\u2019s supposed to be so we tend to hurt one another out of spite\u201d. \u201dYou can read in there \u00a0that the neighboring \u00a0tribes \u00a0attacked the town in order to \u00a0rob us and so as \u00a0to \u00a0\u00a0make the process faster \u00a0\u00a0decided to execute all the Catholics from Budva starting with Kojovi\u0107\u201d. \u201dDo you see now giovinotto <\/em>how cheap is the human head here. This is the curse of a small town and you want me to be a hero always with a gun\u201d.<\/p>\n After the excellent texts and corresponding directions of the plays Kanjo\u0161 Macedonovi\u0107<\/em><\/strong> and Don Krsto<\/em><\/strong>, Vida Ognjenovi\u0107 managed to solve the problem of Kojovi\u0107\u2019s conventional works of literature and his much better chronicles. In a post-modernist manner, she interrelated facts and fiction. On the two opposite sides were the days of letting off steam during the carnival and the deeply tragic destiny of a life in a small town (then Budva, now Montenegro as a part of a huge global village). Maybe one would recognize some kind of pattern in the author\u2019s device, already seen in her play Don Krsto<\/em><\/strong>. It seems, however, that exactly this kind of dramatist approach was an optimal way to put before the audience the spirit of the times and the one of a kind personality of a individual important for Budva and its history.<\/p>\n The circumstances of Kojovi\u0107\u2019s life are in many respects similar to the ones in our society nowadays. Therefore, the dramatist solution of interconnecting two timelines makes perfect sense. Doomed to carry the burden of a life in a small town, Kojovi\u0107 admires the unbelievable strength of Napoleon and Stjepan Zanovi\u0107. It is important to state that Kojovi\u0107 admired the political figure and personality of the Metropolitan Petar I the most and always referred to him as a Cavalier. Kojovi\u0107 wasn\u2019t there to witness the revolutionary terror in France and the destruction of the great ideas in the power struggle. Spellbound by the idea of freedom, he wouldn\u2019t manage to learn that it didn\u2019t include women. He wouldn\u2019t hear of Olympe de Gouges\u2019 Declaration of the Rights of Women and of the Female Citizen<\/em>. What would be even harder for him to understand is the fact that de Gouge was guillotined on the basis of the attack on the Revolutionary Government regime.<\/p>\n Antun Kojovi\u0107 was, as primarily an author of the works written for specific occasions, highly prone to stereotyping women (although\u00a0 reminding the reader \u00a0often that it was a joke).The author of the dramatic text obviously stayed in the line of the testimonies that Kojovi\u0107\u2019s unpleasant experience with his sister Katarina was \u00a0the reason why in his work Smije\u0161ni Razgovori <\/em><\/strong>(Witty Dialogues<\/em><\/strong>) and carnival songs women were \u00a0often than men represented as drunks, schemers and \u00a0deceptive caretakers. It is not like the author couldn\u2019t have put a highlight on the Kojovi\u0107\u2019s writings representing women as courageous and full of solidarity for one another. After all, women saved him from certain death.<\/p>\n As a director, Vida Ognjenovi\u0107 decided to go for a different interpretation without which the text would certainly loose some of its authenticity. For example, after the scene in which the church authorities prohibited Kojovi\u0107 to host a celebration in honor of Napoleon, he still did it as a part of carnival festivities. The scene in which one of the women appeared wearing a costume of a young Napoleon is actually an author comment on the Napoleon figures of all times- the revolutionary terror, sufferings and wars of Olympe de Gouge as well as countless deaths being an \u00a0unmistakable part of it.<\/p>\n The dramatic text allows for more interventions of these kind, and it can be said that the additional alterations of the play will bring to the surface all of its manifold potentials. Maybe it is not a coincidence that after three millennia, the persona of Antun Kojovi\u0107 is again introduced to Budva and that by a woman who is acclaimed for her authenticity as well as for being politically and socially engaged in the events of her country.<\/p>\n All this gives us a reason to believe that this co-production of the \u201cTheatre City\u201d Budva and City Theatre Podgorica is just the beginning of a promising new festival season.<\/p>\n Author of the text: Bo\u017eena Jelu\u0161i\u0107<\/em><\/p>\n Source:Vijesti<\/em><\/p>\n Date: 02.03.2024<\/em><\/p>\n","protected":false},"excerpt":{"rendered":" One couldn\u2019t feel weariness in the KIC \u201dBudo Tomovi\u0107\u201d venue brimming with people. The witty dialogues were a perfect counterpart to the acting ensemble of the City Theatre, led by the brilliant Neboj\u0161a Dugali\u0107. Although in some moments certain features of the regional dialect were lacking, Dugali\u0107 strived to follow the natural rhythm of the…<\/p>\n","protected":false},"author":3,"featured_media":69845,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[307],"tags":[],"class_list":["post-69994","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arhiva-novosti-2024","category-307","description-off"],"_links":{"self":[{"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/posts\/69994","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/comments?post=69994"}],"version-history":[{"count":1,"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/posts\/69994\/revisions"}],"predecessor-version":[{"id":69995,"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/posts\/69994\/revisions\/69995"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/media\/69845"}],"wp:attachment":[{"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/media?parent=69994"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/categories?post=69994"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/gradteatar.me\/en\/wp-json\/wp\/v2\/tags?post=69994"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}