REPERTOAR OSMOG MEĐUNARODNOG POZORIŠNOG FESTIVALA „SLAVIJA 2009“
9. mart - OKOLO THEATRE NEAR THE STANISLAVSKY HOUSE,
Moscow, Russian Federation
N.V.Gogol: „THE GAMBLERS“
10. mart - „SLAVIJA“ THEATRE,
Branislav Nušić: „IN POWER“
11. mart - SARTR,
Saraievo, Bosnia and Herzegovina
Miodrag Žalica: „THE EMBRACE“
12. mart - BOSNIA AND HERZEGOVINA NATIONAL THEATRE, Saraievo, Bosnia and Herzegovina
Dubravko Jelačić Bužimski: „THE MIDNIGHT GAME“
13. mart - ŠABAC THEATRE,
Zoran Božović: „THE QUEEN OF LAUGHTER“
14. mart - EPILOGUE THEATRE, Zagreb and
CRYSTAL CUBE OF BRIGHTNESS TOWN THEATRE, Sisak, Croatia
David Farao: „THE GUEST“
15. mart - YOUTH THEATRE „NIKOLAI BINEV“,
Frank Vedekind: „THE DEATH AND THE DEVIL“
16. mart - NOTTARA THEATRE,
A. P. Chekhov: „PLATONOV“
17. mart - DRAMA THEATRE SKOPJE,
Edward Albee: „THE GOAT: OR, WHO IS SYLVIA?“
Boredom no longer springs today from the same reasons as it did in the time of Chekhov. The latest period in recent years when time passed more slowly, and people had enough time for their experiences to settle, so that to really experiment with boredom, was probably in the 60’s, a reason why the action in “Platonov”, too – in the vision of Vlad Massaci and the scenography of Dan Titza at the Nottara – is brought closer to such moment in the middle of the last century. Since then, the rhythm of life has gradually accelerated, becoming brutal and determining other types of failure.
[…] As talking “about nothing” is the most difficult thing, this is the point where some of the actors picked by director Vlad Massaci succeed very well (Victoria Cociaş as the voluptuous Ana Andreevna, Gabriela Crişu as Saşa, so beautiful in her funny simplicity, Ada Navrot in the role of the frantic Maria Efimovna Grekova, Ion Grosu, as doctor Trileţki and Dani Popescu, as Osip).
[…] The scenography of Dan Titza, who devises a simple, poor scenery, whose main element is the wooden platform that protrudes into the auditorium, surrounded by whole rows of empty bottles, on which dust has settled. On this platform, sometimes lit from below, are placed, in turn, a simple wooden bench, an authentic vintage sofa and a simple green armchair, and around them revolve the characters and the small events that are meant to turn lives upside down and to end dramatically with Platonov’s death.
[…] A well worked performance, modern, without the obsession of modernity, Vlad Massaci’s “Platonov” can make us friends again with ourselves, reminding us how easy it is to fail, that is to say not to live – no matter for what reason – your life to the fullest, the way it would deserve to be lived.
Cristina Modreanu – Gândul