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Premijere obnove: 28. oktobar 2022.

Mala scena MADLENIANUMA

Repriza: 6. novembar 2022

Posle duže pauze, nastale zbog korone, a zatim i zbog smrti poznatog kantautora, voditelja i fotografa Minje Subote, romantična komedija DOLCE VITA se vraća na našu Malu scenu. U petak 28. oktobra od 20 časova ljubitelji tople priče o starom duhu Beograda moćiće ponovo da gledaju sjajne Snežanu Jeremić Nešković, Ljiljanu Stjepanović, Anku Gaćešu Kostić, Tamaru Aleksić, Branislava Zeremskog i u ulozi Minje Subote Vladimira Grbića. Romantična komedija DOLCE VITA premijerno je izvedena 7. decembra 2018. godine. Nastala je po tekstu Jelene Paligorić Sinkević i postavljena je kao pobednik Konkursa za mlade pozorišne stvaraoce, predstava je okupila mladi autorski tim, na čelu sa rediteljem Jugom Đorđevićem, uz podršku scenografkinje Ivane Jelić, kostimografkinje Lare Popović, koreografkinje Anke Gaćeša Kostić i uz muziku Andreja Sinkević. Repriza je 6. novembra od 20 časova.

Bila je velika čast imati na sceni Minju Subotu, čija su ličnost i muzika bile implementirane u dramski komad DOLCE VITA. Romantična komedija, koja je brojnoj publici zasladila život, bila je posebno neodoljiva, šarmantna i dirljiva zahvaljujući prisustvu legende scenske umetnosti – Minje Subote.

Minjin vanserijski dar za kontakt s gledaocima, ali i sa partnerima na sceni, utkan je u predstavu koja će nastaviti da se igra na temeljima koje je on postavio tokom rada sa svojim kolegama. Sećanje na radost igre koju je Minja Subota imao neće nestati iz srca svih onih koji su radili sa njim i gledali ga u toj, za njega posebno voljenoj ulozi. S velikom ljubavlju Opera i teatar Madlenianum sva buduća izvođenja predstave DOLCE VITA posvećuje divnom umetniku i čoveku Minji Suboti.

Teško je bilo izabrati glumca koji poseduje harizmu, lik i talenat koji će gledaocima predstave DOLCE VITA omogućiti da osećaju verodostojnost dok ga gledaju u ulozi Minje Subote. Izvrstan glumac, Vladimir Grbić, odvažan koliko i osetljiv, preuzeo je taj zadatak časno i odgovorno. Vladimir Grbić, koji čak likom podseća na Minju, će uz pomoć pozorišne magije svima koji su voleli i vole Minju Subotu pomoći da osete Minjino prisustvo na sceni. Vladimira Grbića, glumca Subotičkog pozorišta, publika Madlenianuma je zavolela još u komičnoj ulozi smotanog Feliksa, u istoimenoj komediji Feliks i Doris.

Kažu da je recept za sladak život poput recepta za savršen kolač! Ako je to i istina, i ako pronađemo taj savšreni recept za sladak život, šta se dešava onog trenutka kada se taj recept izgubi?! Komad Dolce vita u bukvalnom smislu pokušava da odgonetne i pronikne u gore postavljeno pitanje. Naime, u jednoj beogradskoj poslastičarnici, sa ogromnom tradicijom, zatičemo dve generacije žena, vlasnica te poslastičarnice, kako se bore da budu i ostanu u korak sa sadašnjim trenutkom. Jedna poseta neočekivane gošće „preti” da spase poslastičarnicu. Ali ni ta posetiteljka ne dolazi praznih ruku. Ona sa sobom nosi jednu veliku porodičnu misteriju u obliku recepta za savršen život. Da li će naše junakinje uspeti da odgonetnu tu misteriju i spasu svoje nasleđe od zaborava?

THE QUESTION OF FREEDOM IN TODAY’S TIME

THE LIEUTENANT NIDRIGEN'S WALTZ rehearsals are underway

Author: Miodrag Ilic

Directed by: Vladimir Lazic

“Man is born free, and everywhere he is in chains. One thinks himself the master of others, and still remains a greater slave than they.”

"Freedom is not the ability to do whatever you want, but not being forced to do what you don't want."

Jean-Jacques Rousseau

The Lieutenant Nidrigen’s Waltz by the author Miodrag Ilic, created in the eighties of the last century, inspired by a note in some German newspapers telling about a high military school cadet who refused to take a dance exam and got expelled afterwards, turned out to be a great play for questioning freedom in the world, where intimacy is in the palm of one’s hand, the voice of reason and justice is restrained, and personal freedom is subordinated to mass hysteria. By choosing Vladimir Lazic as this work director, we make sure that this philosophical work, realistically written in its actual and universal meaning, which to some extant draws towards expressionism of von Horváth, requiring a certain realization shift from realism to fantasy and by symbols create a grotesque melodrama, putting in the first plan the romance of the young cadet Nidrigen, played by Milos Djurovic and Adela Bonen, played by Isidora Gradjanin.  Although the work is set in the epoch of the tsardom with ballrooms, officers, revolutionaries, which will be stylistically shaped by a set designer Milica Bajic Djurov and a costume designer Tijana Sicevic, the story is bound to be a contemporary one.  An exciting flow of events, plenty of conflicts, imaginative solutions and wit, as well as a strong music and dance component, a composer Aleksandar Srebric, choreographer Jelena Arsic, all provide the director with playful divertissement. The director promises thoughtfulness through entertainment, which means a combination of an easy plot and dark drama of the main character’s suffering. As the director V. Lazic says, "I am taking up the work of philosophical insight into the essential question of man, and that question is: how to remain self-consistent and survive in conditions of social repression."

The choice of actors certainly promises an attractive performance: Srdjan Karanovic, Irfan Mensur, Milan Caci Mihailovic, Lazar Djukic, Janko Cekic, Sinisa Ubovic, Petar Mihailovic, Branko Jankovic, Stefan Bundalo, Srdjan Sekulic, Jelena Arsic/Anka Gacesa Kostic. The premiere is announced for the beginning of December 2022 on the Large Stage of the Madlenianum.

The Lieutenant Nidrigen's Waltz was first performed on the stage of the Croatian National Theatre in Rijeka in 1985, directed by Ljubisa Georgijevski, with the young Bozidar Alic in the title role. The play was then staged at the Joakim Vujic Princely-Serbian Theatre in Kragujevac (1986), directed by Dragan Jakovljevic, while the character of Nidrigen was played by the young actor Mirko Babic. After the artists’ from Rijeka guest performance at the Croatian National Theatre in Zagreb stage, the text was included in the anthology selection of Slobodan Snajder (Prologue No. 2, Centre for Cultural Activities, Zagreb, 1985)

"After almost four decades, thanks to the Opera & Theatre Madlenianum Management assessment, this is the first time the work has been performed in front of Belgrade audience, with even greater reason, we would say, than when it was first illuminated by the spotlights of the stage! The position of a man in the world surrounding us has, in the meanwhile, become even more difficult and uncertain, the policy of violence and dehumanization has narrowed the space of individual freedoms to a minimum, the cry for the right to one's "I" is almost inaudible today. A young man entering life feels a heavy compulsion to submit to those who decide on his present and future, powerless to choose, to decide for himself, to reject what does not suit him. In the past decades, the system of oligarchy has strengthened, embodied in powerful people who cynically impose their interests as general principles. So-called human freedoms and rights, democracy in which the majority stifles the minority, and hence the individual himself, the deception called the representative system, these are all platitudes, more precisely mechanisms of collective and individual enslavement of a man and his consciousness", said the writer of the play, Miodrag Ilic.

"This is the play of identity, the play of the defence of the individuality of a man always threatened by the rules he has to live by, by the coercion of the authorities and what is even more difficult and sinister - by the uncompromising imposition of established patterns of living. Being yourself, sticking to your choice, your beliefs, your principles, has a high price: it often leads to ruin, loss of support, suffering and sacrifice," the writer continues. The director adds: "A little thing in our life is often the cause of great traumas. Making a small mistake or deviation from conventions, a person can lead themselves into an absurd state, into a conflict with the surrounding and political and state factors, and to slip emotionally into paroxysm." According to him, the key issue in this work is the question of freedom.