Većina gledalaca će bar pokušati da zavoli život, uprkos teškoćama try to love life, despite the difficulties
Most viewers will at least
her dissertation work translating Guests, she also translated to Serbian Tracy Letts’ Au- gust: Osage County, Cormack McCarthy’s The Sunset Limited and Christopher J. John- son’s play The Dog Logs. “Acting translations are invaluable be- cause actors know what acting work is, what a character is and how he speaks,”says Mili- ca, explaining one of the reasons why these plays receive standing ovations after each performance. The theatre, like film, is collective art; it depends on all stakeholders, yet there are few directors who opt, like Skerlić, to respect the words of their associates. And so it is that at Atelje 212 we will see“a mod- ern, reduced performance, filled with dif- ferent levels of metaphor and new discov- eries”, where the action will not unfold in chronological order, but rather three Petri- as will form one fate. In it, through the skil- ful dramatisation of Mile Mašović Nikolić and a brave directing process, will be wo- ven the torment of her marriage with her first husband, Dobrivoje, under the strong influence of her mother, the the daughter- in-law’s foe. The young Petria from the vil- lage is portrayed by Marta Bjelica. In the form of a yet to be self-realised woman, plays Jovana Gavrilović the urban Petria with her new tribulations – work in the tavern of Ljubiša the boss,“perhaps the most beautiful part of life”for this contem- porary martyr. She is followed by a strug- gle with the depression of her second hus- band, Miša, who loses his leg in an accident and then dies when the wound turns sep- tic. All these epochs of life and history, from the pre-war period to the victory of the rev- olution, unite the widow Petria in the per- formance of Milica Mihajlović, who is suffi- ciently wise and hardened by trouble to be above any tragedy. Like life itself, the play will abound with humour, truth and strange sorts due to the authentic dialect. That, as we’ve noted, is the music of the childhood of writer Dragoslav, a full member of the Serbian Academy of Sciences and the Arts (SANU). There isn’t as much politics in Petria as there is in his oth- er works; it is hidden in the narrative about the fate of a woman in the grip of the patri- archate, which is only one of many levels of reading this truly exciting work. Most view- ers will at least try to take the motto from the beginning and try to love life, despite the difficulties.
delom života“ ove svevremene mu- čenice. Sledi joj borba sa depresijom drugog muža Milosava, koji gubi no- gu u nesreći, a kasnije umire. Sve te epohe života i istorije, od predratne do pobede revolucije, objedinjuje Pe- trija udovica oličena u Milici Mihajlo- vić. Dovoljno mudra, nevoljom preka- ljena, da bude iznad svake tragedije. Kao i sam život, komad će obilova- ti humorom, istina čudne vrste, zbog autentičnog dijalekta. Koji je, kao što rekosmo, muzika detinjstva pisca Dra- goslava, redovnog člana Srpske aka- demije nauka i umetnosti (SANU). U Petriji nema toliko politike kao u nje- govim drugim delima, ona je skrive- na narativom o sudbini jedne žene u raljama patrijarhata, što je samo je- dan od mnogih nivoa čitanja tog zbi- lja uzbudljivog štiva. Većina gledala- ca će bar pokušati da preuzme kredo sa početka i pokušati da zavoli život, uprkos teškoćama.
PRVI PUT NA FILMU Kao što je Mirjanu Karanović izdigla već prva filmska uloga, tako je i Milica Mihajlović ostala upamćena po debitanskoj roli u Kaži zašto me ostavi reditelja Olega Novkovića, kome je to bio prvi film, baš kao i Marku Glušcu prva montaža, a Srđanu Koljeviću prvi scenario. – To je bila vrlo hrabra Olegova odluka, posebno što je film bio o ratu koji se tek razbuktao, a ne nekakva eskapistička priča, u to vreme popularan i vrlo razumljiv metod okretanja glave od realnih teškoća – kaže Milica. FIRST TIME ON FILM Just as Mirjana Karanović elevated herself with her first film role, so Milica Mihajlović remains remembered for her debut role in Tell Me Why They Leave Me by director Oleg Novković, for whom that was also his first film, just as it was Marko Glušac’s editorial debut and Srđan Koljević’s first screenplay. “That was Oleg’s very brave decision, especially given that the film was about a war that was still smouldering, not some kind of escapist story like the ones that were popular at that time, and a very understandable method of turning one’s head away from real difficulties,” says Milica.
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