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PAVILIONS
Or
Where Am I Going, Where Do I Come From, And
What’s For Dinner
by: Milena Marković
Directed by: Alisa Stojanović
Premiere 26 April 2001, Theatre „Bojan Stupica”
Running time approx. 1h 40’
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 Cast and crew |
| About the writer |
| About the director |
| Reviews |
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Cast:
Mala: Danijela Vranješ
Džiga: Srdjan Timarov
Macan: Radivoje Bukvić
Knez: Josif Tatić
Lepa: Cvijeta Mesić
Ćera: Paulina Manov
Ćopa: Gordan Kičić
Granny Dobrila: Rada Djuričin
Granny Ljudmila: Branka Petrić
1st thief: Nebojša Milovanović
2nd thief: Goran Daničić
Set Design: Darko Nedeljković
Costume Design: Zora Mojsilović
Music: Sunshine
Scenic Movement: Ivica Klemenc
Comics: Bojan Redžić
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ABOUT THE WRITER
Milena Marković was born on the 9th of April 1974 in Belgrade. She graduated from the Faculty of Drama Arts, at the Department of Dramaturgy. She was awarded a special prize for Pavilions at the competition organized MBH Theatre from Vienna. Pavilions are this author’s first performed play.
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ABOUT THE DIRECTOR
Alisa Stojanović was born in 1968. She graduated in theatre directing in the class of Professor Dejan Mijač in 1991. She works as a senior lecturer at the Faculty of Dramatic Arts. In Belgrade theatres she has directed Bald Singer by E. Eonesko, (Malo pozorište «Duško Radović»), Staza divljači by F.K. Kroetz (Atelje 212), Burn This by L. Wilson (Belgrade Drama Theatre), Behind the Curtain by M. Frayn (Atelje 212), Cabaret, co-director Soja Jovanović (Teatar T), Lagum by S. Velmar-Janković (Atelje 212), Alice in Wonderland by L. Carroll-V. Djurić («Boško Buha» Theatre), Pod okriljem zvezda by M. Puig (Belgrade Drama Theatre), Here by M. Frayn (Atelje 212), Master Class by T. Neli (Bitef Teatar), Parovi by Goran Marković (Atelje 212), Closer by R Marber (YDT), Art and Three Versions of Life by Jasmina Reza (Atelje 212), Paviljoni by Milena Marković (YDT), Supermarket by Biljana Srbljanović (YDT), Sudbina i komentari by Radoslav Petković (National Theatre).
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REVIEWS
Pavilions are, in a way, a unique catalogue of procedures of self-destruction, as Slobodan Šnajder writes of this play. Well then, Milena Marković makes her cruel, almost documentary approach to the surrounding age more poetic by the specific language (meaning both the language of scenic symbols and the dialogue), which makes her drama to a great extent authentic (within the limits of the domestic dramatic literature). …The way in which this play is convincing, the bitter hopelessness that emanates from it, crying for help, point to the painful conclusion that, if the form is ignored, we used to watch the same plays that warned, and nowadays we see some new ones that can only establish a fact. In this context Pavilions can truly be marked as a turning point, speaking, of course, of the domestic dramatic literature…
Željko Hubač, Danas
The Black Grotesque
… The heart of the matter is that, in Pavilions, the rounded form of dramatic action is dissolved into a series of apparently disparate fragmentary pictures, but some of them with a one-way intention of describing, with their help, the atmosphere in a group of human outcasts. For this process there are two other compelling reasons. Among other things, this serves to emphasize the infinite complexity of the problems treated, but also to show, from many angles, the decline of many spiritual structures, such as love, life philosophy of the individuals and ethics in general. This, in fact, describes various modalities of shamelessness with which we publicly display what we used to hide even from ourselves in the middle-class society of yesterday, where inflexible conventions insured that man was a decent animal, existing on a higher level of humanity…
Vladimir Stamenković, NIN, 3 May, 2001
…Pavilions are a play suggesting that nothing about us can be concluded without consulting death certificates, which, of course, are too short.
The subject of the play the play Pavilions is a rough sketch of the slopes of a city and its inhabitants, of city turmoil pulsing in its own rhythm, where people kill each other without any serious reason, beat and abuse each other for fun, all this without any need for ‘information’ coming from the outside. That is, they hardly know that there is anything else. Milena Marković gives this material a dramatic form in accordance with what could be included in the term main stream of the contemporary age, strongly shaded by the local colour.
Željko Jovanović, Blic
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