R espect to the Nobel Academy! Love Sweden’, I wrote on social media as soon as I heard the news that Pe- ter Handke had received the most prestigious award for literature. Someone later commented on my ac- count:‘Love to Handke’. But he and those he loves and respects don’t need love, they found that long ago. Handke may need physical protection at the award ceremony itself, given the ex- perience during the awarding of the Ibsen Award in Oslo sev- eral years ago. But his literature is su ciently powerful, so he has long since forged his shield from truth, love and a libertar- ian spirit that transcends the boundaries of the local. And of course that hurts all those who seek themselves where they are not. However, Handke is needed by Sweden and Handke is needed by the world. On the same day that the news of the Nobel Prize was an- nounced, I heard from my historian friend Miloš Ković, who asked me:WhathashappenedtotheSwedes?’Caughtoutbytheques- tion, I answered:‘Look, for some wonders there are no explana- tions. That’s the Swedes’. And since then I’ve been in the embrace of some strange joy; I walk with a smile for no reason and consider how it all hap- pened, or what happened? Like thunder from a clear sky or a ray of sunshine in the middle of the night. Where was the breaking point - for the award to go to a“political mis t”and otherwise in- genious author, and for that to happen right in Sweden? What courage was found among the greatest scholars of literature in the world, to say that there is actually an emperor dressed in his own literary sanctuary, among the naked ones parading! Like an authentic Swede, I began to formulate an answer to that question, although I knew it intuitively, because I was close to the source of information, I live in Stockholm and monitor the pulse of movement of the city and country. My head has been taught for the last 20 years that the door to the Nobel Prize is closed to Handke speci cally, because he had an unhappy love and sought forbidden truth, which only causes him to su er. And then a miracle happened. That this decision would be rubbished with so much force was as clear as day, because such are the times we live in. It was also clear to Peter. Handke him- self declined to come to Sweden, both privately and profession- ally. That was also tough for me, because we couldn’t continue the cooperation we started long ago. It was back in 2006 that Stockholm’s Teater Tribunalen was preparing the play O end- ing the Audience. Via my colleague Joaquin Nabi Olsson, with whom I’d performed at the Dramaten (Sweden’s Royal Dramat- ic Theatre in Stockholm), I discovered that they were staging the play. When he spoke about rehearsals it was as though he was talking about some theatrical plot, which I found cute. He didn’t believe that we knew each other. The theatre attempted, ahead the premiere, to establish contact with the author, but without success, because they knew that Handke didn’t want to come to Stockholm. I then explained to my colleague, and later to
Jelena Mila i Peter Handke u Beogradu 1996. Jelena Mila and Peter Handke in Belgrade, 1996
nisam bila deo protokola, nisam obraćala pažnju na dogovore dok nisam čula kako Peter viče: „Ja dola- zim samo ako Jelena bude tu.“ Razumela sam da ni- sam imala izbora. Eto, kako tada, tako i danas. Ali vratimo se Šveđanima i Akademiji. I ovde lo- biranje postoji kao i za sve ostale prestižne nagrade sveta, mislim pre svega na Oskara. Priznajem da ni- sam bila posrednik, a volela bih. Zapravo jedina oso- ba koju sam poznavala s Akademije bila je Katarina Frostenson jer sam planirala da igram jednu njenu monodramu. Jednom smo se srele i razgovarale. Ne stigosmo da završimo razgovor, kad ona prošle godi- ne bi smenjena, i to ne tako slavno. I uopšte, cela Aka- demija je postala sporna dok i sama nije prestala s ra- dom prošle godine (i to dokazuje snagu Švedske da prizna poraz, preispita se, sačeka i krene novim sna- gama). Mene je život u Švedskoj naučio da treba da budemo srećni što imamo bar jednog jugoslovenskog, srpskog nobelovca, Ivu Andrića 1961, i to zahvaljuju- ći ženi Ingmara Bergmana, Gunvor Gun Bergman (u braku s rediteljem između 1952. i 1959), doktorki filo- zofije i slovenskih jezika. Neki nemaju ni to! Nobelova nagrada nije lokalni događaj, već glo- balni. Kao što Handke odavno nije lokalni evropski pisac i pripada svetu. Tako borba za slobodu i sop- stveno mišljenje vraća Šveđane kući. Tako „božjom promišlju“ ili piščevim „božjim darom“ ispadoše iz ko- loseka utabanog popularnom kulturom i politikom. Švedska je ovom odlukom vratila svoj lik, a Akademija osnovno poštovanje suštinskih vrednosti – slobode stvaranja koja uključuje individualnost au- tora u pohodu do istine, toliko potrebne svima nama. Ono što je najvažnije, pokazala je da ima hrabrost i snagu identičnu veličini pisca kojeg su nagradili. Što se mene tiče – ponovo je rođena. I još nešto, za me- ne lično, kao glumici i producentu, Oskar je nagrada o kojoj sanjam, ali ako kažemo da je scenario osnova svakog filma u pisanoj formi, onda je Nobelova na- grada dobro poređenje. Peter Handke je dobio nagra- du koja je dokaz postojanja dobre literature, osnove za dobre filmove. Lično sam je doživela kao sopstve- nog Oskara, a zemlju u kojoj živim sopstvenom ze- mljom.
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