{"id":527,"date":"2022-09-02T03:57:43","date_gmt":"2022-09-02T01:57:43","guid":{"rendered":"https:\/\/infant.rs\/?p=527"},"modified":"2022-09-09T13:02:00","modified_gmt":"2022-09-09T11:02:00","slug":"kafka-machine","status":"publish","type":"post","link":"https:\/\/infant.rs\/en\/kafka-machine\/","title":{"rendered":"KAFKA \u041c\u0410CHINE"},"content":{"rendered":"

Inspired by work and life of Franz Kafka<\/strong><\/p>\n

Adaptation: Kata \u0110armati
\nDirector: Veljko Mi\u0107unovi\u0107
\nDramaturge: Kata \u0110armati
\nSet Designer: \u017deljko Pi\u0161kori\u0107
\nCostume Designer: Marija Markovi\u0107 Milojev
\nSong composer: Irena Popovi\u0107
\nMusic selection: Veljko Mi\u0107unovi\u0107<\/p>\n

Cast<\/strong>:<\/p>\n

Aljo\u0161a \u0110idi\u0107
\nRadoje \u010cupi\u0107
\nDragina Voganjac
\nMarija Medenica
\nMarko Savi\u0107
\nJovana Mi\u0161kovi\u0107
\nDu\u0161an Vuka\u0161inovi\u0107
\nIgor Greksa<\/p>\n

Stage Manager: Vladimir Savin
\nPrompter: Nata\u0161a Barbir
\nLighting Design: Miroslav \u010ceman
\nSound Design: Jovan \u017divkovi\u0107
\nSet Design Assistant: Nada Danilovac<\/p>\n

Premiere: 27th December 2021, stage \u201cPera Dobrinovi\u0107\u201d<\/strong><\/p>\n

Running time about an hour and thirty minutes.<\/p>\n

Scenery, costume and other stage props have been made in the Serbian National Theatre workshop.<\/p>\n

DIRECTOR\u2019S NOTE<\/h3>\n

Kafka was a keenly observer of the problems encountered by the man on the street in everyday life, and he created a surreal world that conforms to surreal rules. Nothing has changed to this day. This paradox creates enormous tension in all his works, even in the unfinished ones, where his heroes are in a constant internal conflict and an intense struggle against an omnipresent higher power that towers above them. We live in an age of easy acceptance. We hide behind false identities. We have turned into social media profiles.<\/p>\n

Illusions are exhausted. Ideologies have been abused. We move in a world that is black, simple, cruel and absurdly humorous. There are no complicated conflicts. There are no painful moral dilemmas with a lesson. There are no big philosophical decisions. Criticism of the system (which is also the greatest antagonist in all of Kafka\u2019s works) becomes clear when it is discovered that the very machine, the one that grinds us, still cannot work without us.<\/p>\n

Veljko Mi\u0107unovi\u0107<\/em><\/p>\n

 <\/p>\n

THEATRICAL CRITIQUE \u2013 LOOKING FORWARD TO A KNIFE IN THE HEART: Kafka \u2013 Machine<\/h3>\n

The post-dramatic play, which deconstructs the life and work of Franz Kafka (\u201cThe Castle\u201d, \u201cThe Trial\u201d, short stories, letters, \u201cLetter to His Father\u201d, \u201cDiaries\u201d…) is conceptualised by Kata \u0110armati, who is also the dramaturge of the play, as a structure in which the events in the Castle revolve around K., who is to be absurdly justly convicted, or unjustly acquitted, all the same.<\/p>\n

The course of interrogation, torture, investigation, Eros and Thanatos, which permeate the archetypal, avant-garde work of Franz Kafka, in which the brutalism of the inner and outer human being becomes the content and message of this complex theatrical exploration.<\/p>\n

Veljko Mi\u0107unovi\u0107, a director for whom the topic of a permanent antagonism of an individual and the social system is a constant stage challenge, delivers the painful Kafkaesque drama in a theatrical language that is functional, yet drastic.<\/p>\n

The stylistic precision of whiteness, which provides a framework for guessing whether we are still alive or on the otherworld, is created by set designer \u017deljko Pi\u0161kori\u0107, while the exact costumes are created by Marija Markovi\u0107 Milojev. Aljo\u0161a \u0110idi\u0107 (K.), who has the most difficult task \u2013 to show the terrifying mysticism of Kafka\u2019s duality between deadly suspicion of the truth and justice, and the dark Eros, achieves it with great inner strength and devastating energy.<\/p>\n

Radoje \u010cupi\u0107, delivering Kafka\u2019s destructive frustration of his father\u2019s authority, deftly and easily manages to turn his command of the crime into a conviction of his own self. Draginja Voganjac, Marija Medenica and Jovana Mi\u0161kovi\u0107 advocate and defend the feminine principle of Kafka\u2019s complex nature; their tenderness and cruelty, indeed, are of a different kind than that shown by Marko Savi\u0107 and Igor Greksa, all of them merging into a single character, who, in human or animal form, is to be a companion in suffering to the victim, who strives to and looks forward to the finale, a knife in the heart.<\/p>\n

A special feature of this complex play, which delivers a continuous transformation from verity to fiction, are songs (Irena Popovi\u0107), which revert the associations to Kafka\u2019s sense of guilt, achieving the effect of multiplying and generalising his suffering, to the point that everyone needs to apologise to everyone else, and they all become fictitious victims and their own executioners, evoking horrors hauled from the earliest memories that are not healed by growing up.<\/p>\n

The surreal Kafkaesque situation paradoxically infuses the atmosphere on the SNP stage with a real sense of anxiety and uncertainty, which is predominant today in our country and in the world. The machine, from the play\u2019s title, works non-stop, with the deafening noise of its products being manipulated. And these products are social repression and the deadly humour of the elusiveness of crime, the real riders of the apocalypse today.<\/p>\n

The post-dramatic theatre moves exclusively in the domain of association and message, which is indicated by the stage procedure, so it is also interpreted through the prism of one\u2019s own artistic and social experience.<\/p>\n

Dragana Bo\u0161kovi\u0107, Novosti, 29th December 2021<\/em><\/p>\n

 <\/p>\n

Veljko Mi\u0107unovi\u0107<\/strong><\/p>\n

A graduate of Egon Savin, he once honed his directing craft as an assistant director to Paolo Magelli and Ji\u0159\u00ed Menzel. Since then, he has directed a number of plays, including: \u201cHunting Cockroaches,\u201d \u201cOthello,\u201d \u201cThe Tragic Burlesque,\u201d \u201cDeath of a Traveling Salesman,\u201d \u201cMisunderstanding,\u201d \u201cPowder,\u201d \u201cWardrobe,\u201d \u201cA Suicide,\u201d \u201cDemocracy.\u201d Some of them have been performed at the festivals: Pozorje, Bitef, Drama Festival in Ljubljana, MESS in Sarajevo, Ex Ponto in Ljubljana, Budva City Theatre… At the 65th Sterijino pozorje theatre festival, Mi\u0107unovi\u0107 was awarded a special Sterija Award as a director of the play \u201cThe Workers\u2019 Chronicle\u201d produced by the National Theatre Subotica.
\nTalking about his opinion of man and today\u2019s world and what he addresses in his plays, Mi\u0107unovi\u0107 once said: \u201cWe live at the crossroads, in eternal transitions, political parasitism, trying to get piggybacked by others, without a desire to start from the personal, from educating our own selves, one\u2019s own beings, one\u2019s own environments.\u201d<\/p>\n

 <\/p>\n

\u0444\u043e\u0442\u043e: \u0421\u0440\u0452\u0430\u043d \u0414\u043e\u0440\u043e\u0448\u043a\u0438<\/p>\n

\"Kafka \"Kafka \"Kafka \"Kafka \"Kafka \"Kafka \"Kafka \"Kafka \"Kafka \"Kafka \"Kafka \"Kafka \"Kafka<\/p>\n","protected":false},"excerpt":{"rendered":"

Inspired by work and life of Franz Kafka Adaptation: Kata \u0110armati Director: Veljko Mi\u0107unovi\u0107 Dramaturge: Kata \u0110armati Set Designer: \u017deljko Pi\u0161kori\u0107 Costume Designer: Marija Markovi\u0107 Milojev Song composer: Irena Popovi\u0107 Music selection: Veljko Mi\u0107unovi\u0107 Cast: Aljo\u0161a \u0110idi\u0107 Radoje \u010cupi\u0107 Dragina Voganjac Marija Medenica Marko Savi\u0107 Jovana Mi\u0161kovi\u0107 Du\u0161an Vuka\u0161inovi\u0107 Igor Greksa Stage Manager: Vladimir Savin… Continue reading KAFKA \u041c\u0410CHINE<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":432,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/posts\/527"}],"collection":[{"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/comments?post=527"}],"version-history":[{"count":3,"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/posts\/527\/revisions"}],"predecessor-version":[{"id":624,"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/posts\/527\/revisions\/624"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/media\/432"}],"wp:attachment":[{"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/media?parent=527"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/categories?post=527"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/infant.rs\/en\/wp-json\/wp\/v2\/tags?post=527"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}