podgorica 2019. - carna.brkovic

2019.

podgorica

Sekretarijat za kulturu i Sport glavnog grada podgorice

Secretariat for culture and Sport of the capital city podgorica

izdavač Publisher

Sekretarijat za kulturu i sport glavnog grada Podgorice Secretariat for Culture and Sport of the Capital City Podgorica

za izdavače for the Publishers

Ana MedigovićNela Savković-Vukčević

urednica editor

Čarna Brković

prevod na engleSki jezik english translation

Marija Krivokapić

dizajn i priprema za štampu design and Pre-Press

Suzana Pajović

štampa Print

DPC, Podgorica

tiraŽ CoPY

300

puppet theatre Blue lagoonLutkarsko pozorište pLaVa LagUNa

MONO GRAFSKO IZDANJEM O N O G R A P H I C I S S U E

prvo crnogorSko profeSionalno lutkarSko pozorištefirSt Montenegrin profeSSional puppet theater

1 9 9 4–1 9 9 6

Blue lagoon

Lutkarsko pozorište

pLaVa LagUNap u p p e t t h e a t r e

1 9 9 4–1 9 9 6

7

riječ urednice editor’s note 13

o „pLaVoj LagUNi“aBout “Blue lagoon” 15

Čemu „plava laguna“? Why “Blue lagoon”?Dragana Kršenković Brković, 1995 25

Biografije osnivača „Plave lagune“Biographies of the founders of the “Blue Lagoon“ 29

o prEdSTaVama aBout perforManceS 31

KapETaN dŽoN pipLFoKScaptain John peoplefolKS 32

teKSt Kataloga the text of the catalog 35

Husein Bato Dukaj 36Dragana kršenković Brković 38

crteži lutaKa, KoStiMa i ScenografiJe

draWingS of puppetS, coStuMeS, and Scenography 41

iZ ZmajEVE riZNicEfroM ZMaJ’S treaSury 44


dramski tekst IZ ZMAJEVE RIZNICEDragana kršenković Brković 51

dramatic text FROM ZMAJ’S TREASURYDragana kršenković Brković 73

S a d r ž a J t a B l e o f c o n t e n t S

8

SKriVENo bLago maLog TroLahidden treaSure of a little troll 96


dramski tekst SkRIVENO BLAgO MALOg TROLA Dragana kršenković Brković 101

dramatic text HIddEN TREASURE OF A LITTLE TROLLDragana kršenković Brković 131

SaradNicE i SaradNici o „pLaVoj LagUNi“contriButorS on “Blue lagoon” 153

o „plavoj laguni“ about “blue Lagoon”goran Bulajić 155

Sjećanja dvoje glumaca na rad „plave lagune“Two actors’ memories of “blue Lagoon”žaklina oštir 157

MlaDen oBraDović 159

dragocjeno prvo iskustvoThe precious First Experienceivanka vana prelević 161

mEdiji o „pLaVoj LagUNi“Media on “Blue lagoon” 165

Mirsad Rastoder, 1995 167

igra, pouKa, Mašta play, Moral, iMagination Milutin Đuričković, 1995 171

„džon piplfoKS“ pred naJMlađiMa “John peoplefolKS” in front of the youngeSt Olivera Ugrin, 1995 175

9

igre S lutKaMaplaying With puppetSMilutin Đuričković, 1995 179

traganJe Za KaMenoM MudroStiSearching for the Stone of WiSdoMMilutin Đuričković, 1996 181

„pLaVa LagUNa“ iZ daNašNjE pErSpEKTiVE“Blue lagoon” froM today’S perSpective 201

laguna za đeculagoon for children nela savković-vukčević 203

lutkarSko pozorište „plava laguna“ (1994–1996)the puppet theatre “Blue lagoon” (1994–1996)varja Đukić 205

BliStav Sjaj „plave lagune“the luStre of “Blue lagoon”Biljana Maslovarić 207

10

11

Blue lagoon

Lutkarsko pozorište

pLaVa LagUNap u p p e t t h e a t r e

first

Montenegrin

Professional

PuPPet

theater

PRVO CRNOgORSkO

PROFESIONALNO LUTkARSkO

POZORIšTE

13

Ja sam odrasla uz „Plavu lagunu“. Neka od mojih najdra-žih sjećanja na djetinjstvo uključuju roditeljsku dnevnu sobu u haosu od sunđera, konca, lijepka i tkanine od ko-jih su pravljene lutke. Takođe volim da se sjećam kako sam plesala sa vikingom Ulafom Jakobsonom, nakon što nas je nastavnik Budo učio osnovnim koracima valcera na časovima fizičkog vaspitanja. Viking Ulaf Jakobson je lutka od sunđera i otprilike je veličine jedanaestogodiš-nje djevojčice. Ponekad bih ga pričvrstila za svoja stopala i ponavljala naučene plesne korake u dvorištu porodične kuće. Sjećam se kako smo moja sestra Ksenija Brković i ja zaspale negdje na budvanskim zidinama čekajući da se završi predstava koja je igrana u večernjim časovima u okviru Grada teatra. Nas dvije smo gotovo svake subote gledale predstave. Naša porodična pozorišna avantura je počela u jesen 1994. godine kada su moji roditelji, Tomi-slav Brković i Dragana Kršenković Brković, registrovali „Plavu lagunu“ kao prvo profesionalno lutkarsko pozo-rište u Crnoj Gori.

Osnovati privatno lutkarsko pozorište u jugoistočnoj Evropi je neobičan potez. Učiniti to u prvoj polovini devedesetih godina u Crnoj Gori, dok se cijela zemlja raspada u ratnom nasilju, je zadivljujuće. Ovaj potez rječito govori o prioritetima ljudi koji su osnovali „Pla-vu lagunu“, ali i o samom pozorištu – o nevjerovatnoj količini ljubavi, rada i profesionalnosti koja je uložena kako bi svake subote pred publikom nastalo novo po-zorišno čudo.

I grew up with “Blue Lagoon”. Some of my dearest child-hood memories include my parents’ living room in the chaos of sponge, thread, lace, and fabric used for mak-ing puppets. I also love remembering dancing with the Viking Olaf Jacobson after our teacher Budo had taught us the basic waltz during physical education classes. Viking Olaf Jacobson is a puppet made of sponge and is as tall as a girl of eleven. Sometimes, in the yard of our home, I would fasten him to my feet and repeat the learned dancing movements. I remember how my sis-ter Ksenija Brković and I fell asleep by Budva’s old walls awaiting the performance, which was organized for the late evening hours in the City Theatre, to end. The two of us would watch performances almost every Saturday. Our family’s theatre adventure started in the autumn of 1994 when my parents, Tomislav Brković and Dragana Kršenković Brković, registered “Blue Lagoon” as the first professional puppet theatre in Montenegro.

To establish a private puppet theatre in South-Eastern Europe is an unusual initiative. To do it in the first half of the 1990s in Montenegro, while the whole country was disintegrating in the violence of the wars, was amazing. This initiative eloquently speaks of the priorities of the individuals who founded “Blue Lagoon”, but also about the theatre – about an unbelievable quantity of the invested love, work, and professionalism so that a new theatrical miracle would be created each Saturday before an audience.

e d i t o r ’ s n o t er i j e č u r e d n i c e

14

Monografija koja je pred vama jeste istorijsko svjedo-čanstvo o pozorišnom životu Podgorice i Crne Gore. Nastala je kao intimni pokušaj da se sačuva dio skoro pa zaboravljenog trenutka u kome je postojala „Plava laguna“.

Monografija donosi sve podatke o predstavama ovog pozorišta do kojih sam mogla doći u toku prethodne dvije godine.

Posebno se zahvaljujem Žaklini Oštir i Mladenu Obra-doviću na tome što su pristali da ih intervjuišem i po-dijelili sa mnom svoja sjećanja na „Plavu lagunu”, kao i Suzani Pajović i Sanji Vojinović na pomoći oko otkri-vanja više datuma i istorijskih podataka.

Dr čarna Brković

The monograph in front of you is a historical testimony about the theatrical life of Podgorica and Montenegro. It is made as an intimate attempt to cherish a part of an almost forgotten moment in which “Blue Lagoon” existed.

The monograph brings up the information of the theatre performances which I was able to collect in the last two years.

My special thanks goes to Žaklina Oštir and Mladen Obradović who accepted to be interviewed and who shared with me their memories of “Blue Lagoon”, as well as to Suzana Pajović and Sanja Vojinović for their help in finding out various historical dates and information.

Dr čarna Brković

o „plavoj laguni“

aBout“Blue lagoon”

16

17

The puppet theatre “Blue Lagoon” was founded in the autumn of 1994 by Tomislav Brković and Dragana Kršenković Brković.

“Blue Lagoon” was the first Montenegrin theatre speciali-zing in puppetry. Apart from “Blue Lagoon”, “Montenegrin National Theatre” and “Children’s Theatre” (renamed into “City Theatre” in 1999) were also active in Podgorica at this moment. “Children’s Theatre” presented puppet plays, and also had a wide repertoire of other drama performances that did not include puppets.

“Blue Lagoon” puppetry workshop was the first place in Montenegro in which puppets for the use of a theatre were made. Sculptor, scenographer and costume designer Ivanka Vana Prelević designed and created an abundance of different types of puppets for “Blue Lagoon’s” performances. Among many other types of puppets, Ivanka Vana Prelević also made guignols, big guignols, the Muppets, Sicilians, Javanese (stick puppets), laminated puppets, and masks.

For the two years of its work “Blue Lagoon” created three shows which were performed over 100 times. These performances were regularly held in Podgorica on Saturday mornings. They were also staged all over Montenegro: in Herceg Novi, Tuzi, Nikšić, Budva, and so on.

Lutkarsko pozorište „Plava laguna“ su u jesen 1994. godine osnovali Tomislav Brković i Dragana Kršenko-vić Brković.

„Plava laguna“ je bila prvo crnogorsko pozorište spe-cijalizovano za lutkarstvo. Pored „Plave lagune“ u tom trenutku u Podgorici rade „Crnogorsko narodno po-zorište“ i „Dječije pozorište“ [koje je nakon 1999. go-dine preimenovano u „Gradsko pozorište“]. „Dječije pozorište“ je prikazivalo lutkarske predstave, ali i širok dijapazon dramskih predstava, bez lutaka.

Lutkarska radionica „Plave lagune“ je bila prvo mjesto u kome su pozorišne lutke pravljene u Crnoj Gori. Va-jarka, scenografkinja i kostimografkinja Ivanka Vana Prelević je dizajnirala i napravila veliki broj različitih tipova pozorišnih lutaka za predstave „Plave lagune“. Između ostalog, Ivanka Vana Prelević je napravila gi-njole, velike ginjole, mapetovce, sicilijanke, javajke (lutke na štapu), kaširane lutke i maske.

„Plava laguna“ je za dvije godine rada pripremila tri predstave koje su igrane preko 100 puta. Predstave su redovno igrane u Podgorici subotom, u jedanaest sati, kao i gostujući na scenama širom Crne Gore: u Herceg Novom, Tuzima, Nikšiću, Budvi i tako dalje.

plakat za predStave „plave lagune“the Poster for the PerforManCes of “blue lagoon”

19

tekst: Duško Radović

režija: Husein Bato Dukaj

draMaturg: Dragana Kršenković Brković

Muziku koMPonovao: Leo Đokaj

direktor ProdukCije: Tomislav Brković

igraju

Putnik kapetan Džon Piplfoks – Dragiša Simović

Djevojka pripovjedač; gusar Brzogovoreći – Žaklina Oštir

Djevojka Sjekira; Arčibald – Jadranka Mamić

Putnik; Pećina; Aždaja – Mijat Radonjić

Djevojka Konoval; Kornjača – Lidija Dedović (kasnije: Mladen Obradović)

idejno rješenje lutaka: Ivanka Vana Prelević

krojačke usluge; kostiMi za lutke: Buba Šofranac

kostiMi za gluMCe: Drita Ramović

organizaCija: Žarko Vukadinović

SVe lutKe Su izrAđeNe u lutKArSKoj rADioNiCi „PlAVe lAguNe“

kapetan dŽon piplfokSPREMIJERA

24. jaNUar 1995. godiNE

20

text: Duško Radović

direCtor: Husein Bato Dukaj

draMaturge: Dragana Kršenković Brković

MusiC: Leo Đokaj

ProduCtion direCtor: Tomislav Brković

Cast

Traveller Captain John Peoplefolks – Dragiša Simović

Girl Narrator; Pirat Fastspeak – Žaklina Oštir

Girl Axe; Archibald – Jadranka Mamić

Traveller; Cave; Dragon – Mijat Radonjić

Girl Konoval; Turtle – Lidija Dedović (later: Mladen Obradović)

PuPPet design: Ivanka Vana Prelević

tailor serviCe, PuPPets’ CostuMes: Buba Šofranac

aCtors’ CostuMes: Drita Ramović

organization: Žarko Vukadinović

All the PuPPetS were MADe iN the PuPPetry worKShoP of “Blue lAgooN”

captain John peoplefolKSPREMIERE

jaNUary 24, 1995

21

tekst: Dragana Kršenković Brković

Po motivima priče Jovana Jovanovića Zmaja „Bajka o Katici i patuljcima“

igraju

Zoja BećovićJadranka Mamić

režija: kolektivna

sCenografija: Veselin Konjević

Muzika: Nebojša Vujović

krojačke usluge: Dika Ramović

Majstor svjetla: Ibrahim Bimo Abdović

direktor Projekta: Tomislav Brković


iz zmajeve riznice PREMIJERA

30. jUN 1995. godiNE

22

text: Dragana Kršenković Brković

After the motives from a story by Jovan Jovanović Zmaj “A Fairy Tale about Katica and the Dwarfs”

Cast


direCtion: Collective

sCenograPhY: Veselin Konjević

MusiC: Nebojša Vujović

tailor’s serviCes: Dika Ramović

lighting: Ibrahim Bimo Abdović

ProjeCt direCtor: Tomislav Brković


froM ZMaJ’S treaSuryPREMIERE

jUNE 30, 1995

23

tekst: Dragana Kršenković BrkovićPo motivima priča Selme Lagerlef

režija: Goran Bulajić

igraju

Ulaf Jakobson; g. Nils – Marta Pićurić

Vještica Friga (vuk, cvijet, div, Grendal); gospođica Ula – Zoja Bećović

Trol Goblin – Jadranka Mamić

sCenograf i dizajner lutaka: Ivanka Vana Prelević

Muziku koMPonovao: Rajko Kadović

rasvjeta: Zoran Kovačević

ton: Željko Martinović

krojačke usluge: Dika Ramović, Mirsada Methadžević

direktor Projekta: Tomislav Brković


Skriveno Blago malog trolaPREMIJERA

3. apriL 1996. godiNE

SEZoNa ii

24

text: Dragana Kršenković BrkovićAfter the motives from the stories by Selma Lagerlöf

direCtor: Goran Bulajić

Cast

Olaf Jacobson; Mr. Nills – Marta Pićurić

Sorceress Friga (wolf, flower, giant, Grendal); Miss Ula – Zoja Bećović

Troll Goblin – Jadranka Mamić

sCenograPhY and PuPPet design: Ivanka Vana Prelević

MusiC: Rajko Kadović

lighting: Zoran Kovačević

tone: Željko Martinović

tailor’s serviCe: Dika Ramović, Mirsada Methadžević

ProjeCt direCtor: Tomislav Brković


hidden treaSure of a little trollPREMIERE

apriL 3, 1996

SEaSoN ii

25

transkript razgovora koji je

s draganom kršenković brković

vodio f. limaš

u jesen 1995. godine

transcript from the

conversation f. limaš had with

dragana kršenković brković

in the autumn of 1995

Dragana Kršenković Brković, playwright and dramatist, has successfully been involved in the performances of the puppet theatre “Blue Lagoon,” through which, now with an already recognizable poetical expression, she has seized many hearts, and not only those of children, in, unfortunately, now impoverished Montenegrin theatre life. We hope that these last words from the show “From Zmaj’s1 Treasury” will serve as an introduction to our conversation with her:

Look around with your eyes wide open. Soak in everything your eye can reach. The spreading fields of grain, green in spring and golden before the harvest. The clouds in the sky. The flying bird. The river far away. While the Sun, so rosy and so huge as the biggest honey cake, is setting behind the horizon at the bottom of the plain. Then, breathe deep and repeat within yourselves – life is beautiful.

1 “Zmaj” refers to the Serbian author Jovan Jovanović Zmaj, or Čika Jova Zmaj (1833–1904).

Dragana Kršenković Brković, dramski pisac i dramaturg, kroz predstave lutkarskog pozorišta „Plava laguna“ već godinu dana veoma uspješno, sada već i prepoznatljivim poetskim izrazom plijeni ne samo dječija srca na, naža-lost siromašnoj, sceni Crne Gore. Možda bi kao uvod u kratak razgovor s njom mogle poslužiti posljednje riječi iz predstave „Iz Zmajeve riznice“:

Gledajte oko sebe širom otvorenih očiju. Upijajte sve što vam oko dosegne. I ravna žitna polja, zelena u proljeće a zlatna pred žetvu. I oblake na nebu. I pticu u letu. I rijeku u daljini. Sunce dok, onako rumeno a veliko ko najveći medenjak, zalazi za horizont na dnu ravnice. Tada, udahnite duboko i ponavljajte sebi – život je lijep.

čemu „plava laguna“?WhY “blue lagoon”?

26

Davno je rečeno da su bajke književni oblik iz kojih se da naslutiti pravi smisao ljudskog hoda kroz prostor i vreme. Davno je potvrđeno da svaka bajka svojim dubljim značenjima razotkriva istine koje život pred nas mnoštvom, nekad sjajnih i blještavih, a nekad sva-kidašnjih i bezličnih, pojavnih oblika. Činjenica da je od samog početka svog delovanja, lutkarsko pozorište „Plava laguna“ bilo okrenuto bajci kao čistom izvorištu svojih predstava, rečito izražava potrebu da se ne prave predstave koje bi bile tek zabava i razbibriga.

Svedoci smo da u stvaralaštvu za decu ima mnogo po-vršnosti i svedenosti (kao da se smatra da je dovoljno svet oko nas učiniti neobičnim pa da je sve time zavr-šeno). Mi, u „Plavoj laguni“, osećamo da takav pristup nije potpun. Ako je bit svakog umetničkog (dakle, i po-zorišnog) čina pokušaj da se izrazi beskrajno bogatstvo koje život sa sobom nosi, onda to mora biti sadržano i u stvaralaštvu za decu. To što se radi „tek za decu“ ne umanjuje obavezu ozbiljnog pristupa i iznošenja (uko-liko sopstvene snage dopuštaju) ozbiljnih rezultata. Pozorište je mesto na kome se otkriva ona unutrašnja, dublja strana života. Zato „Plava laguna“ smatra da deci upravo takvo pozorište treba ponuditi. Samo predstave koje su, sem spoljnih momenata – više ili manje raskoš-nih kostima, scenografije, svetlosnih i muzičkih efekata – protkane i oplemenjene bogatstvom misli i duha ima-ju svoj puni smisao.

It has been said a long time ago that a fairy tale is a lit-erary form that offers us a sense of the real meaning of human progress through space and time. It has also been confirmed a long time ago that each fairy tale with its profound meanings reveals the truths that life lays out in front of us, in the myriads of, sometimes shiny and flaring, yet sometimes ordinary and impersonal, forms. The fact that from the very beginning of its existence, the puppet theatre “Blue Lagoon” has been concentrated on fairy tale as a pure source of its performances speaks fluently about the necessity to make performances that would not only serve pastime and entertainment.

We are witnesses that the creative production for children contains an abundance of superficiality and reductions (as if it believed that making the world around us unusual makes the work done). In “Blue Lagoon”, we feel that such an approach is not satisfactory. If the essence of each artis-tic (therefore, theatrical as well) act is an attempt to express the infinitive richness that life brings about, then such a suggestion should also find a place in the creative works made for children. The fact that it is done “for children only” does not diminish our obligation to assume a serious approach and to expose (if our personal powers allow us to) serious results. Theatre is the place at which that inner, deeper side of life is being exposed. For this reason “Blue Lagoon” believes that children should be offered a theatre like this. Only those shows which, apart from the external moments – such as more or less luxurious costumes, sce-nography, light, and music effects – are also imbued and ennobled by the richness of thought and soul have kept their true reason of existence.

šta Plava laguna teŽi da poStigne prije Svega?

What doeS Blue lagoon aim to achieve in the firSt place?

27

Kad je prošle jeseni sticaj okolnosti ispred mene i mog supruga doneo dilemu kuda dalje, učinilo nam se sasvim prirodnim da krenemo ovim putem.

Ako se pozorište u ovoj sredini ne doživljava kao forma, ako ono nije luksuz koji se u teškim vremenima može zanemariti, ako, dakle, pozorište nije na margini opštih potreba i interesovanja, onda je najlogičnija stvar pojava novih scena koje će pokušati ublažiti toliko tužnu sliku pozorišnog života Crne Gore.

Mislim da nijedna sredina, pa samim tim ni ova, sebi ne može dopustiti postojanje samo po jedne profesionalne scene za decu i odrasle. One su jednostavno nedovolj-ne da pokriju sve potrebe i interesovanja. Posebno se to odnosi na stvaralaštvo za decu. Jer, bez obzira na idej-ne, ideološke, partijske, socijalne, ekonomske i sve ostale razlike, mislim da nikom ne može biti svejedno kako se sadašnja generacija mladih podiže. U alternativi između pravog kulturnog sadržaja i agresivnog, do besmisla ogo-ljenog kiča koji hara svim medijima, po meni dileme ne bi trebalo biti. Tim više što smo mi, odrasli, odgovorni za formiranje duhovnog profila i identiteta najmlađih.

When last autumn the circumstances brought in front of my husband and me the dilemma about whereto from what we were given at the moment, it appeared quite natu ral to us that we should head this way.

If theatre in this country is not experienced as a form, if it is not a luxury which could be neglected in these hard times, if, therefore, theatre is not on the margin of gene-ral needs and interests, then the most logical thing to expect is the appearance of new performances that will alleviate theatrical life in Montenegro, however sad it appe ars now.

I am confident that an environment, including this one, cannot allow itself to have only one professional stage for children and adults. This is simply insufficient to cover all the needs and interests. This especially refers to the art for children. Because, regardless of the conceptual, ideo-logical, political, social, economic, and other differences, I believe that no one can be indifferent to how the gener-ations of today’s youth are growing up. As for me, if there is an alternative between the cultural content and the aggressive one, the kitsch disclosed to the absurdity that pillages every media, there should not be any dilemmas. It is especially for this reason that we, adults, become re-sponsible for the formation of the spiritual profile and the identity of our youngest generations.

zašto dječije pozorište? Why children theatre?

28

Otkriti u poznatom novo za svakog stvaraoca je pravi izazov. Zmaj je pesnik sa najzaokruženijim opusom za decu kod nas. Čini se da je o njegovom, sada već pomalo arhaičnom, rukopisu, sve rečeno. Bilo je zanimljivo tog pisca približiti najmlađima na način kakav do sada nije viđen. „Iz Zmajeve riznice“ je predstava nastala idući tim novim tragom. Malo poznata bajka, „Katica među patuljcima“ koju je veliki pesnik objavio u jednom bro-ju svog lista „Neven“ bila je pravi predložak za drama-turšku obradu. Topla priča o sudbini nemoćnih u suro-vom svetu koji ih okružuje postala je okvir u kome smo mi mogli nesmetano da se pridružimo divnom Čika Jovi Zmaju u njegovim iskrenim željama da svako dete, bez obzira na razlike koje nas dele, dobije šansu i dođe do onog što se zove zaokružen i ostvaren život.

To reveal something new in the familiar is the real chal-lenge for every artist. Zmaj is a poet with a most rounded opus for the children in this region. It seems that every-thing has already been said about his, now already a bit archaic, writing. It was entertaining to bring this author closer to our youngest children in a way that was not seen before. “From Zmaj’s Treasury” is the performance that was made following this idea. A little known fairy tale “Katica among the Dwarfs”, which this great poet pub-lished in a volume of his journal “Neven”2, was the first template for dramatic interpretation. The warm story about the destiny of those powerless ones, in this cruel world that surrounds them, became a frame within which we could join Čika3 Jova Zmaj unhindered, could join in his sincere wishes that every child, regardless of the dif-ferences that separate us, should be given a chance to achieve that what is called a complete and a fulfilled life.

2 “Neven” (srb.) – marigold. “Neven” was a journal devoted to chil-dren literature. It was founded in 1880 by Jovan Jovanović Zmaj.

3 Čika (srb.) – uncle. It is an expression used when addressing an el-der male, both when he is a member of family and when he is not.

zašto zmajeva Bajka, Sada prvi put, neki nepoznati zmaj?

Why zmaj’S fairy tale, noW for the firSt time Some unknoWn zmaj?

29

TomiSLaV brKoVić je diplomirao na Nastav-ničkom fakultetu u Nikšiću. Studirao je na FAMU (Filmová a televizní fakulta pri Akademie múzických umění), odsjek produkcija, u Pragu. Bio je osnivač i direktor Lutkarskog pozorišta „Plava laguna“ u Pod-gorici. Pod njegovim rukovodstvom „Plava laguna“ je premijerno izvela tri lutkarske predstave. Nakon „Plave lagune“ radio je u prosvjeti.

dragaNa KršENKoVić brKoVić, književ-nica, autorka je romana Atelanska igra i Izgubljeni pečat, zbirki pripovjedaka Vatra u Aleksandriji i Gos-podarska palata, zbirke jednočinki Iza nevidljivog zida, monografije Poetika prolaznosti: Organizacija vremena u „Ranim jadima“ Danila Kiša, kao i knjiga za djecu – Tajna plavog kristala, Duh Manitog jezera, Muzičar s cilindrom i cvijetom na reveru, Modra planina i Tajna jedne Tajne.

Diplomirala je na Fakultetu dramskih umjetnosti, ka-tedra za dramaturgiju, Univerziteta umjetnosti u Be-ogradu, i na Fakultetu političkih nauka Univerziteta u Beogradu. Magistrirala je na Filozofskom fakultetu, Nauka o književnosti, Univerzitet Crne Gore. Bila je gostujuća književnica i stipendistkinja u okviru pro-grama Hubert H. Humphrey, OeAD, The Austrian Federal Chancellery & KulturKontakt Austria, Nem-zeti Kulturalis Alap (The National Cultural Fund of Hungary), Apexart, Art Omi, The Whiting Foundation i UNESCO u Njujorku, državi Njujork, Washington DC, Kaliforniji, Beču, Gracu, Pečuju, Bolonji, Bra-tislavi i na Rodosu.

biografije osnivača „plave lagune“Biographies of the founders of the “Blue Lagoon“

30

TomiSLaV brKoVić graduated from the Teach-ing College in Nikšić. He studied at FAMU (Filmová a televizní fakulta pri Akademie múzických umění), at the Department of Production, in Prague. He was the founder and the director of the Puppet Theatre “Blue Lagoon” in Podgorica. Under his leadership “Blue Lagoon” premiered three puppet performanc-es. After his engagement in “Blue Lagoon”, he worked in education.

dragaNa KršENKoVić brKoVić, writer, is the author of the novels Attelan Farce (Atelanska igra) and Lost Seal (Izgubljeni pečat), collections of short stories Fire in Alexandria (Vatra u Aleksandriji) and Master’s Palace (Gospodarska palata), the collection of one-act plays Behind the Invisible Wall (Iza nevi-dljivog zida), the monograph Poetics of Transience: Organization of the Time in “Early Wrath” by Danilo Kiš (Poetika prolaznosti: Organizacija vremena u „Ra-nim jadima“ Danila Kiša), as well as of the children books – The Secret of the Blue Crystal (Tajna plavog kristala), The Genie of the Lake Manito (Duh Mani-tog jezera), Musician with Cyli nder and a Flower on His Lapel (Muzičar s cilindrom i cvijetom na reveru), Purple Mountain (Modra planina), and Secret’s Secret (Tajna jedne Tajne).

She graduated from the Faculty of Dramatic Arts, at the Department of Dramaturgy, University of Arts in Belgrade, as well as from the Faculty of Political Sciences of the University of Belgrade. She received her MPhil at the Faculty of Philosophy, at the Depart-ment of Literature, University of Montenegro. She has been a guest writer at various residencies and has re-ceived numerous fellowships, including the Hubert H. Humphrey Fellowship Program, OeAD, The Austrian Federal Chancellery & KulturKontakt Austria, Nemzeti Kulturalis Alap (The National Cultural Fund of Hun-gary), Apexart, Art Omi, The Whiting Foundation, and UNESCO, in New York City, Washington DC, Cali-fornia, Vienna, Graz, Pecs, Bologna, Bratislava, as well as on Rhodes.

31

aBout perforManceS

o prEdSTaVama

KapETaN dŽoN pipLFoKScaptain John peoplefolKS

24. jaNUar 1995. U KiNo KULTUri, podgorica

preMiJera . PreMiere

jaNUary 24, 1995, iN KiNo KULTUra, podgorica

33

tekst: Duško Radovićrežija: Husein Bato DukajdraMaturg: Dragana Kršenković BrkovićMuzika: Leo Đokajdirektor ProdukCije: Tomislav Brković

igraju

Putnik kapetan Džon Piplfoks – Dragiša SimovićDjevojka pripovjedač; gusar Brzogovoreći – Žaklina OštirDjevojka Sjekira; Arčibald – Jadranka MamićPutnik; Pećina; Aždaja – Mijat RadonjićDjevojka Konoval; Kornjača – Lidija Dedović (kasnije: Mladen Obradović)

idejno rješenje lutaka: Ivanka Vana Prelevićkrojačke usluge; kostiMi za lutke: Buba ŠofranackostiMi za gluMCe: Drita RamovićorganizaCija: Žarko Vukadinović


text: Duško RadovićdireCtor: Husein Bato DukajdraMaturge: Dragana Kršenković BrkovićMusiC: Leo ĐokajProduCtion direCtor: Tomislav Brković

Cast

Traveller Captain John Peoplefolks – Dragiša SimovićGirl Narrator; Pirat Fastspeak – Žaklina OštirGirl Axe; Archibald – Jadranka MamićTraveller; Cave; Dragon – Mijat RadonjićGirl Konoval; Turtle – Lidija Dedović (later: Mladen Obradović)

PuPPet design: Ivanka Vana Prelevićtailor serviCe, PuPPets’ CostuMes: Buba ŠofranacaCtors’ CostuMes: Drita Ramovićorganization: Žarko Vukadinović


34

katalog predStave „kapetan dŽon piplfokS“Catalog for the shoW “CaPtain john PeoPlefolks”

35

DušKo rADoVićtekst . text

Duško Radović (1929–1985) je jedan od najistaknutijih jugoslovenskih pisaca za djecu. U svojim brojnim pje-smama, radio igrama, TV scenarijima i dr. prema sop-stvenom priznanju „eksperimentisao je, tražio kako se sve može eksperimentisati za djecu“, tako da se njegovo djelo karakteriše inovacijom. Snažan i originalan ruko-pis uvršćuje ga među najoriginalnije pisce za djecu.

Među brojnim djelima ističe se knjiga „Poštovana deco“, radio igre „Kapetan Džon Piplfoks“ i „Kako su nastale ružne reči“, TV serija „Na slovo, na slovo“. Radio je i kao urednik lista „Poletarac“ i 1. programa Radio Beograda.

Duško Radović (1929–1985) is one of the most promi-nent Yugoslav authors for children. In his numerous po-ems, radio plays, TV scenarios and his other works, he, as he confesses, “experimented, looking for all the possi-ble ways to experiment for children”, so that his work is characterized by innovation. His powerful and original writing situates him among the most original writers for children.

Among his numerous works, most prominent are “Dear Children,” radio plays “Captain John Peoplefolks” and “How Ugly Words Were Made,” and a TV show “With a Letter, with a Letter”. He worked as an editor in the journal “Poletarac”1 and at the Radio Belgrade’s Programme 1.

1“Poletarac” (mne.) – nestling. “Poletarac” was an educational TV series devoted to children. It was produced by the Belgrade TV and emitted in 1980. The scenario for the series was written by Timothy John Byford and Mila Stanojević Byford, on the basis of the texts appearing in the journal of the same name, whose gener-al editor was Duško Radović. The journal “Poletarac” stopped be-ing printed in 1975. The production of the series started in 1979. The series was directed by Timothy John Byford.

teKSt Katalogathe text of the Catalog

36

Rođen u Dinoši, Podgorica, 1959. godine. Diplomirao na Fakultetu dramskih umjetnosti na odsjeku filmske i TV režije. Od 1985. radi kao reditelj u TV Crne Gore. Do sada realizovao oko 300 raznovrsnih kratkih igranih i dokumentarnih filmova, TV emisija za djecu i mlade, muzičkih emisija, reportaža, igranih serija za djecu, cje-lovečernji igrani TV film „Mali život“ i drugo. Od samog početka angažovan je u Dječjem programu TVCG, gdje radi sa poznatim piscem i TV stvaraocem Draganom Radulovićem.

Dukaj i Radulović su trostruki dobitnici na JRT Festi-valu u Neumu. Dukaj je na pomenutom Festivalu na-građen Specijalnom nagradom za režiju TV mjuzikla „Tamo gdje dobrota raste“ u kategoriji igranog programa za djecu. Dokumentarci ovih TV stvaralaca se prikazuju na TV festivalima širom svijeta.

Dukaj sam priznaje da je u pozorištu malo radio, ne ra-čunajući nekoliko kratkih predstava za djecu u okviru Dječjeg pozorišta iz Podgorice. Lutkarsku predstavu još nije radio.

„Lutkarsko pozorište je za mene novina. Radovićev ‘Ka-petan Džon Piplfoks’ kao lutkarsko ostvarenje je moj prvijenac, moj debi na tom polju. Ova lutka predstava novoosnovanog lutkarskog pozorišta ‘Plava laguna’, koje je nastalo iz jednog sna“ – kako kaže dramaturg Dragana Kršenković Brković, znači jedno novo, pozitivno, značaj-

Born in Dinoša, Podgorica, in 1959. He graduated from the Faculty of Drama and its Department for Film and TV Direction. Since 1985 he has worked as a director in Montenegrin National TV (RTCG). So far he has re-alized around 300 of different short features and docu-mentaries, TV shows for children and youth, musical shows, reportages, feature shows for children, feature movie “Little Life”, and so on. From the very beginning of his engagement in the Children Programme on the RTCG, he has cooperated with the renowned writer and TV artist Dragan Radulović.

Dukaj and Radulović are three-time winners at the Yu-goslav Radio Television (JRT) Festival in Neum. At this festival, Dukaj received a Special Award for Directing the TV musical “Where Goodness Grows”, within the category for the feature programme for children. The documentaries of these TV artists are being shown on TV festivals around the world.

Dukaj admits that he has not worked a lot in theatre, apart from a few short shows for children, which he did with the Children’s Theatre from Podgorica. He had nev-er done a puppet show before this.

“Puppet theatre is new for me. Radović’s ‘Captain John Peoplefolks’ as a puppet play is my first attempt, my de-but in this field. This puppet show by the newly found-ed puppet theatre ‘Blue Lagoon’, ‘which has been made

huSeiN BAto DuKAjreditelj . direCtor

37

no iskustvo u lutka pozorištu i pozorištu uopšte. Veoma je značajno to da se ova, a nadam se i buduće predstave ovog pozorišta, zasniva na kvalitetnim dramskih teksto-vima. Ostalo je rad svih nas, jedna divno zamišljena igra veselog ansambla koji voli da stvara za djecu, i naravno, na kraju, što je najvažnije, da se djeci sve to dopadne. Ne volim kada djecu razočaramo. Kada se naša igra ne traži još...“ – kaže reditelj Dukaj.

from a dream’ – as its dramatist Dragana Kršenković Brković says – means a new, a positive, a significant ex-perience in puppet theatre and in theatre in general. It is very important that this, and, I hope, the future shows of this theatre, are based on dramatic texts of a good quali-ty. The rest is the work of all of us, a beautifully imagined play of a joyous ensemble which loves working for chil-dren and, in the end, what, of course, is most important, is that children should like it all. I don’t like it when we disappoint children. When our play is not asked to con-tinue...” – says director Dukaj.

38

Veliki sanduk iz dalekih maglovitih prošlih vremena do-speo je na obalu mora. Tu je tiho, nenametljivo sačekao grupu mladih putnika i, kao nekom čarolijom, odmah uspeo da ih uvuče u tajanstveni svet koji krije.

To je početak predstave „Kapetan Džon Piplfoks“, ra-đene po istoimenom komadu Duška Radovića. Ova Radovićeva najpoznatija i najigranija igra za decu, do sada nebrojeno puta izvođena na scenama širom naše zemlje, dobila je u lutkarskoj predstavi pozorišta „Plava laguna“ određene pomake. Činilo se zanimljivim poku-šati raskošni, barokni scenski okvir komada dramaturški prilagoditi užem krugu izvođača a da se pri tome ničim ne odstupi od duha i originalnosti Radovićevog rukopi-sa. Sledeći tu liniju, došlo se do predstave višeslojne, pr-stenaste strukture, svojevrsne priče u priči. Radovićeva maštovita, neizmerno duhovita bajka o borbi gusarske družine protiv strašne nemani našla se u središtu doga-đanja. Oko nje ili, drugačije rečeno, u nju nas uvodi gru-pa mladih avanturista ispunjenih strasnom potrebom za traganjem i iza linije vidljivih stvari, ispunjenih čežnjom za otkrivanjem novih, uzbudljivih stvari i predela.

Ova svojevrsna igra u igri prati Radovićeve misli utka-ne u razgranato dramsko tkivo, počev od nauka da se sa glupošću, neobrazovanošću, primitivnošću najlakše vlada i manipuliše, preko upozorenja da stvorenim mi-tovima (posebno kad su pojedinci sadržina mita i legen-de) ne treba bezrezervno verovati do duboke pouke da

A huge chest from the distant misty past times arrived on the sea coast. There, silently and unpretentiously, it waited for a group of young travellers and, as if by a mir-acle, immediately succeeded in taking them into the se-cret world that it was hiding.

This is the beginning of the show “Captain John People-folks”, done after the piece with the same title by Duško Radović. This Radović’s most popular and most per-formed children’s play has run countless times on stag-es all around our country. In the puppet show created by “Blue Lagoon” it received some modifications. It was challenging to try to dramatically adapt the luxuriant, baroque scenic frame of this piece to a narrower circle of performers, while being careful not to digress from the soul and uniqueness of Radović’s original. Follow-ing this line, we arrived at an image of a multilayered, ringed structure, to a specific story within a story. Ra-dović’s imaginative and immensely witty fairy tale about the struggle of a pirate family against a terrible monster found its way to the centre of the events. Around this story, or, in other words, towards this story, we are led by a group of young adventurers inspired by a passionate need to search, even beyond the line of visible things, filled with a desire to discover new, exciting things and landscapes.

This unique play within a play follows Radović’s thoughts interwoven into the ramified dramatic texture, starting

DrAgANA KršeNKoVić BrKoVićdraMaturg . draMaturge

39

je moć duha mnogo veća od moći materijalnog sveta. Uz diskretno upućen poziv deci da u svom životu ne dozvo-le opuštanje, lenjost i obamrlost sopstvenog duha već da se prepuste razotkrivanju tajni koje svekolika stvarnost nudi oko nas, smatramo da predstava „Kapetan Džon Piplfoks“ svojim pomacima sledi višeznačajnost, dubo-ku slojevitost ali i integritet Radovićevog teksta.

from a belief that one can most easily rule and manipu-late the others by the use of stupidity, ignorance, prim-itiveness, and developing through the warning that the myths (especially when individuals make the stories of myths and legends) should not be unreservedly trusted, and ending with the deep moral that the power of soul is a lot greater than the power of the material world. With a discretely sent invitation to children that they should not allow repose, laziness, and numbness in their lives, but that, instead, they should let themselves into revealing the secrets that the multilayered reality around us offers, we are of the opinion that the show “Captain John Peo-plefolks”, with the said modifications, is true to the plu-rality of meanings, the deep layeredness, but also to the integrity of Radović’s text.

40

Scena iz predStave „kapetan dŽon piplfokS“a sCene froM the shoW “CaPtain john PeoPlefolks”

41

guSarSki Brod Pirate shiP

crteži lutaKa, KoStiMa i ScenografiJedraWings of PuPPets, CostuMes, and sCenograPhY

iVANKA VANA PreleVić

42

guSar konovalPirate konoval

guSar arčiBaldPirate arChibald

43

kapetan dŽon piplfokSCaPtain john PeoPlefolks

44

Skica odijela kapetana dŽona piplfokSasketCh for CaPtain john PeoPlefolks’ suit

45

pripadnik plemena Brzogovorećiha MeMber of fastsPeak tribe

guSar kornjačaPirate turtle

iZ ZmajEVE riZNicEfroM ZMaJ’S treaSury

jUNE 30, 1995STagE oF ThE WorKErS’ EdUcaTioNaL aSSociaTioN

“miLUN boŽoVić”

30. jUN 1995. godiNEScENa radNiČKog UNiVErZiTETa „miLUN boŽoVić“


47

tekst: Dragana Kršenković BrkovićPo motivima priče Jovana Jovanovića Zmaja„Bajka o Katici i patuljcima“

igraju


režija: kolektivnasCenografiju uradio: Veselin KonjevićMuziku odabrao: Nebojša Vujovićkrojačke usluge: Dika RamovićMajstor svjetla: Ibrahim Bimo Abdovićdirektor Projekta: Tomislav Brković

SVe lutKe Su izrAđeNeu lutKArSKoj rADioNiCi „PlAVe lAguNe“

text: Dragana Kršenković BrkovićAfter the motives from a story by Jovan Jovanović Zmaj “A Fairy Tale about Katica and the Dwarfs”

Cast


direCtion: CollectivesCenograPhY: Veselin KonjevićMusiC seleCtion: Nebojša Vujovićtailor’s serviCes: Dika Ramovićlighting: Ibrahim Bimo AbdovićProjeCt direCtor: Tomislav Brković


katalog predStave „iz zmajeve riznice“

Catalog for the shoW “froM zMaj’s treasurY”

49

U prvoj godini svog postojanja lutkarsko pozorište „Pla-va laguna“ je pred drugom svojom premijerom. To je predstava Iz Zmajeve riznice, rađena po motivima bajke „Katica među patuljcima“, J. J. Zmaja.

U težnji da stvori sopstveni prepoznatljiv profil, „Plava laguna“ je i sa ovom predstavom slijedila koordinate koje je sebi postavila od prvog trenutka svog djelovanja. Pri-je svega, tu je želja da se stvore predstave koje će – sem zabave i spoljne atraktivnosti – donijeti i dublje poet-ske i estetske sadržaje. Zatim, tu je okrenutost bajci kao trajnom umjetničkom izrazu za djecu, kao i naglašena potreba da se, bez obzira na spoljne uslove u kojima se radi, stvori pravi pozorišni čin. Od samog početka, svi angažovani umjetnici i stručni saradnici su shvatili oz-biljnost stava „Plave lagune“ i svojom mobilnošću na najaktivniji mogući način su doprinosili osmišljenju i ostvarenju jedne ideje, potekle iz potrebe da se i u teš-kim vremenima može (i mora) biti okrenut svijetu sno-va, misli i duha kao konačnom našem određenju. Nji-hovom punom angažovanju ova avantura nastala samim ulaskom u svijet lutkarstva kao posebnog scenskog izra-za dobila je konkretne i ozbiljne konture.

Iz Zmajeve riznice je predstava koja najmlađoj publici priča Zmajevu priču o usamljenoj djeci i teškim isku-šenjima koja im život donosi. Iznova se pokazuje koliko je svaka bajka, bez obzira kada je nastala, uvijek aktuel-na. I ova Zmajeva bajka (čiju praizvedbu upravo „Plava

In the first year of its existence, puppet theatre “Blue Lagoon” is having its second premiere. It is the show From Zmaj’s Treasury, done after the motives from the fairy tale “Katica among the Dwarfs” by J. J. Zmaj.

Aiming to create its unique and recognizable profile, in this show “Blue Lagoon” continued respecting the coordinates it set for itself at the first moment of its creation. First of all, there is the wish to create shows that – apart from their entertaining character and their outer attractiveness – will also bring about deeper po-etical and aesthetic contents. Apart from this, there is their concentration on fairy tale as a permanent artis-tic expression for children, as well as their pronounced need to, regardless of the external conditions in which the theatre performs, create a true theatrical act. From the very beginning, all the engaged artists and profes-sional contributors have understood the seriousness of “Blue Lagoon’s” attitude and by their liveliness they contributed in the most active way to the design and the realization of an idea, an idea that grew from the belief that even in the hard times it is possible (and it must be done) to turn to the world of dreams, thoughts, and soul as to our final designation. It is thanks to their full engagement that this adventure, which was made already with the first entry in the world of puppetry as a specific theatrical expression, gained its particular and serious contours.


50

laguna“ donosi) lako komunicira sa današnjim trenut-kom. Željeli smo da se ovom predstavom pridružimo divnom Čika Jovi Zmaju i njegovim iskrenim željama da svako dijete uspije da dođe do onoga što se zove pun i ostvaren život.

From Zmaj’s Treasury is the show which offers the youngest audience Zmaj’s story about lonely children and heavy temptations that life brings to them. It shows al-ways anew how every fairy tale, regardless of the date of its origin, is at all times up-to-date. This Zmaj’s fairy tale (whose premiere “Blue Lagoon” carried on) also easily communicates with the present moment. With this show, we wanted to join our beautiful Čika Jova Zmaj in his sin-cere wishes that every child should succeed in achieving that what is called a complete and fulfilled life.

tekst je nastao po motivima bajke jovana jovanovića zmaja „Bajka o Katici i patu-ljcima“, objavljene u časopisu Neven koji je pod uredništvom zmaja izlazio od 1880. do 1908. godine.

iZZmajEVE riZNicE

dragana kršenković Brković

KraLjEVSTVo paTULjaKa

52

lica

baKa NaTa

KaTica

KraLj paTULjaKa

goSpodiN KrEKo – žabac

goSpoĐa brbLjić – žaba

goSpoĐica brZić – vjeverica

pTica

mLadić

53

1.

(Pojavljuje se baka Nata.)

baKa: Djeco moja, ja sam baka Nata. Kad osvane ovakav dan, lijep i sunčan, pun najrazličitijih mirisa, ja volim svojoj djeci da pričam bajke. I vama ću danas jednu da ispričam.

Ne pitajte kad je bilo to o čemu bajka priča. Ne pitajte gdje se to zbilo, ni da li je baš tako bilo. To se pita kad istoriju učimo da nam bude jasnije. Bajka doleti na krilima, zabavi te, pa nestane...

... Jednom, davno, živjela je djevojčica po imenu Katica. Kad su joj otac i majka umrli, ostala je siroče. Sama na ovom golemom svijetu.

Ubrzo je u svojoj usamljenoj kućici primio strani čovjek. Živjeli su na ulazu u varošicu, bliže poljima i gustim šumama nego nastanjenim kućama.

Katičin gospodar se odmah pokazao kao ćutljiv, prijek, uvijek namršten čovjek. Svakog jutra je sa psima odlazio u lov, a Katica je ostajala da radi po kući. Težak rad joj je sve teže padao. Iz dana u dan postajala je tužnija i zamišljenija.

I tog dana kad počinje ova naša priča, ona se sakrila od pogleda ljudi. Pobjegla je u obližnji šumarak, šćućurila se na zemlji, među cvijećem, i gorko je zaplakala. Tiho je progovorila...

(Pojavljuje se Katica.)

KaTica: (jecajući) Zar baš nema nikog da mi pomogne?

baKa: U tom času se začuo jedan glas. Bio je to patuljak. Šetao se šumom i brao bilje za svoje čarobne napitke. Katica je zastala i zanijemila...

(Baka Nata nestaje.)

54

2.

(U šumarku su patuljak i djevojčica Katica. Stoje i ćuteći se gledaju.)

KaTica: Ko si ti?

paTULjaK: Ja? Ja sam neko ko ti može pomoći.

KaTica: Ti? Tako mali...?

paTULjaK: Neka te ne zbunjuje to što sam mali. Moje moći su nepregledne.

KaTica: Lijepo je od tebe što mi želiš pomoći... što si uopšte tu...

paTULjaK: Zar ovdje niko ne dolazi?

KaTica: Gotovo nikad. Samo jednom je navratila starica po pticu koju je moj gospo-dar ubio u lovu... Jedan čovjek s brkovima donio je pušku i metke... I niko više...

paTULjaK: A drugovi? Drugarice?

KaTica: Nemam ih.

(Pauza. Patuljak razmišlja.)

paTULjaK: Ako je tako, što ne pođeš sa mnom?

KaTica: S tobom? Gdje? Kako?

(Muzika)

paTULjaK: Daleko odavde postoji jedna zemlja... Neobična... drugačija. Kraljevstvo patuljaka...

KaTica: Kraljevstvo patuljaka? Kakva je to zemlja?

paTULjaK: Divna. U njoj svega ima u izobilju. I hrane, i pića, i pjesama, i veselja... radosti... U njoj raste najmirisnije cvijeće. U njoj se kriju najdragocjeniji dragulji.

KaTica: Zvuči tako lijepo. Moći s nekim zapjevati... ubrati cvijet... jagode i maline...

paTULjaK: Više ne drhtati pred gospodarevim mrkim pogledom...

55

KaTica: ... niti slušati njegove stalne zapovijesti... oštre naredbe. Znaš, glas mu je uvi-jek tako tvrd... opor... Kad god progovori, ja odskočim.

paTULjaK: Toliko ga se bojiš?

KaTica: Nikad ne priča sa mnom. Samo zapovijeda... da mu se prinese, skuva, opere, spremi...

paTULjaK: Šta ćeš ti onda ovdje?

KaTica: (neodlučno) To je... daleko?

paTULjaK: Pa... tako...

KaTica: I put nije opasan?

paTULjaK: Pa... tako...

KaTica: Ti ćeš biti sa mnom? Hm! Nije lako odlučiti! Pa... da pođemo?

paTULjaK: Ura! Ta ti valja.

(radost, muzika)

KaTica: Stani! Kako ja... ovako velika, mogu među patuljke?

paTULjaK: I to ćemo lako srediti. (Iz kesice vadi prah. Zvuk nalik zvončiću.) Malo čarobnog praha... Okreni se oko sebe... Još jednom, tako... Još malo čarobnog praha... I? Kako ti izgleda?

KaTica: Kako si ti najednom porastao!!

paTULjaK: Nijesam ja porastao. To si ti spremna...

KaTica: ... za vaše Kraljevstvo?

paTULjaK: Da.

KaTica: Divno. Hoćemo li?

paTULjaK: Krećemo.

(Muzika puna veselja i radosti. Katica i patuljak odu.)

56

3.

(Bara. Kreket žaba. Katica i patuljak se pojavljuju.)

KaTica: Šta je ovo?

paTULjaK: Bara... Močvara... Rit... Iznenađena? Da li je moguće da nikad nijesi vi-djela baru? Ništa posebno... Prljava voda puna žaba i punoglavaca... Tu je i ševar, trska... lokvanji...

KaTica: A ovo? Kakva je ovo galama?

paTULjaK: To nije galama, već kreketanje. Žabe... zelene. Ni njih nijesi vidjela?

KaTica: Kad su mi tata i mama bili živi, nijesmo napuštali grad. A poslije, kod gospo-dara... on me nije vodio u lov. I tako...

paTULjaK: ... ti ne znaš šta su žabe. Iskreno, nijesi mnogo propustila...

(Iz daljine se začuje lavež pasa. Katica se uznemiri.)

KaTica: Šta je ovo? Da nije moj...?

paTULjaK: ... gospodar? Vratio se iz lova i vidio da te nema...

KaTica: ... pa je pošao da me traži. Jaoj!

paTULjaK: Približavaju se. To mora da su oni.

KaTica: Gdje ćemo? Na ovu stranu, kod onog debla...

paTULjaK: Ne, ovamo... brzo... Ili da krenemo tamo?

KaTica: Ne znam. Šta da radimo?

(Katica pođe na suprotnu stranu.)

paTULjaK: Pazi... Pazi, tu je provalija!

KaTica: (dok pada) U pomoć!!

57

(Katica nestane. Čuje se da Katica pada u vodu.)

paTULjaK: Ne-e-e! (pauza) Nestala je. Šta da radim? Pada mrak i moje Kraljevstvo čeka na mene. Moram odmah da pođem. A opet... ova djevojčica... Ostaje sama. Kati-ce, dolje je mrak i vječna tmina. Tu te čekaju mnoga iskušenja. Biće ti teško, ponekad i više nego što možeš da izdržiš. Ali – budi hrabra! Izdrži !... Ponovo ćemo se sresti... Katice-e...

(Patuljak pođe u svoje Kraljevstvo.)

58

4.

(Tišina potraje. Pojavljuje se Katica.)

KaTica: Svi su otišli. Ni patuljka nema... Kako je tiha noć. Zvijezde trepere... Lišće šušti... Brrr! Baš je hladno. Šta da radim? Gdje da pođem? Katice, koju stranu da odabereš?

(Pojavi se žaba, gospođa Brbljić.)

goSpoĐa brbLjić: Ej, ti! Kako si ružna! Ko si ti?

KaTica: Katica.

goSpoĐa brbLjić: Katica? Šta je to Katica?

KaTica: Moje ime.

(Pojavi se i žabac, gospodin Kreko.)

goSpoĐa brbLjić: Gospodine Kreko, da li ste Vi nekad vidjeli ovako ružno biće?

goSpodiN KrEKo: Kre... Pa, ja...

goSpoĐa brbLjić: Nijeste, dabome. Ovako malo, pa pjegavo. Još nema ni kra-ke... To, na tvojim kracima, kako se to zove...?

KaTica: Ovo su moje ruke, a ne kraci. I na njima su prsti.

goSpodiN KrEKo: Prsti, da... Kre, kre...

goSpoĐa brbLjić: Nemojte tako, gospodine Kreko. Vi ste kao znali da su to prsti? Nije nego. Iju, što si ružna! Tako mala usta... tako sitne oči!! Zar ne, gospodine Kreko?

goSpodiN KrEKo: Pa-a, gospođo Brbljić... kre... Šta ja znam...

goSpoĐa brbLjić: Koža joj je bijela... tako suva. (Gospodin Kreko dune iz svoje lule, gospođa Brbljić kašlje zbog dima od duvana.) K-k-k!! Pobogu gospodine Kreko. Jednom ću se ugušiti od tog Vašeg duvana. (Gospodin Kreko se ljutito okrene na drugu

59

stranu.) A, je li, mala... Kad već nemaš ovako lijepu zelenu boju kože kao ja, ovako divna velika usta kao ja, ovako duge, vitke krake kao ja... Šta ćeš ti u mojoj bari?

goSpodiN KrEKo: (pukće iz lule) Da, šta? Kre...

KaTica: Izvinite gospođo...

goSpoĐa brbLjić: ... Brbljić. Svašta, mala nije čula za mene!

KaTica: Gospođo Brbljić, ja sam se izgubila. Krenula sam sa prijateljem u zemlju patuljaka...

goSpoĐa brbLjić: Šta? Zemlja patuljaka? Ma, čujete li gospodine Kreko?

goSpodiN KrEKo: Pa, da... Kre...

KaTica: Patuljak me je pozvao. Rekao je da je to divna zemlja. U njoj ima u izobilju hrane, pića, kolača. I igre... Ponajviše igre...

goSpoĐa brbLjić: Igra? Šta je to igra, gospodine Kreko?

goSpodiN KrEKo: Pa... Šta ja znam?... Kre...

KaTica: Igra vam je... kad ste veseli, pa se smijete bez razloga. Skačete, cičite, zagrlili biste čitav svijet. Radujete se.

goSpoĐa brbLjić: Radujete se... Ma, čujete li, gospodine Kreko? Razumijete li vi nešto od ovoga?

goSpodiN KrEKo: Kre... Ne-e...

goSpoĐa brbLjić: Čuj, mala. Svašta si mi tu napričala. Srce može biti puno samo kad sunce sine, a ja se opružim na listu lokvanja. (okrene se na leđa) Ili, još bolje, kad ulovim mušicu...

goSpodiN KrEKo: Njam-njam, mušica... Kre...

goSpoĐa brbLjić: Znaš šta, mala? Mislim da i gospodin Kreko dijeli moje mi-šljenje. Je l’ da, gospodine Kreko?

goSpodiN KrEKo: Da-a...

60

goSpoĐa brbLjić: Ovo je naša bara i ti, tako ružna, nijesi ovdje dobrodošla. Zato, ako nećeš da zaljuljam taj cvijet lokvanja na kome stojiš, pa da se udaviš – put pod noge... Briši!... Je l’ tako, gospodine Kreko?

goSpodiN KrEKo: Da-a-a...

KaTica: Ali, ja...

goSpoĐa brbLjić: Ništa ja ne znam. Ovo je naše... Moje. U ovoj bari ja se pitam. Tako bijela, s tim malim usnama, sitnim očima... ružnim prstima... Ne sviđaš mi se. Smetaš mojoj ljepoti. Razumiješ?

goSpodiN KrEKo: Da, gospođa Brbljić je lijepa... Najljepša...

goSpoĐa brbLjić: Hvala, gospodine Kreko. Dugo je trebalo da mi kažete. Mo-žete se od sada sa mnom sunčati na mom listu lokvanja... Mala, ti si još tu!?! (okreće se gospodinu Kreku) Tako dugo sam čekala Vaše priznanje, gospodine Kreko. I, kažete... ja sam najljepša? To je tako divno čuti i ja...

(Gospođa Brbljić i gospodin Kreko odlaze. Muzika. Pauza.)

61

5.

(Katica je u šumi.)

KaTica: Hodam i hodam, već satima... Nigdje nikog. Samo ovo drveće, žbunje... pe-čurke... (muzika jeze) Tako je mračno od ovog lišća. Gdje sada da krenem? Kojim pu-tem da pođem? (muzika) Katice, ti se ne bojiš. Ti si hrabra djevojčica... I odvažna. Ti uopšte ne drhtiš... Samo naprijed... (šum je trgne) Šta je to?

(Pojavi se gospođica Brzić, vjeverica.)

goSpoĐica brZić: Zdravo. Ko si ti?

KaTica: Ja sam Katica. A ti?

goSpoĐica brZić: Vjeverica...

KaTica: Polako, pašćeš.

goSpoĐica brZić: Ja? Ni govora. Ne zovu mene bez razloga gospođica Verka Brzić.

KaTica: (smije se) Zabavna si. I smiješna.

goSpoĐica brZić: Kako to da te do sada nikad nijesam vidjela? Gdje živiš? Na stablu? U rupi? Možda u nekoj pećini?

KaTica: Ja nemam svoj dom.

goSpoĐica brZić: Koješta! Svako ima svoju kuću.

KaTica: Ja sam svoju izgubila.

goSpoĐica brZić: O! To je grozno. Moja je u bukvi. Velika, prostrana...

KaTica: Blago tebi.

goSpoĐica brZić: Pa... mislim, velika za mene. U njoj nema mjesta za goste.

KaTica: (razočarano) Tako!

62

goSpoĐica brZić: Upravo sam krenula da sakupim plodove. Kuvam džem.

KaTica: Zato nosiš kašiku sa sobom?

goSpoĐica brZić: Pripremam zimnicu. Ljeto je i kraj svake staze ima puno plo-dova. Kupine, maline, borovnice, drenjine. Divota jedna. Žurim da popunim ostavu. Dolazi zima, a tada... brrrr! Sem snijega, u šumi ničeg drugog nema.

KaTica: Da li bi ti smetalo... da i ja budem s tobom? Samo dok ne nađem svoju ku-ćicu?

goSpoĐica brZić: Sa mnom? Ali... moja hrana! Imam malo hrane.

KaTica: Zar nijesi maločas rekla da su ti ostave pune?

goSpoĐica brZić: Ja? One... jesu pune. Ali, to je samo za mene. Ne. Ne. Nikako. Žurim! Hitam!

KaTica: Ali... ja...

goSpoĐica brZić: (odlazi) Žalim... kod mene je tijesno... A i hrane imam malo...

(Gospođica Brzić ode. Katica se okreće oko sebe. Obori glavu, sneveseli se. Legne na zemlju i ubrzo zaspi.)

63

6.

(Katica spava. Doleti ptica, ugleda Katicu kako spava, pa grakne.)

pTica: Oho-ho! Vidim jedan strašan plijen! Al’ će biti mesa na trpezi...

(Radosno grakće. Leti lagano iznad Katice. Njeni krici probude Katicu.)

KaTica: Šta je to? Jaoj, ptičica! Kakva divna krila ima! Blago njoj. Kad poželi, ona može da pođe na bilo koju stranu. Samo raširi krila i vine se u visinu. To mora da je prekrasno osjećanje. Ehej! Ptičice!!

(Ptica odgovara umilnim glasom.)

pTica: Mene zoveš?

KaTica: Gledam kako letiš i divim se tvom umijeću.

pTica: A, to... moja krila... Lijepa su, zar ne?

KaTica: Tako bih voljela da i ja mogu da se vinem gore, pod oblake. Raširim krila i uzletim... kao kad korak pružim...

pTica: U pravu si, to jeste divno.

KaTica: A dolje? Ispod tebe? Šta vidiš?

pTica: Sve je sitno. I kuće, i livade, i drveće, i rijeke.

KaTica: (uzdahne) Kako je to neobično... drugačije...

pTica: Želiš da probaš?

KaTica: Ja? Pa... ne znam...

pTica: Zašto da ne? Sjedni na moja leđa i poletjećemo zajedno...

KaTica: Bilo bi divno... (pođe, pa zastane) Ali, ja...

pTica: Šta?

64

KaTica: Ja prvo moram nešto drugo da učinim.

pTica: Meni možeš sve da kažeš.

KaTica: Prije mraka moram da pronađem put koji vodi iz ove šume. I...

pTica: I?

KaTica: Mjesto gdje ću spavati... od sada živjeti...

pTica: Zaista, nijesam te upitala: šta tako malo stvorenje radi u ovako velikoj... opa-snoj šumi? Sama?

KaTica: Izgubila sam se.

pTica: Izgubila?

KaTica: U stvari, prvo sam pošla u jednu daleku zemlju. Drugačiju, prepunu svega. U njoj ima i medenjaka, i kolača... ponajviše smijeha i radosti. U Zemlju patuljaka. Ali... evo, zalutala sam.

pTica: Kažeš, Zemlja patuljaka. Da li znaš gdje se ona nalazi?

KaTica: Ne.

pTica: Da li znaš kako se do nje dolazi?

KaTica: Ne.

pTica: Aha. Pa, kako misliš da je nađeš?

KaTica: Bojim se da ni to ne znam... Samo da nađem krov za noćas...

pTica: Lako ćemo to riješiti. Poći ćeš sa mnom mojoj kući. U njoj je udobno. Po podu i zidovima gnijezda samo je perje. Donijeću i hranu... Šuma je puna bobica...

KaTica: Kako si dobra.

pTica: Nije to ništa. Mi, iz našeg jata, takve smo... Hajde, penji se...

(Katica krene, pa zastane.)

KaTica: A... sjutra? Sjutra ćeš mi pomoći da nađem put do Kraljevstva patuljaka?

65

pTica: Kako si ti neki smiješan mali stvor. A da li si ti uopšte sigurna da to Kraljevstvo postoji? Kako možeš pronaći put do nečeg čega nema?

KaTica: Ali...

pTica: Slušaj ti mene. Starija sam i iskusnija. Sjutra je sastanak našeg jata. Dogova-ramo se za odlazak u daleke, tople krajeve. E, vidiš, ja ću sjutra predložiti da i tebe povedemo.

KaTica: Mene? Ali... ja nemam krila...

pTica: Ništa zato. Na smjenu ćemo te nositi... Pa, ne smijemo dozvoliti da tako ljupko stvorenje ostane samo na mrazu i kiši.

KaTica: I... vi biste to učinjele?

pTica: Zašto sumnjaš? Za nekog tako dragog kao što si ti, to je najmanje što možemo uraditi. Nego, da pođemo. Smrkava se... Ujutru ćemo se sve dogovoriti.

(Katica se popne na leđa ptice. U tom trenutku, ptica promijeni svoj glas i ponašanje.)

pTica: (smijeh) Konačno si moja! Ti, mala... Kako si glupa! Svakome vjeruješ...

KaTica: Šta je ovo? Ko si ti?

pTica: Grak! Ja sam neko ko će te skuvati i u slast pojesti!

KaTica: O, ne! Molim te, spusti me.

pTica: Grak!

KaTica: Upomoć! Zar baš niko ne može da mi pomogne?

pTica: Grak! Gotova si! Njam, njam... Stižemo do mog gnijezda. Grak!

KaTica: Upomoć! Smiluj se na mene!

pTica: (smijeh) Grak!!

KaTica: Gdje je sada moj patuljak? (zaplače)

pTica: (smijeh) Ha-ha-ha...

66

7.

(Pojavljuje se patuljak. Nastaje borba između patuljka i ptice.)

KaTica: Šta je ovo? Pa, ja lebdim!

(Ptica, na kraju, uz bolan krik nestane. Katica i patuljak se radosno pozdravljaju.)

KaTica: Pa to si ti!! Moj dragi patuljak!

paTULjaK: Katice! Ponovo smo zajedno... Ala će biti radosti kada te upoznam s osta-lim patuljcima!

KaTica: Idemo u tvoje Kraljevstvo?

paTULjaK: Tako je. Moramo požuriti, jer u ovoj šumi nije sigurno... Zatvori oči. Okreni se oko sebe... Malo čarobnog praha...

(Muzika, nalik zvuku zvončića.)

KaTica: (smije se srećno) Ha-ha!

(Muzika, oboje plešu, potom krenu. Dolaze pred jedan zamak.)

paTULjaK: Stigli smo.

KaTica: Zamak! Kako je divan... Ovo je Kraljevstvo patuljaka?

paTULjaK: Kralj i patuljci te očekuju. Možeš da uđeš.

KaTica: Sama?! A ti?

paTULjaK: Ja ću biti tu, u blizini!

KaTica: Ne ostavljaj me...

paTULjaK: Pogledaj me. Lješij-tašij... Jarilo-čučilo... Polako koračaj i ne boj se. Na sigurnom si. Paf!

67

8.

(Svečana muzika. Fanfare najavljuju ulazak Kralja patuljaka. To je isti patuljak s kojim se Katica upoznala. Samo, on sada ima sve oznake jednog kralja – na glavi nosi krunu, ogrnut je skupocjenim plaštom, u ruci drži skiptar – palicu od dragog kamenja. Katica se pokloni Kralju.)

KraLj: Dobro nam došla, Katice.

KaTica: Dični Kralju, ovdje sam po... Ti? Ti si kralj? (pokloni se) Oprostite, Visočan-stvo... Vi ste kralj?

KraLj: Ustani, Katice. Ako smo se do maločas dobro slagali, nema razloga da tako i dalje ne ostane.

KaTica: Nijesam ni sanjala... Ja... Tako sam zbunjena...

KraLj: U mom Kraljevstvu nema zbunjenosti, još manje straha.

KaTica: To je divno. Ja sam mislila da je kralj neko... Tako... Malo drugačiji...

KraLj: Strog?

KaTica: Da.

KraLj: Namršten?

KaTica: Da.

KraLj: Možda... ozbiljan i stalno ljut?

KaTica: Upravo tako.

KraLj: Kao što vidiš, ništa od toga. U mom Kraljevstvu nema mjesta za namrštenost, ozbiljnost i ljutinu. Da li se ja to varam ili je to suza u tvom oku?

KaTica: O, ne... ne. Samo Vam se učinilo, Visočanstvo.

KraLj: A i... nekako... tužna si.

68

KaTica: (nesigurno krije pogled) Nijesam.

KraLj: Mene ne možeš prevariti. Znam lijek za to. Zaigraćemo...

KaTica: Ja ne znam da igram.

KraLj: Samo ti se to čini. Zapamti. Kad čuješ muziku, zastani i... koraci su tu. (muzi-ka) Evo... Zar nijesam u pravu? Igraj, Katice... Tako... Još jedan okret... Bravo...

(Katica i Kralj igraju zajedno. Muzika prestaje.)

KaTica: Bilo je divno. Nijesam ni slutila da umijem da plešem.

KraLj: Hoćemo li?

KaTica: Gdje?

KraLj: U dvoranu. Ostali čekaju na nas.

(Katica krene, pa zastane.)

KaTica: Nijesam te pitala... Zašto si me ostavio? Tamo, u onoj močvari...

KraLj: Kad si Kralj, ponekad i nemaš izbora. Mi imamo jedan propis – Kralj svake noći mora da spava u našem Kraljevstvu.

KaTica: To je dobro pravilo.

KraLj: A u tom času noć se upravo spuštala...

KaTica: Sada razumijem.

KraLj: Onda, idemo? Svi patuljci su nestrpljivi da te upoznaju.

(Muzika. Katica i Kralj odlaze.)

69

9.


baKa NaTa: I tako je naša Katica počela da živi među patuljcima. Dani su prolazili a ona se, bezbrižna i vesela, igrala, i igrala sa svojim novim prijateljima. Po prvi put je, otkako su roditelji umrli, osjetila spokoj i sreću. Nije prestajala da se smije. Njen zvonki smijeh je odzvanjao u raskošnim dvoranama Kraljevog dvora... po cvjetnim livadama neobičnog Kraljevstva.

Jednog dana, Kralj je u Katičinim očima vidio tugu. I čežnju. Znao je – bilo je vrijeme da se Katica vrati među ljude.

(Baka Nata nestaje.)

70

10.

(Pojavljuju se Kralj i Katica.)

KraLj: Tu si. Svugdje sam te tražio. Nešto si se usamila.

KaTica: Samo vam se čini, Veličanstvo.

KraLj: Katice, tuga ne može da se sakrije. (pauza) Mislim da je vrijeme.

KaTica: Vrijeme? Za šta...?

KraLj: Da se vratiš među svoje...

KaTica: Ali, ja nemam nikog svog...

KraLj: Samo ti se čini. Ti pripadaš ljudima i ne možeš živjeti vječito s nama, patu-ljcima.

(Kralj baci malo čarobnog praha preko Katice. Muzika nalik zvončićima. Kralj nestane.)

KaTica: Ali, ja ne želim... Neću da odem iz vašeg Kraljevstva... Nema ga... Nema ni dvorca... Ovo je šuma i... ja sam stvarno opet na zemlji.

71

11.

(Začuje se lavež pasa. Pojavljuje se Mladić. Muzika se čuje tokom cijele scene susreta Katice i Mladića.)

mLadić: Ti? Već sam izgubio nadu da ću te ikad ponovo sresti.

KaTica: (zbunjena) Ali... ja Vas ne znam...

mLadić: Toliko puta sam te sreo u ovoj šumi, dok sam lovio. Ali, uvijek si poput sjeni nestajala. Lijepa neznanko, reci mi, ko si? Šumska sjenka? Ili vila?

KaTica: Ja sam Katica. Stvarna sam, neznanče.

mLadić: Sada, kada sam te našao, ne želim da te ponovo izgubim. Da li bi pošla sa mnom, do kuće mojih roditelja? Želio bih da ih upoznaš.

KaTica: (malo razmisli, pa pristane) Da. (Pođe sa Mladićem, ali zastane i vrati se) Kralju, znam da si ga nekom svojom čarolijom poslao. Pozdravljam te. Bilo je tako lijepo u tvom Kraljevstvu.

72

12.


baKa NaTa: Nije prošlo ni mjesec dana, a Katica je postala nevjesta dičnog mladi-ća. Bili su srećni i dugo su živjeli, a svojoj djeci su pričali najljepše priče o šumskim patuljcima.

I to je kraj. Da li vam se svidjela ova bajka? Ako jeste, pričajte je dalje. Ali, upamtite i ovo. Gledajte oko sebe širom otvorenih očiju. Upijajte sve što vam oko dosegne. I ravna žitna polja, zelena u proljeće a zlatna pred žetvu. I oblake na nebu. I pticu u letu. I rijeku u daljini. Sunce dok, onako rumeno, pa veliko kao najveći medenjak, zalazi za horizont na dnu ravnice. Tada, udahnite duboko i ponavljajte u sebi – život je lijep.

(Muzika)

k r a j

This text is created after the motives from the story “fairy tale about Katica and the Dwarfs” by jovan jovanović zmaj, first published in the journal Neven, which circulated from 1880 till 1908 in zmaj’s editorial office.

From Zmaj’S

TrEaSUryThE KiNgdom oF dWarFS


74

KaTica

ThE KiNg oF ThE dWarFS

mr. croaKy – a male frog

mrS. chaTTy – a female frog

miSS QUicK – a squirrel

bird

Lad

graNdma NaTa

dramatiS perSonae

75

1

(Grandma Nata appears.)

graNdma: My children, I am grandma Nata. When a day like this wakes up, beautiful and sunny, full of the most varied odours, I like to tell fairy tales to my children. Today, I will tell one to you.

Do not ask me when the things from this fairy tale happened. Do not ask me where they took place, or if everything was really as the story says. These are the questions we ask when we study history, so that we can understand them more clearly. A fairy tale flies to us on its wings, entertains us, and then is gone...

Once upon a time, there lived a little girl named Katica. When her father and her mother died, she remained an orphan. All alone in this big world. Very soon, a strange man accepted her in his lonely little house. They lived near a borough, closer to the fields and thick forests than to the resident houses. Katica’s master immediately showed himself as a silent, bad-tempered, and an always gloomy man. Every morning he went hunting with his dogs, while Katica stayed working at home.

The hard work was getting harder and harder on her. From day to day, she became increasingly sad. And on that day when our story begins, she hid from the view of the people. She ran to the nearby forest, wriggled on the ground, among the flowers, and bitterly cried. She spoke quietly...

(Katica appears.)

KaTica: Is not there really anyone to help me? (she moans through her tears)

graNdma: At that moment, a voice was heard. It was a dwarf. He was wandering through the forest, picking herbs for his magical drinks. Katica paused and stayed speechless...

(Grandma Nata disappears.)

76

2

KaTica: Who are you?

dWarF: Me? I am someone who can help you.

KaTica: You? You so small...?

dWarF: Don’t you be confused by the fact that I am so small. My powers are boundless.

KaTica: It is nice of you that you want to help me... that you are here, anyway...

dWarF: Why? Don’t people come here?

KaTica: Rarely. Almost never. Since I came here, a grandma arrived for a bird which my master killed while hunting... a moustached man brought a gun and some bullets... And no one else...

dWarF: What about your friends? Your girlfriends?

KaTica: I don’t have any.

(Pause. The dwarf is thinking.)

dWarF: If that is so, why don’t you come with me?

KaTica: With you? Where? How?

(Music)

dWarF: Far away from here, there is a land... strange... different... The Kingdom of Dwarfs...

KaTica: The Kingdom of Dwarfs...? What kind of country is that?

dWarF: Wonderful. There is plenty of everything there. Food, and drink, and songs, and merriment. Joy... The most fragrant flowers grow there. The most precious jewels are hidden in there.

KaTica: It sounds so beautiful. To be able to sing with someone... to pick a flower... strawberries and raspberries.

77

dWarF: Not to shudder again under your master’s gloomy look...

KaTica: ... Nor to listen again to his constant commands... his sharp orders... You know, his voice is always so hard... so austere... When he speaks, I bounce back...

dWarF: Is that how much you are afraid of him?

KaTica: He never talks to me. He only gives orders. So that I bring him something, cook for him, do his washing, fix his place...

dWarF: Then, what are you doing here?

KaTica: (hesitating) Your place is... far away?

dWarF: Well... so and so...

KaTica: And the road is not dangerous?

dWarF: Well... so and so...

KaTica: You will be with me? Oh! It is not easy to decide! Well... let us go then?

dWarF: Hurray! That is a good one. (joy, music)

KaTica: Stop! How can I, being this big, live among the dwarfs?

dWarF: We will fix it easily too. (He draws out some powder from his little sack. A sound like a tiny bell.) A little bit of this magic powder... Turn around... One more time. And a little bit more of the magic powder... And?

KaTica: How come you grew up so suddenly!?

dWarF: I haven’t grown up. It is that you are ready now...

KaTica: ... for the dwarfs? And their kingdom?

dWarF: Yes.

KaTica: Wonderful. Shall we?

dWarF: Let us go.

(Music full of joy and happiness. Katica and the dwarf are leaving.)

78

3

(A bog. Croaking of frogs. Katica and the dwarf appear.)

KaTica: What is this?

dWarF: A bog... A swamp... A mire... Are you surprised? Is it possible that you have never seen this? Nothing special... Dirty water with tadpoles and frogs... Shruberry and reed... water lilies...

KaTica: And this? What is this noise?

dWarF: That is not a noise, that is croaking. Frogs... green. You have never seen them either?

KaTica: When my dad and mom were alive, we never left the town. And after that, with this master... he never took me hunting with him. That is why...

dWarF: You don’t know what frogs are. Honestly, you have not missed a lot...

(Barking of dogs is heard from far away. Katica becomes anxious.)

KaTica: What is this? Can it be my...?

dWarF: Master? He came back from his hunt and he saw that you are missing...

KaTica: ... and so he started looking for me. Oh my!

dWarF: They are approaching. That must be them.

KaTica: Where are we going to go? This way, by that bole...

dWarF: No, this way. Quickly. Or should we go that way?

KaTica: I don’t know. What are we going to do? (She leaves in the opposite direction.)

dWarF: Watch out... Watch, there is an abyss!

79

KaTica: (as she is falling down) Help!

(Katica disappears. The effect of water and splash)

dWarF: No-o-o! (pause) She has disappeared. What am I going to do? It is getting dark and my kingdom is waiting for me. I have to leave immediately. But then. This girl... She will be left alone.

Katica, it is dark down there, an eternal blackness. Many challenges will be waiting for you there. It will be difficult for you, sometimes even more difficult than you can endure. But – be courageous! Withstand!... We will meet again... Katica-a...

(The dwarf is leaving for his kingdom.)

80

4

(There is silence. Katica appears.)

KaTica: Everybody is gone. The dwarf is gone too. How silent is the night. The stars are shivering... the leaves are rustling. Brrrr! It is really cold. What am I going to do, so alone? Where to go? Katica, which side should you chose?

(A female frog appears, Mrs. Chatty.)

mrS. chaTTy: Hey you! How ugly you are! Who are you?

KaTica: Katica.

mrS. chaTTy: Katica? What is Katica?

KaTica: My name.

(A male frog appears too, Mr. Croaky.)

mrS. chaTTy: Mr. Croaky, have you ever seen such an ugly creature?

mr. croaKy: Croak... Well, I...

mrS. chaTTy: Of course, you haven’t. As small as this and yet freckled. It does not even have prongs... Say, that thing on your prongs, what is it called?

KaTica: These are my arms, not prongs. And there are fingers on them.

mr. croaKy: Fingers, yes... Croak, croak...

mrS. chaTTy: Don’t be so hard, Mr. Croaky. As if you knew those were fingers? Oh yes, of course. Mine, mine, you are really ugly! Such a small mouth... So tiny eyes... Isn’t it so, Mr. Croaky?

mr. croaKy: Well, Mrs. Chatty... croak... What do I know?

mrS. chaTTy: Her skin is so white... so dry. (Mr. Croaky blows up from his pipe, Mrs. Chatty coughs irritated with the tobacco smoke.) K-k-k, for God’s sake Mr. Croaky. One day your tobacco smoke will choke me. (Mr. Croaky turns to the other side defiantly.)

81

And so, say you little girl, since you don‘t have such a beautiful colour of skin as I do, this gorgeous mouth... as I do. These long, slender prongs... as are mine, what are you doing in my bog?

mr. croaKy: (puffs from his pipe) Yes, what...? Croak...

KaTica: Do excuse me, Mrs...

mrS. chaTTy: Chatty. Incredible, this little girl has never heard of me!

KaTica: Mrs. Chatty, I have lost my way. I started to the country of dwarfs, with a friend...

mrS. chaTTy: To where? The country of dwarfs? Mine, do you hear this, Mr. Croaky?

mr. croaKy: Well... yes... Croak...

KaTica: He invited me. He told me it was a wonderful country. That there is plenty of food, and drink, and cakes... And plays, most of all...

mrS. chaTTy: Play? What is a play, Mr. Croaky?

mr. croaKy: Well... what do I know... croak...

KaTica: A play is when you are full of joy... and you laugh without reason. You jump, you scream, you would want to hug the whole world. You rejoice.

mrS. chaTTy: You rejoice. Well, do you hear this, Mr. Croaky? Do you understand any of this?

mr. croaKy: Croak... No-o...

mrS. chaTTy: Listen, you little girl. You told me all this stuff. One’s heart can be full only when the sun shines bright, and I stretch on a water lily (she turns on her back). Or, even better, when I catch a little fly...

mr. croaKy: Yum, yum, a little fly... Croak...

mrS. chaTTy: You know what, you little girl. And I am confident that Mr. Croaky agrees with me, don’t you?

mr. croaKy: Ye-es...

82

mrS. chaTTy: This is our bog... our water, and you, being so ugly, you are not welcome here. Therefore, unless you want me to shake that water lily on which you’re standing, so you drown – be off with you... Get out! Isn’t it so, Mr. Croaky?

mr. croaKy: Well... ye-e-es.

KaTica: But, I...

mrS. chaTTy: I know nothing. This is ours... mine... In this bog, I am making rules. So white, with that mouth, those eyes, ugly fingers, I don’t like you. You are irritating my beauty. Do you understand it?

mr. croaKy: Yes, Mrs. Chatty is beautiful... The most beautiful one...

mrS. chaTTy: Thank you, Mr. Croaky. It took you a long time to utter this. You can now take your sunbaths with me on my personal water lily... Little girl, you are still here? (she turns towards Mr. Croaky) I have been waiting so long for your confession, Mr. Croaky. And, so you say that I am the most beautiful one?

(Mrs. Chatty and Mr. Croaky are leaving. Music. Pause.)

83

5

(Katica is in a forest.)

KaTica: I am walking and I am walking, for hours now... And there is no one anywhere. Only these trees... and bush... and mushrooms... (creepy music). It is so dark because of these leaves. Where to go now? Which way to take? (creepy music) Katica, you are not afraid... You are one courageous girl... and brave.... You are not shivering at all. Just go on straight. (A rustling startles her.) What is it?

miSS QUicK: Hello. Who are you?

KaTica: I am Katica. And who are you?

miSS QUicK: Squirrel...

KaTica: Slow down, you may fall.

miSS QUicK: Myself? No way. I am not called Miss Mounty Quick in vain.

KaTica: (laughs) You are amusing. And funny.

miSS QUicK: How come I have never seen you before? Where do you live? On a tree? In a hole? Maybe in a cave?

KaTica: I don’t have my home.

miSS QUicK: Fiddle-Faddle! Everybody must have their own little house.

KaTica: I have lost mine.

miSS QUicK: Oh, that is ghastly. My house is, for example, in a beech. Big, spacious...

KaTica: You are so lucky.

miSS QUicK: Well... big for me, I meant to say. I don’t have any room for guests.

KaTica: (disappointedly) Oh-oh!

miSS QUicK: I am just on my way to collect fruits. I am making a jam.

84

KaTica: That is why you are carrying a spoon with you.

miSS QUicK: I am preparing my winter stores. It is summer and by every little path... or by a bush, there are some fruits. Blackberries, raspberries, blueberries, cranberries. Such a splendour. I am in a hurry to pick them all, and fill up my storage. Winter is coming and then... Brrrr! Apart from the snow, there is nothing else in the forest.

KaTica: Would you mind... if I stay with you? Only until I find my own house?

miSS QUicK: With me? But my food! I have only a little of it.

KaTica: Haven’t you just said that your storage is full?

miSS QUicK: I said? It... is full. But, it is only for me. No. No. No way. I am in a hurry! I am in rush!

KaTica: But... I...

miSS QUicK: (leaving) I am sorry... it is very tight in my place. And I have only a little food...

(Miss Quick leaves. Katica turns around herself. She mores and falls asleep.)

85

6

(Katica is sleeping. A bird flies around, it sees Katica sleeping, and cries out.)

bird: Oho-ho. I can see a terrific pray. Mine, will there be some meat on the table...

(It squawks with joy. It flies lightly over Katica. Its shrieking wakes Katica up.)

KaTica: What is this? Oh my, a little bird. What beautiful wings it has...! Lucky bird. When it wants, it can simply go whatever side it wants. It only needs to spread its wings and it soars to the heights. It must be a magnificent feeling. Hey! Little bird!!

(The bird speaks back in pleasant tones.)

bird: Are you calling me?

KaTica: I was watching you flying and I adore your skills.

bird: Oh, that... My wings... They are beautiful, aren’t they?

KaTica: I would want so much to be able to fly up, under the clouds. To spread my wings and soar. Simply... as when I am making a step...

bird: You are right, it is splendid.

KaTica: And down there? Under you? What do you see?

bird: Everything is tiny. Houses, and fields, and trees, and rivers.

KaTica: (sighs) It is so strange... different...

bird: Do you want to try?

KaTica: Myself? Well... I don’t know...

bird: Why not? Sit on my back... between the wings, and we will fly up together...

KaTica: It would be beautiful... (She starts, and then stops.) But, I...

bird: What is it?

KaTica: I must do something else first.

86

bird: You can tell me everything...

KaTica: I must find a way out of the forest before the dark. And...

bird: And?

KaTica: A place where I will sleep... and live from now on...

bird: Indeed, I haven’t asked you: What is such a small creature like you doing in such a huge... dangerous forest? All alone?

KaTica: I am lost.

bird: Lost?

KaTica: Actually, first I was on a way to a far away country. A different one, full of everything. There are honey cakes and other cakes... but most of all laughing and joy. To the land of dwarfs. But... as you see, I got lost.

bird: Is that what you are saying, the land of dwarfs. Do you know where it is?

KaTica: No.

bird: Do you know how to reach it?

KaTica: No.

bird: I see. Well, what do you think, how are you going to find it?

KaTica: I am afraid I don’t know it either... If only I could find a shelter for tonight...

bird: We can easily solve it. You will come with me to my house. It is comfortable. On the floor and around the walls, there are only feathers. I will also bring some food... The forest is full of berries...

KaTica: You are so good.

bird: That is nothing. The birds from our flock are like that. Come on, climb up...

(Katica moves, and then stops again.)

KaTica: And... tomorrow? Tomorrow you will help me to find the kingdom of dwarfs?

87

bird: You are such a funny little creature. And, are you, actually, sure that a kingdom like that exists? How can you, then, find a way to something that does not exist?

KaTica: But...

bird: Now, you listen to what I am saying. I am older and more experienced. Tomorrow our flock will have a meeting. We are to discuss our departure to the regions that are far and warm. And now, you see, tomorrow I will suggest that we take you with us.

KaTica: Take me? But... I don’t have wings...

bird: That is nothing to worry about. We will be carrying you in shifts. We must never allow that such a lovely creature stays alone in the cold and rain.

KaTica: And... you would do it?

bird: Why do you doubt? For such a dear person, as you are, that is the least one can do. But let us go. It is getting dark... In the morning we will discuss everything.

(Katica climbs onto the little bird’s back. At that moment, the bird changes its voice and behaviour.)

bird: (laughs) You are finally mine. You, little one... how stupid you are... You believe everybody.

KaTica: What is this? Who are you?

bird: Squawk! I am someone who will cook you and eat you with relish.

KaTica: Oh, no! Please, let me down.

bird: Squawk!!

KaTica: Help! Help! Is there really no one to help me?

bird: Squawk! You are done! Yum, yum... We are approaching my nest. Squawk!

KaTica: Help. Please have mercy on me.

bird: (laughs) Squawk!!

KaTica: Where is my dwarf now? (she is crying)

bird: (laughs) Ahaha-ha...

88

7

(The dwarf appears. There is a fight between the dwarf and the bird.)

KaTica: Oh! What is this? I am floating!

(In the end, the bird disappears with a painful scream. Katica and the dwarf greet with joy.)

KaTica: Well, that is you, my dear little dwarf.

dWarF: Katica! We are together again. It will be so delightful when I introduce you to the other dwarfs!

KaTica: We are going to your kingdom?

dWarF: That’s right. We have to hurry up, because nothing is secure in this forest... Close your eyes. Turn around... a bit of magical powder...

(Music, resembling the sound of a little bell.)

KaTica: Ha-ha.

(Music. They are both dancing and walking.)

dWarF: We have arrived.

KaTica: Oh! A castle! How beautiful it is... The kingdom of dwarfs...

dWarF: The king and the dwarfs are waiting for you. You may enter now.

KaTica: Alone?! And what about you?

dWarF: I will be close here! Don’t be afraid!

KaTica: Don’t leave me...

dWarF: Look at me. Look in my eyes. Hanky panky... Hocus pocus... Walk slowly, don’t be afraid. You are safe. Puff!

89

8

(Festive music – fanfare – announcing the entrance of the king of the dwarfs. That is the same dwarf that Katica got to know. Now he wears the insignia of the king – the crown, the gown, and the rest. Katica deeply bows to the king.)

KiNg: Welcome to us, our good Katica.

KaTica: Honorable king, I am here because... You? You are the king? (She bows.) Excuse me, Your Majesty... You are the king?

KiNg: Get up, Katica. If we got along well just before this moment, there is no reason that it does not stay so.

KaTica: I have never doubted it... I... I am so confused...

KiNg: There is no confusion in my kingdom, and especially no fear.

KaTica: That is beautiful. I thought that the king would be someone... you know... a little bit different...

KiNg: Stern?

KaTica: Yes.

KiNg: With furrowed brows?

KaTica: Yes.

KiNg: Maybe... serious and always angry?

KaTica: Exactly like that.

KiNg: As you can see, there is nothing of that. There is no room for frowning, seriousness, and agitation in my kingdom. Am I mistaken if I see a tear glittering in your eye?

KaTica: Oh, no... no. It just appears so to you, Your Majesty.

90

KiNg: Well, and... somehow... you appear unhappy to me.

KaTica: (She hides her eyes in uncertainty.) I am not.

KiNg: You cannot trick me. I have a medicine for that. We will dance...

KaTica: I cannot dance.

KiNg: It only appears so to you. Remember. When you hear the music, you first stop and then listen to it attentively. Give yourself to it and the steps will come on their own. (music) There... am I not right? Dance, Katica... Like that... One more swing... Bravo...

(The music is going on. Katica and the king are dancing together. The music stops.)

KaTica: It was so wonderful. It never occurred to me that I can dance.

KiNg: Shall we?

KaTica: Where?

KiNg: To the hall. Everybody is waiting for us.

(Katica moves, then stops.)

KaTica: I have never asked you... Why did you leave me? There, in that bog...

KiNg: When you are a king, sometimes you don’t have many choices. We have one rule – our kingdom must never spend a night without its king. And it was getting dark... Shall we? The other dwarfs are impatient to meet you.

(Katica and the king are leaving, followed by music.)

91

9


graNdma NaTa: And thus our Katica started living among the dwarfs. Days went by and she, careless and merry, danced and played with her new friends. For the first time, since her parents died, she felt peace and happiness. She never stopped laughing. Her ringing laughter echoed through the luxurious halls and flowery fields of this unusual kingdom. But, one day, the king noticed some sadness in Katica’s eyes. And some longing. He knew – the time has come that Katica goes back to her people.

(Grandma Nata disappears.)

92

10

(The king and Katica appear.)

KiNg: You are here. I have been looking for you everywhere. You have somehow isolated yourself.

KaTica: It only appears so to you, Your Majesty.

KiNg: Katica, one cannot hide sadness. (pause) I think it is time.

KaTica: Time for what?

KiNg: That you go back to your people...

KaTica: But, I have no one...

KiNg: It only appears so to you. You belong to humans and you cannot live forever with us, dwarfs.

(The king throws a little magic powder over Katica. Music resembling little bells. The king disappears.)

KaTica: But, I don’t want... I don’t want to leave your kingdom... There’s no kingdom... There’s no castle... This is the forest and... I am really on the ground again.

93

11

(The barking of dogs is heard. A lad appears. Music covers the whole scene in which Katica and the lad meet.)

Lad: You? I have already lost every hope that I will meet you again, my beautiful stranger.

KaTica: (confused) But... I don’t know you.

Lad: I have met you so many times in this forest, while I was hunting. But, you would always disappear like a forest shadow. Beautiful girl, tell me, are you a forest shadow, a fairy, or are you made of flesh and blood?

KaTica: I am Katica. I am real, stranger.

Lad: Now, when I have found you, I don’t want to lose you again. Will you go with me, to my parents?

KaTica: Yes. (She starts, and then she goes back.) My king, I know that you have sent him to me by some magic of yours. I am sending you my greetings. It was so beautiful in your kingdom.

(The lad and Katica leave.)

94

12


graNdma NaTa: In less than a month, Katica became the bride of this worthy lad. They were happy and lived long together, and, to their children, they told the most beautiful stories about the forest dwarfs.

And that is the end. Did you like the story? Memorize it and pass it around.

But, remember this – look around with your eyes wide open. Soak in everything your eye can reach. The spreading fields of grain, green in spring and golden before the harvest. The clouds in the sky. The flying bird. The river far away. While the Sun, so rosy and so huge as the biggest honey cake, is setting behind the horizon at the bottom of the plain. Then, breathe deep and repeat within yourselves – life is beautiful.

(Music)

the end

ulaznica za predStave „plave lagune“tiCkets for “blue lagoon’s” shoWs

SKriVENo bLago maLog TroLa

hidden treaSure of a little troll

apriL 3, 1996 – SeaSon iiSTagE oF ThE WorKErS’ EdUcaTioNaL aSSociaTioN

“miLUN boŽoVić”

3. apriL 1996. godiNE – SeZona iiScENa radNiČKog UNiVErZiTETa „miLUN boŽoVić“


97

tekst: Dragana Kršenković BrkovićPo motivima priča Selme Lagerlefrežija: Goran Bulajić

igraju

Ulaf Jakobson; g. Nils – Marta PićurićVještica Friga (vuk, cvijet, div, Grendal); gospođica Ula – Zoja BećovićTrol Goblin – Jadranka Mamić

sCenograf i dizajner lutaka: Ivanka Vana PrelevićMuziku koMPonovao: Rajko Kadovićrasvjeta: Zoran Kovačevićton: Željko Martinovićkrojačke usluge: Dika Ramović, Mirsada Methadževićdirektor Projekta: Tomislav Brković


text: Dragana Kršenković BrkovićAfter the motives from the stories by Selma LagerlöfdireCtor: Goran Bulajić

Cast

Olaf Jacobson; Mr. Nills – Marta PićurićSorceress Friga (wolf, flower, giant, Grendal); Miss Ula – Zoja BećovićTroll Goblin – Jadranka Mamić

sCenograPhY and PuPPet design: Ivanka Vana PrelevićMusiC: Rajko Kadovićlighting: Zoran Kovačevićtone: Željko Martinovićtailor’s serviCe: Dika Ramović, Mirsada MethadževićProjeCt direCtor: Tomislav Brković


98

katalog predStave „Skriveno Blago malog trola“Catalog for the shoW “hidden treasure of a little troll”

99

SelMA lAgerleftekst . text

gorAN BulAjićreditelj . direCtor

Selma Lagerlef, švedska književnica, rođena je s jeseni 1858. g. na porodičnom imanju Mobak u Vermlandu. Teška bolest ju je primorala da prve godine svog radnog vijeka provede kao učiteljica. Poslije objavljivanja roma-na prvijenca „Gasta Berling“ (1891) potpuno se posve-ćuje pisanju. Objavila je nekoliko zbirki pripovjedaka, „Legende o Hristu“, roman za djecu „Saga o Nilsu Hol-gersonu“ i roman „Blago gospodina Arna“.

1909. godine je dobila Nobelovu nagradu za književnost kao prva žena dobitnik te nagrade u svijetu.

Umrla je 1940. godine u 82. godini života, slavljena kao najveća švedska književnica.

Swedish author Selma Lagerlöf was born in autumn of 1858 at the family farm Mårbacka in Värmland. Heavy illness forced her to spend the first two years of her career as a primary school teacher. After the appearance of her debut novel “Gösta Berling” (1891), she completely de-voted herself to writing. She published several collections of short stories, “Christ Legends,” a children saga “The Wonderful Adventures of Nils,” and a novel “Sir Arne’s Treasure”.

In 1909, she received the Nobel Prize for literature and, thus, was the first woman to receive this prize in the world.

She died in 1940, at 82 years of age, celebrated as the greatest Swedish writer.


Goran Bulajić, reditelj, diplomirao je 1979. g. na odsje-ku za scenske umjetnosti i opštu književnost Filozofskog fakulteta u Sarajevu. Režirao je oko trideset predstava u Dramskom studiju Nikšić, Crnogorskom narodnom pozorištu i Dječjem pozorištu u Podgorici i pozorištu „Duško Radović“ u Beogradu. Na televiziji je režirao dvije TV drame.

Trenutno radi kao odgovorni urednik Kulturno-umje-tničkog programa TV Crne Gore.

Director Goran Bulajić graduated in 1979 from the De-partment of Stage Art and World Literature of the Fac-ulty of Philosophy in Sarajevo. He directed around thirty theatrical performances in the Drama Studio in Nikšić, Montenegrin National Theatre, in the Children’s Theatre in Podgorica, as well as in the theatre “Duško Radović” in Belgrade. He also directed two TV dramas.

At the moment he works as the General Editor of the Cul-ture and Art Programme of Montenegrin National TV.

100

ekipa predStave „Skriveno Blago malog trola“. gornji red s lijeva na desno: jadranka mamić, zoja Bećović, marta pićurić. donji red s lijeva na desno: dragana kršenković Brković, tomiSlav Brkovićthe teaM of Creators of the shoW “hidden treasure of a little troll”.upper row, from left to right: jadranka MaMić, zoja bećović, Marta Pićurić. lower row, from left to right: dragana kršenković brković, toMislav brković

SKriVENo bLago maLog TroLa


102

ULaF jaKobSoN – Viking iz Zemlje Dubokih fjordova i brojnih jezera, iza čijih oboda se prostire nepregledni prostor okovan vječnim snijegom i ledom

gobLiN – Trol, maleno, zdepasto biće koje živi u unutrašnjosti brda i sjenovitih šuma; svojim čudesnim moćima ponekad pomaže ljudima; izlazi samo noću jer ga sunčeva svjetlost pretvara u kamen

Friga – lukava i moćna Čarobnica; uzima razne oblike tako da lako zavodi svoje žrtve

goSpodiN NiLS – umorni i bolešću ophrvani crv

goSpoĐica ULa – jedna gizdava pečurka, ohole i goropadne ćudi

ViLENjaK – Gospodar šuma

grENdaL – Div, čuvar ulaza u Veliku planinu koja u svom središtu skriva izvor mu-drosti, Mimiru, i kamen čarobnih moći

cVijET – sa Glečereskih jezera

Friga – Čarobnica veličine pedlja

djEVojKa – ljepotica

drVo – koje govori Ulafovim glasom

pTica – sa Friginim glasom

ZEc – sa Goblinovim glasom

mUVa – sa Friginim glasom

raK – sa Goblinovim glasom

lica

103

1.

(Šuma. Pojavljuje se trol.)

gobLiN: (duboko udiše) Kako je čist vazduh poslije kiše... Cvijeće opojno miriše... Kapi se cijede sa lišća, a sa tla se diže izmaglica. Baš volim šumu u proljeće. Ovako ze-lena pa gusta, sva umivena toplim kišama, ona prosto buja...

(Trol veselo zaigra uz zvuke brze muzike. Pojavljuje se gospodin Nils, crv.)

goSpodiN NiLS: Apćiha! Prokleta oluja... Ne možeš se sakriti od nje. A-a-pćiha!

gobLiN: Dobar dan, gospodine Nils. Šta je to danas sa vama?

goSpodiN NiLS: A... to ste vi, Gobline. Apćiha! Evo... nazebao sam...

gobLiN: Nije valjda od kiša?

goSpodiN NiLS: Od kiša je, nego od čega bi drugog? Sigurno nije... a-a-a... (sprema se da kine, ali mu trol stavi prst ispod nosa i crv se smiri) Sigurno nije od kupusa ili lista javora. Brrrr! Baš je hladno. I vlažno...

gobLiN: Vaše godine, gospodine Nils... stare kosti... Potpuno vas razumijem...

goSpodiN NiLS: Kad biste vi znali kako meni svaki mišić u tijelu zavija i struže. Prosto od bolova ne mogu da živim. A ove kiše... Užas! To ne zna da stane kad krene. Lipte... pljušte... liju... Kao da se nebo otvorilo nad nama. Udavićemo se jednog dana u blatu i kaljugama. Pih!

(Pojavljuje se gospođica Ula, pečurka sa divnom, dugom kosom, sa puno nakita na sebi i odjećom jarkih boja.)

104

goSpoĐica ULa: Ko to toliko huli moje divne kiše? Pa da, to ste vi! Ko bi drugi? Matoro gunđalo...

goSpodiN NiLS: Gospođice Ula, vaš rječnik!

goSpoĐica ULa: Šta je sa mojim rječnikom? Staro zakeralo...

goSpodiN NiLS: (uzvik zaprepašćenja) A-a!!!

goSpoĐica ULa: Nema tu – a-a!! Tako je, strašilo smežurano.

goSpodiN NiLS: Ja... ja... Ja ovo više neću da trpim. Apćiha! Moje godine... Moja čast... Ja sam uvrijeđen... (Gospodin Nils se ljutito okrene i pođe na drugu stranu.)

goSpoĐica ULa: Ružiti kiše... divnu vlagu u kojoj se osjećam tako srećnom. Blaže-nom. U kojoj divno rastem, bujam... postajem sve ljepša. Najljepša u šumi... Nečuvena drskost.

goSpodiN NiLS: Slušaj me dobro, ti... jestiva gljivo. Vi, pečurke, ste takve: gizdave i nevaspitane. Ohole ćudi i plitke pameti. Napirlitane a, ispod tih loknica i mašnica, goropadne. Bolje reći – proste.

goSpoĐica ULa: Šta-a...?! Ja... prosta!!! Ma, čujete li ga, Gobline?

gobLiN: Nemojte... Nema potrebe... Takve riječi...

goSpoĐica ULa: Ja, ovako divna, sočna, sa raskošnim šeširom na glavi! Meni to reći? Bezobrazluk. E, ovo u svom vijeku nijesam doživjela.

goSpodiN NiLS: Zbog tih vaših šešira svakog gledate sa visine. Mislite da ste nešto posebno. Nije nego! Umislile cure u svojim „bistrim“ glavicama da su ljepotice... Neka-kve krasotice... Najljepše u šumi... Digle nos do prvih krošnji...

goSpoĐica ULa: S razlogom. Ovakva ljepota rijetko se sreće.

goSpodiN NiLS: Stalno se lickate... presvlačite u novo ruho... Češljate i uvijate kosu. Po čitav dan su vam prikačene mašnice i ogrlice. Da sve po šumi zasijenite... A ovamo...

goSpoĐica ULa: Šta „a ovamo“, bijedni crvu? Ti... ti... mrgude jedan! Da si ne-kakav gospodin, ne bi se zavlačio po trulim jabukama i lješnicima. Ne bi dubio stare panjeve... Ne bi brstio lišće sirotom drveću, šumska štetočino!

105

goSpodiN NiLS: O! O!! Vaš rječnik, gospođice Ula!!! Pripazite na svoj jezik.

goSpoĐica ULa: Nemoj ti meni tu, moj jezik, pa moj jezik. Ako te ja uhvatim... Te naočari će se...

(Goblin ih zaustavi pokretom ruke.)

gobLiN: Pssst! (Gospodin Nils i gospođica Ula se umire.) Čovjek je u šumi...

(Istovremeno progovore gospodin Nils i gospođica Ula.)

goSpodiN NiLS: Gdje?

goSpoĐica ULa: Kako?

(Goblin se udaljio par koraka. Osluškuje.)

gobLiN: Ide stazom... pravo ovamo...

goSpoĐica ULa: Jaoj, ubraće me! Moram da bježim...

goSpodiN NiLS: U-u! Užas! Zgaziće me...

goSpoĐica ULa: (zastane na trenutak) Ako budete imali sreće, gospodine Nilse, možda će vas samo zgnječiti... Kao crva...

(Gospođica Ula se podrugljivo nasmije i nestane.)

goSpodiN NiLS: E, ove pečurke su prešle svaku mjeru. (uznemireno) Moram se sakriti... Eno lješnika... u njemu je najsigurnije...

(Crv nestane. Trol se sakrije iza drveta. Koraci čovjeka se približavaju.)

106

2.

(Pojavljuje se Ulaf Jakobson, vikinški ratnik.)

ULaF: Kako je mračno u ovoj šumi... Da li da zastanem i upalim vatru? Mogao bih malo da se odmorim... a i ovu odjeću da osušim. Sav sam mokar. (Zašušti lišće i Ulaf se trgne. Trol povremeno viri iza drveta.) Ko je tamo?

gobLiN: U-u-u!

ULaF: Ko je to? Ako si čovjek i junak, pojavi se.

(Goblin se polako prikrada iza Ulafovih leđa.)

ULaF: To što je noć i mrkli mrak, meni ništa ne znači. Usred šume sam, ali moje srce je mirno. Evo, normalno kuca. Tika-taka... tika-taka...

(Trol ga dodirne i mladić prestrašeno odskoči.)

gobLiN: Otkud ti u mojoj šumi?

ULaF: Ja-a sam Ulaf Jakobson. Najhrabriji viking iz Zemlje Dubokih fjordova.

gobLiN: I? Šta te je dovelo ovamo?

ULaF: Pošao sam na dalek put...

gobLiN: Zašto?

ULaF: Moje selo zadesila je velika nesreća. Ljetina nam je propala, ribu ne možemo da ulovimo u jezeru i rijeci, a divljač nijesmo vidjeli već mjesecima...

gobLiN: Znači... glad je u selu?

ULaF: Velika. Tolika da se ni najstariji žitelji ne sjećaju ovakve oskudice. Za njom su došle bolesti... mrazevi i neviđena hladnoća...

gobLiN: A gdje si se ti uputio?

ULaF: Najstariji i najmudriji vikinzi su dva dana i dvije noći vijećali i konačno su donijeli odluku: najhrabriji među nama treba da donese kamen mudrosti iz Valhire...

107

gobLiN: Kamen mudrosti iz Zemlje izmaglica? Šta vi znate o njemu?

ULaF: U noći punog mjeseca on svijetli posebnim sjajem. Naš vrač je siguran da bi umio da protumači njegove znake...

gobLiN: ... i da, pomoću njih, odagna glad i bolest...?

ULaF: Stari nam umiru... djeca se više ne igraju. Smijeh je zamro u našem selu. Svuda je žalost i plač... Taj čarobni kamen mora nas naučiti kako da otjeramo prokletstvo koje je... kao snijeg... palo po nama...

gobLiN: Tužan si i jako ozbiljan... Tvojim godinama ne priliči tolika briga.

ULaF: Hvala ti na lijepim riječima... Ja sad moram da krenem.

gobLiN: Stani. Slušaj me dobro. Idi ovim putem i kod velikog hrasta skreni desno. Ta staza će te izvesti iz šume. (Ulaf krene, ali ga trol zaustavi, povukavši ga za odjeću.)Sta-ni. Polako... Upamti dobro – na izlazu iz šume počinje potok. Prati njegov tok i dale-e-ko, na krajnjem sjeveru, doći ćeš u Zemlju vječitog leda. (Ulaf načini nekoliko koraka, ali ga trol ljutito ponovo zaustavi.) Ti me baš ljutiš. Zar ne možeš da sačekaš?... Dakle, u Zemlji vječitog leda najviši vrh je Visoka planina. E, vidiš... (Trolu se učini da Ulaf hoće da pođe, pomjeri se da ga spriječi, ali ga viking začuđeno pogleda.)... u njenom podnožju je sakriven ulaz. Div Grendal ga čuva. Ako uspiješ da ga pobijediš, doći ćeš do Mimire, izvora mudrosti. Pazi... U samom središtu tog izvora je kameni oblutak. (pobjedonosno) Njega tražiš.

ULaF: Hvala ti.

(Ulaf polazi.)

gobLiN: Nijesam još završio... Upamti i ovo – na putu se čuvaj Frige, zle Čarobnice. Ona je lukava i moćna. Uzima razne oblike tako da te može lako zavesti.

ULaF: Dok je meni ovog mača i snažnih mišića – nikog se ne bojim.

(Trol se naglo izgubi. Ulaf se okreće oko sebe u čuđenju.)

ULaF: Ej! Gdje si? Nestao je. Kako neko može... tako... odjednom da ode? Da ja nije-sam začaran...? I ova šuma je... začarana?

108

3.

(Proviri gospođica Ula, pečurka.)

goSpoĐica ULa: Pssst! Mladiću! Nećeš me ubrati...? Ili moj divni šešir isjeći...?

ULaF: Ja? Zašto bih to učinio?

goSpoĐica ULa: Ljudi jedu pečurke... Zašto ne bi i ti?

ULaF: Nemam ja vremena za to. Žurim na daleki put.

goSpoĐica ULa: Stani. Polako. Da li ti znaš ko je Čarobnica Friga? (Ulaf odreč-no odmahuje glavom) To sam i pretpostavljala... Znaš... Vidim pred sobom mladog... lijepog mladića pa sam se sažalila. Zato – pssst! (okreće se oko sebe) Priđi još bliže... (šapuće) Poslušaj gospođicu Ulu: okreni se i ... Iz ovih stopa... vrati se kući. Dok još ima vremena...

ULaF: Vikinzi nikada ne bježe... Čast nam nalaže da na bojnom polju ostanemo do kraja... Bez obzira na to šta nas čeka...

goSpoĐica ULa: Griješiš, mladiću. I vikinzi ginu... (povjerljivo) Ona ti je najopa-kije i najzločestije biće na svijetu. Može da te začara i pretvori u sovu... Žabu... Malog guštera... Bilo šta. Može da baci čini, a tada – pred očima vidiš sve iskrivljeno... Zna čarolije... Pravi najčudnije napitke... Može...

ULaF: Dosta. Ne želim da znam...

goSpoĐica ULa: I...? Šta si odlučio? Vraćaš se...?

ULaF: Valhira – zemlja bogova – je daleko. Zato me ne zadržavaj.

goSpoĐica ULa: Vi, ljudi, baš i nijeste posebno pametni. Kako god hoćeš. Ja sam te upozorila...

(Gospođica Ula ode. Ulaf krene stazom.)

109

4.

(Začuje se snažna grmljavina praćena promjenom svjetla. Pojavi se Čarobnica Friga.)

Friga: Što se ti šetaš mojom šumom? Ko ti je dozvolio da udišeš moj vazduh?

ULaF: Ja... pošao sam...

Friga: Gdje, sitni stvore?

ULaF: Ne dozvoljavam da se sa mnom tako razgovara. Ja sam najhrabriji ratnik i moj mač...

(Friga se nasmije podrugljivo, unoseći se Ulafu u lice.)

Friga: Baš si smiješan... Tvoj mač!! Šta je sa njim...? Vatru i oganj širiš oko sebe...?

ULaF: Da.

Friga: Snažnim mišicama si do sada svakog pobijedio...?

ULaF: Da.

Friga: (ponovo se smije) Kažem ja, mnogo si smiješan.

(Čarobnica se naglo uozbilji.)

Friga: Slušaj me dobro, naduvena glavo. Sve što ti je onaj dugouhi trol Goblin savje-tovao – zaboravi. Poslušaj moj savjet. Okreni se nazad i vrati se u svoje selo.

(Ulaf hoće da nastavi svoj put, ali ga Friga zaustavi.)

Friga: Zaboravi Veliku planinu. Zaboravi izvor Mimiru i kamen mudrosti u njego-vom središtu...

(Ulaf uzaludno pokušava da se otrgne. Vuče svoju ruku, ali je stisak Friginih ruku suviše jak – ona mu ne dozvoljava da se udalji.)

Friga: Obmanuo te je, ušati prepredenjak.

110

ULaF: Kako?

Friga: Nema nikakvog čudotvornog izvora... Ne postoji ni čarobni kamen koji svaku tajnu zna, sve odgovore ima... Izmislio je to... Tebi da napakosti.

ULaF: Ali... moje selo... Ja moram da ga spasim...

Friga: Ljudi ionako umiru... prije ili kasnije... Zar je to važno? A trolovi... Oni više od svega vole da se poigraju s ljudima.

ULaF: Ja jedino znam da je moj zadatak da presiječem zlo i nesreću u mom selu. I to što prije...

Friga: Upamti – moja riječ se sluša! Jedino moja!

(Friga odlazi, smijući se naročitim smijehom.)

ULaF: Ova Čarobnica se ne šali... (trgne se) Ulafe, ne misli na nju. U selu te svi željno iščekuju. Moraš da nastaviš dalje!

(Odlazi)

111

5.

(Šuma. Ulaf oprezno korača.)

ULaF: Staza vodi sve dublje u šumu. Da li mi je trol tačno opisao put...? (Trol proviri iza drveta.) Kazao je – idi pravo do velikog hrasta. Evo. Idem, i idem, a hrasta nema. Šta je to? (osluškuje) Nešto šuška... (Kad shvati da on drhti, nakašlje se i ispravi.) Ulaf je najhrabriji ratnik. Ulaf je viking a vikinzi su hrabri... (Okreće se oko sebe.) Oni se nikog ne boje... Dok je moj mač tu, ja... (Pojavi se Vilenjak.)

ViLENjaK: Stoj!

(Ulaf uplašeno odskoči.)

ULaF: Ko je... to?

ViLENjaK: Gospodar šume.

ULaF: I ti si gospodar? U ovoj šumi sam već sreo dva gospodara. Zar postoji i treći?

(Trol viri sa druge strane staze.)

ViLENjaK: Ne znam ja ni za kakve gospodare. Ja sam jedini, najveći... najmoćniji na čitavom svijetu...

ULaF: Najveći? To sam negdje već čuo... Da, od one stare Čarobnice...

ViLENjaK: Mene svi slušaju. Mojoj se riječi povinuju... a mojoj volji pokoravaju...

ULaF: To ne važi za mene.

ViLENjaK: Ne važi za tebe...?

ULaF: Jedan viking je svoj gospodar. On samo svojoj mišici vjeruje... samo svoju želju slijedi...

ViLENjaK: Slušaj me dobro, ti jadni ljudski stvore. Koga ja uhvatim, toga za tili čas u česticu praha pretvorim.

(Ulaf se povlači.)

112

Uživam kad me se boje... Ti! Dvonožni stvore! Priđi bliže... Odaću ti jednu tajnu: ne spavam dobro dok nekog ne zgrabim pa ga, poput maline, ne zgnječim, i ne iscijedim, i potom...

(Vilenjak krene na mladića, Ulaf se povlači. Goblin podigne ruku iza širokog debla. Ulaf se zaustavi.)

ViLENjaK: (glas Čarobnice Frige) Šta? Odakle sad ovo?

ULaF: Moj mač te čeka... Hajde, dođi...

ViLENjaK: (glas Frige) Znam, to je onaj Goblin umiješao svoje prste. Uvijek se on petlja u moje stvari. Ali... neka. Vidjeće već on. Vikinže, sada si se izvukao, ali znaj... Mi ćemo se još sresti...

(Friga se nasmije. Vilenjak nestane.)

ULaF: Nestao je... Put je slobodan. Velika planina me čeka.

113

6.

(Polje prekriveno snijegom. Ulaf dolazi vidno umoran.)

ULaF: (trese se od zime) Baš je hladno. To mora da je zbog toga što mi se spava... Ulafe, izdrži... Još malo. Tu negdje je Velika planina... Pričaj, bilo šta, samo da se ne uspa-vaš... Gledaj gore... Tamno nebo... bezbroj zvijezda. Kako samo svjetlucaju! Kao iskre na ognjištu... Nigdje nebo nije kao ovdje, nad zemljom Vikinga...

(Pojavi se cvijet u snijegu.)

ULaF: Da li mi se priviđa ili je ovo cvijet u snijegu?!

cVijET: U noći punog mjeseca, pod titrajem dalekih zvijezda, probijamo svoje nježne krunice kroz guste naslage snijega.

ULaF: Da li je to ova nepregledna bjelina kriva što mi se pričinjava da... cvijet govori?

cVijET: Mi, cvjetovi sa Glečerskih jezera, trajemo samo jednu noć... Mjesečevi zraci nas kupaju a čist vazduh nam osvježava dah...

ULaF: (približava se cvijetu) Kako divne latice ima...! A tek miris...! Opojan je...

cVijET: Stojimo tako u snijegu, posmatramo bijelu pustinju oko sebe i tiho... sasvim tiho... razgovaramo sa zvijezdama.

ULaF: I ova muzika...! Odakle ona dopire...?

cVijET: Lagani vjetrić nježno nas povija a mi mu se radosno prepuštamo.

ULaF: Divno je u ovoj pustoši ugledati nešto tako lijepo...

cVijET: Njišemo se, i njišemo... Uživamo u svakom svom pokretu...

ULaF: Danima već hodam... Morao bih malo da odspavam...

(Iza visokog sniježnog nanosa proviri trol Goblin. Pažljivo posmatra mladića koji se spre-ma da legne ispod širokih latica cvijeta.)

114

cVijET: Priđi... Moje latice su divne i mirisne a lišće... Vidi kako je široko.

ULaF: Ovo je pravo mjesto za san... Samo malo da se odmorim i odmah ću nastaviti dalje.

(Ulaf leži ispod cvijeta. Cvijet se naginje ka njemu.)

gobLiN: Ulafe, probudi se... Budi jak i izađi iz sna...

(Dva lista se savijaju oko Ulafovog vrata, daveći ga.)

gobLiN: Ulafe, moraš da se probudiš. Odmah... Tvoje selo te čeka... Prijatelji te zovu...

(Pritisak listova oko Ulafovog vrata je sve jači. Ulaf se guši.)

gobLiN: Ulafe! Ti si snažan. Odupri se činima... Izađi iz sna.

(Ulaf se budi. Kašlje i bučno se bori za vazduh. Lišće se povuče. Cvijet sa Glečerskih jezera potpuno se umiri.)

ULaF: Šta je ovo bilo? Ne mogu da dišem... Moj vrat...

cVijET: (glas Čarobnice Frige) Opet se umiješao dugouhi Goblin. U-uh!! Baš sam lju-ta! E... Gobline... tvoja neće biti posljednja. Moja moć je veća od tvoje. Još ćeš ti vidjeti ko je Friga.

(Cvijet nestane. Ulaf se zbunjeno okreće.)

ULaF: Nema cvijeta... Kako...!?! Da nije u pitanju opsena...? Mora da sam stigao u Val-hiru. U njoj je sve moguće.

(Kad se uvjeri da je mladiću dobro, Goblin se nasmiješi i nestane. Preplašeni Ulaf ga nije ni primijetio.)

115

7.

(Sijevaju munje i duva snažan vjetar. Zatutnji grmljavina.)

ULaF: Da li se bogovi ljute što sam kročio u njihovu zemlju? O, Odine, prvi među bogovima, Ulaf Jakobson te moli da mu oprostiš što se, kao smrtnik, usudio da dođe u tvoju zemlju. (Grmljavina se ponovi.) Moja zemlja je u nevolji. Pomogni mi da dođem do dragocjenog kamena mudrosti i mi, vikinzi, vječno ćemo ti biti zahvalni... U pje-smama ćemo te opjevati. Na svakom piru i svetkovini ćemo te pomenuti... Na svaki naš štit utisnućemo tvoj lik...

(Začuju se teški i snažni koraci.)

ULaF: Div Grendal...! Odine!!! Prvi među bogovima. Daj mi snage da pobijedim diva Grendala i Ulaf Jakobson će ti zauvijek prinositi žrtve...

(Svijetlo se promijeni. Dolazi div Grendal.)

grENdaL: Šta će jedan smrtnik na mojoj zemlji?

ULaF: Ulaf iz Zemlje Dubokih fjordova došao je po kamen mudrosti.

grENdaL: (nasmije se) Ništa manje nego po kamen! Dvonožno stvorenje, krhko kao dah, drznulo se da dođe u Valhiru i mene, diva Grendala, ponizi!!

ULaF: Ja moram da nađem taj kamen. Život mog naroda zavisi od njega.

grENdaL: Da li ti znaš, vrećo kostiju, da sam ja čuvar ulaza u Veliku planinu? Zar si stvarno mislio da ću te ja... tek tako... pustiti da ga ukradeš?

ULaF: Ne možeš me spriječiti.

grENdaL: Jadni ljudski stvore, znaš li koliko je već ljudi dolazilo? Koliko je njih po-kušalo da uđe u Veliku planinu?

ULaF: To me ne zanima.

grENdaL: Pođi do Šume Srebrnih jela i prebroj grobove.

116

ULaF: Nećeš me uplašiti, ružno čudovište.

(Pojavi se trol Goblin.)

grENdaL: Spremi se za odlazak u Valhalu, dvoranu mrtvih ratnika...

ULaF: Moj mač je oštar, Grendale...

grENdaL: Tom trščicom misliš mene, moćnog Grendala, da pobijediš?

(Div se nasmije. Ulaf i Div obilaze jedan oko drugog. Razvije se bitka. Ulaf uspijeva da zada brojne udarce, ali i primi nekoliko bolnih. U jednom trenutku, Ulaf se nađe na ze-mlji. Div Grendal se prijeteći nadvije nad njim. Spreman je da zada posljednji udarac svojim mačem. Ulaf, ležeći na zemlji, očekuje kraj. Trol podigne ruku, mrmljajući čarobne riječi.Vođen trolovim nevidljivim zracima, Ulaf skoči i jurne na Diva. Veoma brzo uspije-va da pogodi Diva.U samrtnom ropcu, Div padne.)

ULaF: Ne mogu da vjerujem! Pobijedio sam diva!

(Trol Goblin se pridruži Ulafu. Ushićeni, obojica se vesele.)

gobLiN: I to ne bilo kog diva. Grendal je nadaleko čuven po svojoj snazi i okrutno-sti... Ulafe, put do Velike planine je slobodan... Samo, pazi! Malo vremena je preostalo... Zato, pohitaj...

(Trol Goblin ode.)

117

8.

(Pojavi se Čarobnica Friga.)

Friga: Ne može to tako, maleni... Ja i ti se nijesmo tako dogovorili...

ULaF: Ja se sa tobom nijesam ništa dogovarao.

Friga: Niko s Frigom, najvećom Čarobnicom, tako ne razgovara. (podigne ruke)

Opulus rirum, aquarius pirumSve sile svijetaSažmite se u stanje prvoI pretvorite mi Ovo ljudsko biće u drvo!

(Svjetlost se promijeni. Ulaf se zavrti u krug. Nošen nekom silom, dođe do drveta i nestane u njemu. Drvo otvori oči i progovori.)

drVo KojE goVori: (Ulafov glas) Šta se desilo...? Gdje sam to ja? Zar sam zaro-bljen u drvetu?

(Friga se smije podrugljivim smijehom.)

118

9.

(Pojavi se trol Goblin.)

gobLiN: Friga!! Sada si pretjerala. Ovaj mladić je pod mojom zaštitom.

Friga: Šta je mene briga i za tebe i za tog mladića?

gobLiN: Kažem – pretjerala si. Oslobodi ga.

Friga: Nikad! Ostaće zauvijek u tom drvetu. Ili... (nasmije se) – dok ga ne posjeku i ne nalože vatru s njim...

(I dalje odjekuje Frigin gromoglasan smijeh.)

gobLiN: Upozorio sam te...

Friga: Ne prijeti mi, ti, ušati kepecu. Moje moći su veće, znaš to i sam. Ja sam Friga, najmoćnija Čarobnica na ovome svijetu.

gobLiN: Sad ćeš ti nama zapjevati drugu pjesmu. (podigne ruku)

Poleti u krug sve brže i brže,Dok malena ptičica ne budeš...

(Friga nestane. Pojavi se ptica.)

pTica: (Frigin glas) Pretvorio si me u pticu? Mene – divnu, zlobnu Frigu u malenu pticu!! E, nećemo tako!!

Ti, Gobline, trolu ušati,U malenog zeca sad se preobrati.

(Trol Goblin nestane i pojavi se zec.)

ZEc: (Goblinov glas)

Malena ptičica više nijesidosadna muva sada ti si.

119

(Nestane ptica i pojavi se muva. Ona odmah zazuji i poleti u krug.)

mUVa: (Frigin glas) E, ovo je nečuveno. Mene... Mene u muvu!!

Tiram-torum-paurus-polumsve sile svijeta pomozite sadaneka se Goblin u raku ogleda.

(Zec nestane i pojavi se rak.)

raK: (Goblinov glas)

Alberiku, naš kralju,i svi trolovi pod ovim svodom,pomozite Goblinu svom snagomda vješticu Frigu ukrasi ljepotom.

(Nestane muva i pojavi se prelijepa djevojka.)

djEVojKa: (Frigin paničan glas) O, ne! Ne divnu haljinu... A moje lice? Gdje je moje ružno lice? Neću! Neću da budem lijepa. Hoću da budem ružna, i zlobna, i pakosna. Vrati mi moj lik... (plače) Hoću nazad moje predivno ružno lice...

raK: (Goblinov glas) Prvo ti vrati meni moj izgled... Tako...

(Nestane rak i pojavi se trol Goblin.)

gobLiN: Sad vrati onog mladića...

djEVojKa: (Frigin glas) Nikad... Neću! On je kažnjen...

gobLiN: Onda ćeš zauvijek ostati takva ljepotica...

djEVojKa: (Frigin glas) Ni to neću... (pauza) Dobro, oslobodiću ga.

(Iza drveta se pojavi Ulaf Jakobson. On priđe Goblinu.)

djEVojKa: (Frigin glas) A ja?

gobLiN: Zavrti se oko sebe. Tako... Još malo... A sada... Puf!!!

(Nestane djevojka i pojavi se Friga veličine šake.)

120

Friga: Pa ti si me smanjio!?! Vrati mi moj izgled! Smjesta!

gobLiN: Lako ćeš ti to sama uraditi. Zar nijesi najmoćnija? (Podigne ruku i Friga poleti u dubinu pozornice) Odletjećeš daleko na sjever... Tamo gdje je vječni snijeg i led. Tako malena vjerovatno ćeš se okameniti.

Friga: Ne-e! Neću da nestanem!! Neću da budem kamen! Gobline... Prokleti trole! Oslobodi me svoje čarolije.

(Friga nestane.)

ULaF: Ne vidim je više...

gobLiN: Nećemo je još dugo vidjeti. Dok se ne sakupe njene sestre čarobnice i ne pođu u potragu za njom.

ULaF: A... kad je nađu...?

gobLiN: E, tada... (odmahne rukom) Tek tada ćemo misliti na nju. Ulafe, put do ča-robnog izvora Mimire i do kamena mudrosti je slobodan. Uđi i donesi ga...

(Ulaf krene ka čarobnom izvoru. Divna, blještava svjetlost obasja ulaz Velike planine. Ulaf bez straha prođe kroz ulaz i zakorači u tminu planine. Poslije nekoliko trenutaka, iz dubine Visoke planine izlazi Ulaf sa kamenom mudrosti u svojim rukama. Kamen isijava divnu svjetlost iz svoje nutrine. Ova svjetlost obasjava Ulafovo lice. Ulaf zadivljeno posmatra kamen na svome dlanu.)

ULaF: Kako je divan...

gobLiN: Ulafe... Tvoji prijatelji te čekaju...

(Ulaf se trgne iz zanesenosti, ozareno pogleda u Goblina.)

ULaF: A ti?

gobLiN: Ja?!

ULaF: Zašto ne pođeš sa mnom? Svi će se obradovati...

gobLiN: Jednom... kad se smijeh i radost vrati u Zemlju Dubokih fjordova... Tada ću doći.

121

ULaF: To će biti nešto posebno. Što će se pamtiti. Sedam dana i sedam noći ćemo proslavljati...

gobLiN: ... uz muziku koja će odjekivati okolnim šumama...

ULaF: ... i dalje – duž svih fjordova...

gobLiN: ... sve do oboda Zemlje izmaglica.

ULaF: A potom... tokom dugih zimskih večeri...

gobLiN: ... sjedeći oko vatre na sredini sela...

ULaF: ... pričaćemo o svakom detalju... (zagrli Goblina) Gobline... Vikinzi iz Zemlje Dubokih fjordova te nikada neće zaboraviti.

(Goblin se udaljava)

gobLiN: Pomenite me u vašim pričama i pjesmama... One vječno traju.

(Ulaf pođe sa kamenom mudrosti na svome dlanu. Goblin gleda za njim sa osmijehom na licu. Kad Ulaf nestane sa vidika, veselo lupi svojim dlanovima. Igrajući i poskakujući, nestane u dubini šume.)

k r a j

122

glumačka ekipa predStave „Skriveno Blago malog trola“. S lijeva na desno glumice: jadranka mamić, zoja Bećović, marta pićurić. S lijeva na desno pozorišne lutke: trol, vještica friga, ulaf vikingthe teaM of aCtors froM the shoW “hidden treasure of a little troll”.from left to right: jadranka MaMić, zoja bećović, Marta Pićurić. Puppets from left to right: troll, sorCeress friga, viking olaf jaCobson

123

iz predStave „Skriveno Blago malog trola“. trol (jadranka mamić), vještica friga (zoja Bećović), viking ulaf jakoBSon (marta pićurić) froM the shoW “hidden treasure of a little troll”.troll (jadranka Mamić), sorCeress friga (zoja bećović), viking olaf jaCobson (Marta Pićurić)

124

125

iz predStave „Skriveno Blago malog trola“. div i viking ulaf jakobson froM the shoW “hidden treasure of a little troll”.giant and viking olaf jacobson

126

127

128

„Skriveno Blago malog trola“ viking ulaf jakobson i vještica friga pretvorena u cvijet“hidden treasure of a little troll” viking olaf jacobson and sorceress friga turned into a flower

„Skriveno Blago malog trola“ div“hidden treasure of a little troll” giant

129

„Skriveno Blago malog trola“ viking ulaf jakobson i vještica friga pretvorena u cvijet“hidden treasure of a little troll” viking olaf jacobson and sorceress friga turned into a flower

„Skriveno Blago malog trola“ mala vještica friga“hidden treasure of a little troll” little sorceress friga

„Skriveno Blago malog trola“ gospođica pečurka“hidden treasure of a little troll” Miss Mushroom

„Skriveno Blago malog trola“ lijepa djevojka“hidden treasure of a little troll” Pretty girl

130

„Skriveno Blago malog trola“ gospodin crv“hidden treasure of a little troll” Mr Worm

„Skriveno Blago malog trola“ vuk“hidden treasure of a little troll” Wolf

„Skriveno Blago malog trola“ rak“hidden treasure of a little troll” Crayfish

hiddEN TrEaSUrEoF a LiTTLE TroLL


132

oLaF jacobSoN – Viking from the Land of Deep Fjords and numerous islands, from whose shoulders spreads a tremendous region chained in eternal snow and ice

gobLiN – a troll, a small, stubby creature which lives in the interior of the hills and shadowy forests; it sometimes helps people with its magical powers; it goes out only in the night, because the light of the sun turns it into a stone

Friga – a cunning and powerful sorceress; she takes different forms and thus easily seduces her victims

mr. NEiLS – a tired worm, beaten out with illness

miSS ULLa – a natty mushroom, of a haughty and rumbustious nature

ELF – the Master of forests

grENdaL – a giant, the guardian of the entrance to the Great Mountain, which hides in its heart the source of Wisdom, Mimira, and the stone of magical powers

FLoWEr – from the Glacier Lakes

Friga – a sorceress an inch tall

maidEN – a beauty

TrEE – a tree which talks in Olaf ’s voice

bird – a bird which talks in Friga’s voice

rabbiT – a rabbit which talks in Goblin’s voice

FLy – a fly which talks in Friga’s voice

crab – a crab which talks in Goblin’s voice

dramatiS perSonae

133

1

(Forest. A troll appears.)

gobLiN: (inhaling deeply) How fresh is the air after rain... The smell of flowers is captivating... The drops are dripping from the leaves, while a haze is rizing from the ground. I really love forest in spring. Such a green forest, and so thick, washed with warm rains, it just exuberates...

(The troll merrily dances to the sounds of lively music. Mr. Neils, the worm, appears.)

mr. NEiLS: Ahchoo! Damned storm... You cannot hide from it. Ah-ah-choo!

gobLiN: Good day, Mr. Neils. What is wrong with you today?

mr. NEiLS: Oh... that’s you, Goblin. Ahchoo! Well... I’ve got a cold...

gobLiN: It cannot be because of the rains?

mr. NEiLS: It is because of the rains, what else can it be? It, surely, is not... ah-ah-ah... (he is ready to sneeze, but the troll puts his fingers under the worm’s nose and the worm calms down) It certainly is not because of the cabbage or the maple flower. Brrrr! It is really cold. And wet...

gobLiN: Your age, Mr. Neils... old bones... I completely understand you...

mr. NEiLS: If you knew how every muscle in my body wails and grinds. Simply, I cannot stand the pain. And these rains... The horror! Once they start they don’t want to stop. They pelt... shower... pour down... As if the sky has opened above us. One day we will choke in mud and mire. Pfew!

(Miss Ulla appears, a mushroom with a beautiful long hair, with plenty of jewelry around herself, and clad in bright colours.)

miSS ULLa: Who is uttering oaths on my beautiful rains? Well sure, that is you! Who else could it be? You old grumbler...

mr. NEiLS: Miss Ulla, your language!

134

miSS ULLa: What is it with my language? You old grouch...

mr. NEiLS: (an exclamation of dismay) Oh-oh!!!

miSS ULLa: Don’t you oh-oh!! That is true, you wrinkled scarecrow.

mr. NEiLS: I... I... I will no longer stand this. Ahchoo! My age... My honour... I am offended...

(Mr. Neils turns around in anger and goes to the other side.)

miSS ULLa: To revile rains... this beautiful humidity in which I feel so happy. Blissed. In which I grow beautifully, I exuberate... I am becoming increasingly beautiful. The most beautiful in the forest... An unheard of impudence.

mr. NEiLS: Listen to me well, you an edible mushroom. You mushrooms are just so: giddy and ill bread. Of a haughty nature and a shallow wit. Tawdry, hey, under your curls and ribbons, rumbustious. I should better say – vulgar.

miSS ULLa: Whaa-at...?! Me... vulgar!!! Now, do you hear him, Goblin?

gobLiN: Don’t... There is no need... Those words...

miSS ULLa: Myself, so beautiful, juicy, with such a luxurious hat on my head! To say those words to me? Such an insolence. Well, such a thing I have never experienced in my whole life.

mr. NEiLS: Because of these hats of yours you look at everyone from above. You imagine you are something special. Yes, of course! In their “clever” heads, these girls fancy that they are beauties... Some kind of visions... The most beautiful in the forest... They are blowing their trumpets to the first treetops...

miSS ULLa: With a good reason. Such beauty is seldom met.

mr. NEiLS: You mushrooms are always primping yourself... changing in new attire... You comb yourselves, you twist your hair... All day long you have some ribbons and some necklaces around you. So that you can overshine everything else in the forest. While in reality...

135

miSS ULLa: What does it mean “while in reality”, you miserable worm? You... you... one grumpy worm! If you were a real gentleman, you wouldn’t be sucking in rotten apples and hazels. You wouldn’t be scooping out old stubs... You wouldn’t be grazing on the leaves of the dear old trees, you forest pest!

mr. NEiLS: Oh! Oh!! Your language, Miss Ula!!! Watch your language.

miSS ULLa: Don’t you watch your language to me, it’s my language, and it’s mine. If I catch you... Those eyeglasses of yours will...

(Goblin stops them with a movement of his hand.)

gobLiN: Shhhhhhhh! (the worm and the mushroom become silent) There is a man in the forest...

(Mr. Neils and Miss Ulla speak at the same time.)

mr. NEiLS: Where?

miSS ULLa: How?

(Goblin moves a few steps away. He is listening in.)

gobLiN: He is walking down the road... straight this way...

miSS ULLa: Ouch, he will pick me! I have to run away...

mr. NEiLS: Oh-oh! The horror! He will step on me...

miSS ULLa: (stops for a moment) If you are lucky, Mr. Neils, maybe he will only squash you... Like a worm...

(Miss Ulla laughs ironically and disappears.)

mr. NEiLS: Well, these mushrooms have certainly gone beyond their bounds. (in an upset voice) I have to hide... There is a hazel... It’s the safest place...

(The worm disappears. The troll is hiding behind a tree. The footsteps of the man are coming closer.)

136

2

(Olaf Jacobson appears, a Viking warrior.)

oLaF: How dark it is in this forest... Should I stop and make fire? I could rest a bit... and have these clothes dry. I am all wet. (Leaves rustle and Olaf winces. Troll is peeking from behind a tree.) Who’s there?

gobLiN: Oo-oo-oo!

oLaF: Who is it? If you are a man and a brave, show yourself.

(Goblin slowly sneaks up behind Olaf ’s back.)

oLaF: The fact that it is a night and it is pitch darkness doesn’t mean anything to me. I am in the middle of the forest, but my heart is calm. See, it is beating just normally. Tick-tack... tick-tack...

(The troll touches him and the young man bounces back in fear.)

gobLiN: What are you doing in my forest?

oLaF: My-y name is Olaf Jacobson. I am the most courageous Viking from the Land of Deep Fjords.

gobLiN: And? What has brought you here?

oLaF: I am going a long way...

gobLiN: Why?

oLaF: My village was hit by a big accident. Our crop has failed, we can not catch fish in the lake and the river, and we have not seen the game for months...

gobLiN: That means... there is hunger in the village?

oLaF: Enormous hunger. So big that even its oldest inhabitants do not remember such a privation. It was followed by diseases... frosts and an unseen cold...

gobLiN: And where are you heading to?

137

oLaF: The oldest and the wisest of the Vikings deliberated for two days and two nights and finally they came to a decision: the bravest among us should bring the stone of wisdom from Valhira...

gobLiN: The stone of wisdom from the Land of Mist? What do you know about it?

oLaF: In the night of the full moon it shines with a special glow. Our sorcerer is confident that he would be able to interpret its signs...

gobLiN: ... and to drive away the hunger and disease with their help...?

oLaF: Our elders are dying... the children do not play any longer. The laughter died in our village. Everywhere there is sadness and crying... That magical stone must teach us how to drive away the damnation, which... like snow... has fallen upon us...

gobLiN: You are sad and very grave... Such a big worry does not become your age.

oLaF: Thank you for your nice words... I have to go now.

gobLiN: Wait. Listen to me well. Go this way and turn right at the big oak. The path will lead you out of the forest. (Olaf leaves, but the troll stops him by pulling his clothes.)Waa-it. Take it easy... Remember well – a spring starts at the exit of the forest. Follow its flow and, faaaa-ar away, in the furthest north, you will come to the Land of Eternal Ice. (Olaf makes a few steps, but the troll stops him angrily.) You really make me angry. Can’t you wait a bit?... There, in the Land of Eternal Ice, the highest mountain top is the Great Mountain. Now, you see... (It appears to the troll that Olaf wants to leave, he moves so as to obstruct him, but the Viking looks at him surprised.)... at the foot of the mountain, there is a hidden entrance. It is guarded by Giant Grendal. If you manage to fight him, you will come to Mimira, the source of wisdom. Be careful... In the middle of that source, there is a rounded stone. (victoriously) That is what you are looking for.

oLaF: Thank you.

(Olaf leaves.)

gobLiN: I am not finished yet... Also, remember this – on your way, beware of Friga, an evil sorceress. She is cunning and powerful. She takes numerous forms so that she can easily seduce you.

138

oLaF: With this sword in my hand and with my strong muscles – I am not afraid of anyone.

(The troll suddenly disappears. Olaf turns around in astonishment.)

oLaF: Hey! Where are you? He is gone. How can someone... disappear... just so suddenly? Am I bewitched...? And this forest is... bewitched...?

139

3

(Mushroom Ulla peeps out.)

miSS ULLa: Shhhhh! Young man...! You will not pick me up...? Or cut my beautful hat...?

oLaF: Me? Why would I do it?

miSS ULLa: People eat mushrooms... Why wouldn’t you?

oLaF: I don’t have time for that. I am in a hurry, a long journey is ahead of me.

miSS ULLa: Wait. Slow down. Do you know who sorceress Friga is? (Olaf shakes his head) I thought so... You know... In front of myself, I saw a young... a beautiful man, so I took pity. Therefore – shhhhh! (she turns around) Come closer... (she whispers) Listen to Miss Ulla: turn around and... At once... go back home... While there is still time...

oLaF: Vikings never run away... Our honour obliges us to stay in battle until the very end... Regardless of what is waiting for us...

miSS ULLa: You are wrong, young man. Vikings die too... (confidently) She is the haughtiest and the most devilish creature in the world. She can bewitch you and turn you into an owl... A frog... A little lizard... Anything. She can enchant you and then – in front of your eyes, you see everything crooked... She knows the magic... She makes the strangest potions... She can...

oLaF: That’s enough. I don’t want to know...

miSS ULLa: And...? What have you decided? Are you going back...?

oLaF: Valhira – the land of gods – is far away. Therefore, don’t detain me any longer.

miSS ULLa: You, humans, are really of special wisdom. Do as you want. I have warned you...

(The mushroom leaves. Olaf takes the path.)

140

4

(A powerful thunder is heard, followed by the change of light. Sorceress Friga appears.)

Friga: Why are you walking through my forest? Who allowed you to breathe in my air?

oLaF: I... I am on my way...

Friga: Where to, you tiny creature?

oLaF: I don’t allow anyone to talk to me like that. I am the bravest warrior and my sword...

(Friga laughs mockingly, getting into Olaf ’s face.)

Friga: You are really ridiculous... Your sword!! What with it...? You are putting everything around to fire and flame...?

oLaF: Yes.

Friga: So far, you have fought everyone with your strong muscles...?

oLaF: Yes.

Friga: (she laughs again) I say, you are very funny.

(The sorceress suddenly becomes serious.)

Friga: Listen to me well, you puffed up head. Forget every advice you were given by that large-eared Goblin – forget. Listen to my advice. Turn around and go back to your village.

(Olaf wants to continue his journey, but Friga stops him.)

Friga: Forget the Great Mountain. Forget the spring Mimira and the stone of wisdom in its middle...

(Olaf is trying to pull free in vain. He is pulling his arm, but the grip of Friga’s hands is too strong – she is not letting him get away.)

141

Friga: He has fooled you, that large-eared shrewd.

oLaF: How?

Friga: There is not a miraculous source... There is not a magical stone either, which knows every secret, which has all the answers... He made it up... Only to harm you.

oLaF: But... my village... I have to save it...

Friga: People die anyway... sooner or later... Why would it be important? And trolls... They like playing with people more than anything else.

oLaF: I only know that my only task is to cut short the evil and the misfortune that befell my village. And I have to do that as soon as possible...

Friga: Remember – my word is to be obeyed! Only mine!

(Friga leaves, laughing in her unique way.)

oLaF: This sorceress is not joking... (he winces) Olaf, don’t think of her. Everybody in the village is eagerly waiting for you. You have to go on!

(He leaves.)

142

5

(Forest. Olaf walks watchfully.)

oLaF: The path leads deeper and deeper into the forest. Did the troll describe the way correctly...? (The troll peeps behind a tree.) He said – go straight to a big oak. There. I am walking, and walking, and there is not the oak. What is it? (He is listening attentively.) Something is rustling... (When he realizes that he is shaking, he coughs, and straightens himself.) Olaf is the bravest warrior. Olaf is a Viking and Vikings are courageous... (He turns around.) They are not afraid of anyone... While my sword is here, I...

(Elf appears.)

ELF: Halt there!

(Olaf bounces off in fear.)

oLaF: Who is... it?

ELF: The Master of the forest.

oLaF: You are the master? In this forest I have already met two masters. Could there be a third one?

(The troll peeps from the opposite part of the path.)

ELF: I have never heard of any masters. I am the only one... the most powerful one in the whole world...

oLaF: The biggest? I have heard that somewhere... Yes, from the old sorceress...

ELF: Everybody listens to me. They obey my words... and surrender to my will...

oLaF: It doesn’t work for me.

ELF: It doesn’t work for you...?

oLaF: A Viking is a master to himself. He trusts his arms only... he obeys only his own desire...

143

ELF: Listen to me well, you miserable human being. When I catch one, I turn him into a dash of dust immediately. (Olaf pulls back.) I enjoy when people are afraid of me... You! Two-legged creature! Come closer... I will tell you one secret: I cannot sleep well before I grab someone and then I squash him, and squeeze him, like a raspberry, and then...

(The elf heads towards the young man, Olaf pulls back. Goblin lifts his hand from behind a wide bole. Olaf stops.)

ELF: (the voice of sorceress Friga) What? Where does this come from?

oLaF: My sword is waiting for you... Come on, come close...

ELF: (Friga’s voice) I know, that Goblin is having his fingers in the pie. He is always messing around with everything. But... let him be. He will see for himself. Viking, you have got off the hook now, but remember... We will meet again...

(Friga is laughing. The elf disappears.)

oLaF: He is gone... The road is free. The Great Mountain is waiting.

144

6

(Field covered with snow. Olaf comes around, obviously tired.)

oLaF: (shuddering with cold) It is really cold. It must be because I am sleepy... Olaf, hold on... Just a little bit more. Somewhere near here is the Great Mountain... Talk, about anything, just so you don’t fall asleep... Look up... Look at the sky over there... myriads of stars. How beautifully they shine! Like sparks in a fireplace... The sky is nowhere similar to this one, above the land of the Vikings...

(A flower appears in the snow.)

oLaF: Is it my fantasy or is this a flower in the snow?!

FLoWEr: In the night of the full moon, under the shimmer of the distant stars, our gentle crowns are breaking through the thick drifts of snow.

oLaF: Is it because of this unsurmountable whiteness that I think I am seeing... a talking flower?

FLoWEr: We, flowers from the Glacier Lakes, last only one night... Moonbeams are washing us, and the clean air refreshes our breath...

oLaF: (coming close to the flower) What beautiful petals it has...! And its smell...! It is captivating...

FLoWEr: We are standing thus in the snow, we are looking at the white desert around us and silently... we are talking with the stars.

oLaF: And this music...! Where does it come from...?

FLoWEr: A light breeze is gently swaying us, and we are merrily surrendering ourselves to it.

oLaF: It is wonderful to see something so beautiful in this desert...

FLoWEr: We are swinging, and swinging... We enjoy every our movement...

145

oLaF: I have been walking for days now... I should have some sleep...

(Troll Goblin peers from behind a big drift of snow. He attentively watches the boy who is ready to lie under the wide petals of the flower.)

FLoWEr: Come closer... My petals are beautiful and they are fragrant, and my leaves... See how wide they are.

oLaF: This is a real place for sleeping... I will have just a little rest and then I will continue my way.

(Olaf lies down under the flower. The flower bends towards him.)

gobLiN: Olaf, wake up... Be strong and come out of your dream...

(Two leaves are curving around Olaf ’s neck, choking him.)

gobLiN: Olaf, you have to wake up. Immediately... Your village is waiting for you... Your friends are calling you...

(The pressure of the leaves around Olaf ’s neck increases. Olaf is choking.)

gobLiN: Olaf! You are strong. Resist the magic... Come out of the dream.

(Olaf is waking up. He coughs and loudly fights for breath. The leaves are drawing back. The flower from the Glacier Lakes is completely calm now.)

oLaF: What has just happened? I cannot breathe... My neck...

FLoWEr: (the voice of sorceress Friga) It must have been the large-eared Goblin messing around again. Ou-gh!! I am really angry! Well... Goblin... yours will not be the last word. My power is greater than yours. You will see who Friga is.

(The flower disappears.Olaf turns around in confusion.)

oLaF: The flower is gone... How...!?! Could it have been an illusion...? I must have reached Valhira. Everything is possible in it.

(Once he is certain that the young man is fine, Goblin smiles and disappears. Olaf, being so terrified, did not even notice him.)

146

7

(Severe lightning and a strong wind. Roaring thunder.)

oLaF: Are the gods getting angry because I have encroached onto their land? Oh, Odin, the first of the gods, Olaf Jacobson begs you to forgive him because he, being a mortal, has dared to come to your land. (Thunder repeats.) My country is in trouble. Help me come to the precious stone of wisdom and we, Vikings, will forever be grateful to you... We will celebrate you in our songs. At every feast and festivity we will mention you... On every our shield we will imprint your image...

(Heavy and strong footsteps are heard.)

oLaF: Giant Grendal...! Odin!!! The first among the gods. Give me the strength to beat giant Grendal and Olaf Jacobson will forever be offering sacrifice to you...

(The light has changed. Giant Grendal comes in.)

grENdaL: What is a mortal doing on my land?

oLaF: Olaf from the Land of Deep Fjords has come for the stone of wisdom.

grENdaL: (laughs) The stone, nothing less! You two-legged creature, fragile as a breath, dared come to Valhira and humiliate me, giant Grendal!!

oLaF: I have to find that stone. The life of my people depends on it.

grENdaL: Do you know, you sack of bones, that I am the keeper of the entrance to the Great Mountain? Do you really think that I will... just so... let you steal it?

oLaF: You cannot stop me.

grENdaL: You miserable human being, do you know how many people have already come here? How many of them have already tried to enter the Great Mountain?

oLaF: I am not interested in it.

grENdaL: Go to the Forest of Silver Firs and count the graves.

147

oLaF: You will not scare me, you ugly monster.

(Troll Goblin appears.)

grENdaL: Get ready to go to Valhala, the hall of the dead warriors...

oLaF: My sword is sharp, Grendal...

grENdaL: You believe that with that tiny reed you can conquer me, the powerful Grendal?

(The giant laughs. Olaf and the giant are circling one another. Fighting develops. Olaf manages to set many blows, but also to receive a few painful ones. At one point, Olaf finds himself on the ground. Giant Grendal bends above him in a threatening way. He is ready to set the last blow with his sword. Olaf, lying on the ground, expects his end. The troll lifts his hand, murmuring some magical words. Led by the troll’s invisible beans, Olaf jumps up and storms upon the giant. Very quickly he manages to hit the giant. In his death rattle, the giant falls down.)

oLaF: I cannot believe! I have conquered the Giant!

(Troll Goblin joins Olaf. Delighted, they both rejoice.)

gobLiN: And not just any giant. Grendal is far renowned for his strength and cruelty... Olaf, the road to the Great Mountain is free... Just, watch yourself! There is only a little time left... Hence, hurry...

(The troll leaves.)

148

8

(Sorceress Friga appears.)

Friga: It’s not going to be that easy, little one... That’s not what we agreed upon...

oLaF: I haven’t agreed upon anything with you.

Friga: No one is talking like that to Friga, the greatest sorceress. (She lifts her hands.)

Opulus rirum, aquarius pirumAll the powers of the worldGather into status primumAnd, for me, turn thisHuman being into a tree!

(The light has changed. Olaf spins. Carried on some silk, he comes to a tree and disappears in it. The tree opens its eyes and speaks.)

TaLKiNg TrEE: (Olaf ’s voice) What has happened...? Where am I? Am I imprisoned in a tree?

(Friga laughs in her mocking way.)

149

9

(Goblin appears.)

gobLiN: Friga!! Now you have pushed it too far. This young man is under my protection.

Friga: Why would I care for you and for this young man...?

gobLiN: I say – you have pushed it too far. Free him.

Friga: Never! He will remain in this tree forever. Or... (she laughs) – until it is cut and a fire is made with it...

(Friga’s thunderous laughter is still echoing in the place.)

gobLiN: I have warned you...

Friga: Don’t you threaten me, you large-eared midget. My powers are greater, you know it well. I am Friga, the most powerful sorceress in this world.

gobLiN: Now you will find yourself in another pair of shoes. (He lifts his hand.)

Fly in a circle, swifter and swifter,Till a little bird you become...

(Friga disappears. A bird appears.)

bird: (Friga’s voice) You turned me into a bird? Me – the beautiful, evil Friga turned into a little bird!! Well, you can’t do this!!

You, Goblin, large-eared troll,Turn yourself into a rabbit small.

(Troll Goblin disappears and a rabbit appears.)

rabbiT: (Goblin’s voice)

A little bird you are no moreas a boring fly you are to go.

150

(The bird disappears and a fly appears. It buzzes immediately and flies in a circle.)

FLy: (Friga’s voice) Well, this is unheard of. Me... To turn me into a fly!!

Tiram-torum-paurus-polumall the worldly powers now help that troll Goblin in a crab is set.

(Rabbit disappears and a crab appears.)

crab: (Goblin’s voice)

Alberik, our king,and all the trolls under the dome,help Goblin with your power wholeand with beauty sorceress Friga adorn.

(The fly disappears and a beautiful maiden appears.)

maidEN: (Friga’s panicking voice) Oh, no! Not the beautiful dress... And what about my face? Where is my ugly face? I don’t want this! I don’t want to be beautiful. I want to be ugly, and evil, and spiteful. Give me back my face... (She cries.) I want my wonderfully ugly face back...

crab: (Goblin’s voice) First, you give me back my own look... Just like that...

(The crab disappears and Goblin appears.)

gobLiN: Now, give us back that young man...

maidEN: (Friga’s voice) Never... I will not! He is punished...

gobLiN: Then you will forever remain such a beauty...

maidEN: (Friga’s voice) I don’t want that either... (pause) All right, I will free him.

(Olaf Jacobson appears from behind the tree. He approaches Goblin.)

maidEN: (Friga’s voice) What about me?

gobLiN: Turn around yourself. That way... A bit more... And now... Puff!!!

151

(The maiden disappears and Friga appears in the size of a hand.)

Friga: Why, you made me small!?! Give me back my look! Immediately!

gobLiN: You will fix it easily on your own. Aren’t you the most powerful sorceress? (He lifts his hand and Friga flies into the depth of the scene.) You will fly off to the far north... There where eternal snow and ice reign. Being so small, you will probably turn into a stone.

Friga: No-o! I don’t want to disappear!! I don’t want to be a stone! Goblin... Damned troll! Free me from your magic.

(Friga disappears.)

oLaF: I don’t see her any longer...

gobLiN: We will not see her for a long time. Until her witch sisters gather and start looking for her.

oLaF: And... when they find her...?

gobLiN: Well, then... (he waves his hand) We will think of her only then. Olaf, the way to the magical source of Mimira and to the stone of wisdom is now free. Go in and bring it out...

(Olaf leaves for the magical source. Beautiful, flaring light illuminates the entrance to the Great Mountain. Without fear, Olaf goes through the entrance and steps into the darkness of the mountain. Several minutes later, Olaf comes out from the depth of the Great Mountain, carrying the stone of wisdom in his hands. The stone radiates a beautiful light from its core. This light illuminates Olaf ’s face. Olaf watches the stone on his palm with awe.)

oLaF: How beautiful it is...

gobLiN: Olaf... Your friends are waiting...

(Olaf winces from his musing and looks at Goblin elated.)

oLaF: And what about you?

gobLiN: What about me?!

152

oLaF: Why don’t you come with me? Everybody will be happy...

gobLiN: Once... when the joy returns to the Land of Deep Fjords... Then I will come.

oLaF: It will be something special. Something that will be remembered. We will celebrate it for seven days and seven nights...

gobLiN: ... followed by music that will resonate through the surrounding forests.

oLaF: And even farther – along all the fjords...

gobLiN: ... all the way to the borders of the Land of Mists.

oLaF: And after... during the long winter evenings...

gobLiN: ... while sitting around the fire in the middle of the village...

oLaF: ... we will talk about every detail... (He hugs Goblin.) Goblin... Vikings from the Land of Deep Fjords will never forget you.

(Goblin departs.)

gobLiN: Mention me in your stories and your songs... They last forever.

(Olaf leaves with the stone of wisdom in his palm. Goblin looks after him with a smile on his face. When Olaf is out of the sight, Goblin joyfully clasps his hands. Dancing and hopping, he disappears into the depths of the forest.)

the end

153

prEdSTaVESaradNicE i SaradNici o

„pLaVoj LagUNi“

contriButorS on “Blue lagoon”

154

155

Lutkarsko pozorište „Plava laguna“ je nastalo u rijetko plemenitoj stvaralačkoj namjeri – u lutkarstvu. Ovaj stvaralački oblik je na našem prostoru, skoro uvijek, predstavljao uzgrednu pojavu i nedovoljno formiran teatarski istraživački izazov. Možda zbog toga što je lutkarstvo jedna od najzahtjevnijih pozorišnih disciplina i traži specifične oblike autorskog postupka, od kreiranja lutaka, scene, muzike do sasvim samosvojnog artističkog vida glume.

Iz ličnog iskustva u radu sa pozorištem „Plava laguna“ mogu pouzdano reći da je riječ o malom kolektivu koji zna šta hoće. O tome svjedoči i autorski izbor repertoara umjetničkog direktora Dragane Kršenković Brković. Riječ je o najboljim tekstovima ovog žanra. Uostalom, gospođa Kršenković Brković je dobar i afirmisan dramski pisac i školovan dramaturg.

Posebno ističem kompletan stvaralački proces kao oblik rada u ovom pozorištu. Dakle, svi autorski elementi, koji čine lutkarsku predstavu, stvaraju se u ovom malobrojnom kolektivu. Nažalost, pozorištu nedostaju osnovna tehnička pomagala za zvuk i svjetlo i autori često dobru ideju moraju podrediti lošim okolnostima. Srećom, brojna publika u predstavama ovog jedinstvenog pozorišta za djecu nalazi „lagunu“ dobre energije i posvećenosti.

Podgorica, april, 1996. godine

gorAN BulAjić reditelj

o „plavoj laguni“About “Blue Lagoon”

156

The puppet theatre “Blue Lagoon” appeared in a rarely noble creative attempt – in puppetry. In this region, this creative form has almost always presented a marginal phenomenon and an insufficiently formed theatrical research interest. The reason for this may be the nature of puppetry which is among the most demanding theatrical arts and it asks for specific forms of authorial procedure, from creating the puppets, the scene, and music to a particularly unique mode of acting.

From my own experience in working with “Blue Lagoon”, I can confidently say that we are talking about a small community that knows what it wants. A testimony to this is the authorial selection of the repertoire by the artistic director Dragana Kršenković Brković. We are talking about the best texts of this genre. Anyway, Mrs. Kršenković Brković is a good and an acclaimed playwright, as well as an educated dramaturge.

I especially want to emphasize the complete creative process which forms the performance of this theatre. Therefore, all the authorial elements, which make a puppet show, are made in a small community. Unfortunately, the theatre needs the basic technical appurtenances for the sound and light, and the authors are frequently forced to subordinate their good ideas to poor circumstances. Luckily, the large audience at the shows of this unique theatre for children finds the “lagoon” of good energy and devotion.

April 1996, Podgorica

gorAN BulAjićDirector

157

1Meni je dosta toga u magli, ali se sjećam čitaćih proba. Imam tako neke slike kojih se sjećam.

Sjećam se Bata [Huseina Bata Dukaja, prim. ur.] koji je htio jedno, a onda sam ja, kao mlada i nadobudna glumica, njega ubjeđivala da to ne može tako (smijeh). Sjećam se te borbe između nas. Zapravo, nikad to kod mene nije borba, niti je agresija. Međutim, kad zastupam svoje stavove, znam da budem jako tvrdoglava. Mislim da sam negdje izgurala te svoje stavove i zamisli. Jer sam prosto onako, svježa iz škole došla, i onda sam školski gledala na sve. Malo možda i kruto. Ali mislim da sam negdje na kraju Bata i ubijedila da to što sam ja zamislila i treba da bude tako.

Sjećam se tako nekih proba kada smo počeli. Trebalo je da ja započnem predstavu, da vodim publiku, da najavljujem scene, da pričam priču. Trebalo je smisliti kako izaći na scenu. Kako početi predstavu. Razmišljali smo, hoćemo ovako, hoćemo onako, pa ćemo ovo, pa ćemo ono. I onda sam ja smislila da izletim na scenu kroz kolut naprijed. (smijeh) Prosto da iznenadimo djecu, ipak su djeca. Mislila sam da će to njima biti zanimljivo, ako se nešto odjednom dogodi. I ja sam tako mislila. I sjećam se bolova u glavi – pošto nisam svaki put napravila kolut kako treba. (smijeh) Jer nekad po deset puta vraćamo i onda umjesto da se dočekam na rame, ja se dočekam na glavu. (smijeh) Zapravo, prosto sam se čitav život povrijeđivala, kad je ovaj posao u pitanju – ili je to noga, ili je to puknut mišić, ili je udarac u glavu, ili je slomljen nos... I to mi se par puta dešavalo. Tako da nije to ništa strašno. Ali sad u ovim godinama počinjem da osjećam posljedice i onda mi sve više i više treba masaža.

U bioskopu Kultura smo radili, gore, u jednoj kancelariji tadašnjeg direktora, Cica Popovića2. On nam je ustupio tu jednu prostoriju za čitajuće probe. A onda smo, naravno, prešli na scenu bioskopa Kultura. To smo radili preko dana, kad nije bilo projekcija.

Na kraju, želim reći da je to bilo jedno prekrasno iskustvo i jedina predstava za djecu koju sam radila.

1 Transkript dijela intervjua koji je sa Žaklinom Oštir vodila Čarna Brković 13. marta 2017. godine. 2 Radosav Cico Popović (1939–2012), dugogodišnji direktor podgoričkog bioskopa Kino „Kultura“.

ŽAKliNA oštirglumica Crnogorskog narodnog pozorišta

Sjećanja dvoje glumaca na rad „plave lagune“Two actors’ memories of “Blue Lagoon”

158

1My memories are largely blurred, but I remember our reading rehearsals. There are some images that I remember.

I remember Bato [Husein Bato Dukaj] who wanted one thing, but I, being then a young and aspiring artist, started persuading him that it could not be his way (laughter). I remember that fight between us. Actually, it has never been a fight with me, neither was there any aggression. However, I can be very stubborn when I stand for my claims. I think that I have somewhat pushed these arguments and ideas through. It just happened that, fresh from school, I arrived there and looked at it all in a schoolish way. Perhaps a bit rigidly. But I think that somewhere towards the end I managed to persuade Bato that what I imagined should be so.

I remember some of our early rehearsals. I was supposed to start a show, to lead the audience, to announce the scenes, to tell the story. It took us time to imagine how to get onto the scene. How to start the show. We were thinking, perhaps we should do it this way, perhaps the other way, so we should do this, then we should do that. And then I thought I should go out onto the stage making a roll forward. (laughter) It was simply meant to surprise the kids, they were kids anyway. I thought it should be entertaining to them, if something happens all of a sudden. And that is how I was thinking. And I remember the pain in my head – since I did not do the right roll all the times. (laughter) Because sometimes we repeated the scene for a dozen times, and instead of finishing on my shoulder, I would finish on my head. (laughter) Actually, I have been hurting myself all my life, when talking about this particular vocation – it was either my leg, or my muscle broke, or I received a stroke in my head, or my nose was cracked... It happened to me a few times too. So that it’s nothing really big. But in these years now I can feel the consequences and I need a massage more and more.

We worked in the Cinema “Kultura”, upstairs in an office of the then director, Cico Popović2. He gave away this room for our reading rehearsals. And then, of course, we moved on the stage of “Kultura”. That is what we were doing in the daytime, when there were no other projections.

Finally, I would like to say that this was a wonderful experience and the only performance for the children I have been engaged in.

1 Transcript of one part of the interview with Žaklina Oštir led by Čarna Brković on March 13, 2017. 2 Radosav Cico Popović (1939–2012) stood for many years as a director of Podgorica’s „Kultura“ Cinema.

ŽAKliNA oštirActress in the Montenegrin National Theatre

159

Predstava je već bila postavljena kada sam ja došao, kao zamjena za nekog, ne mogu da se sjetim kog glumca. U predstavi su igrale Jadranka Mamić i Žaklina Oštir, i još dva glumca čijih imena ne mogu više da se sjetim. Ja sam igrao (ako se dobro sjećam) Konovala i Arčibalda. Predstava je bila polu-lutkarska, imali smo djelove kada smo bili na sceni pred publikom, a onda djelove kada sam imao dvije lutke koje sam animirao iza scenografije. U predstavu sam došao na preporuku Jadranke Mamić. Ona me je pripremala za prijemni ispit na glumačkoj akademiji i smatrala je da je dobro iskustvo za mene da izađem pred publiku i na taj način probijem led kad se radi o scenskom izvođenju. Kao srednjoškolca, bilo me je jako strah da radim sa profesionalnim glumcima. Ali su probe bile jako prijatne i na kraju mi je bilo čisto zadovoljstvo da igram u toj predstavi. Sjećam se da je prva predstava koju sam igrao igrana u osnovnoj školi u Tuzima. Bio sam šokiran što je moj prvi nastup pred tom ogromnom masom djece, za koju je izgledalo da nema kraja.

To je prva predstava koju sam igrao u životu i nikada je neću zaboraviti. Čak i sada, poslije skoro dvadeset godina glumačke karijere, i dalje sam više pozorišni nego filmski glumac. A predstave kao što je „Kapetan Džon“ su bile oslonac te moje ljubavi prema pozorišnoj umjetnosti. Naravno da sam imao sreću da na samom početku karijere radim sa stručnjacima od kojih sam mnogo naučio i koji su mi otvorili oči za neke male scenske trikove koji su mi jako pomogli i kasnije u karijeri.

Ja sam uvijek volio „Milun Božović“1. To je prva scena na koju sam stao i uvijek ću je se sjećati kao posebne. Mislim da su predstave za djecu bile previše intimne za veliku salu Doma omladine2. A mala sala u podrumu je bila previše jeziva, crvena i mračna. Nisam baš siguran da bi to bio dobar prostor za djecu, iako je lokacija bila jako dobra.

1 Narodni univerzitet „Milun Božović“ (ranije poznat kao Radnički univerzitet „Milun Božović“) osnovan je 1956. godine kao institucija namijenjena obrazovanju odraslih, koja je vršila različite vaspitno-obrazovne, kulturne i in-formativne djelatnosti.

2 Dom omladine „Budo Tomović“ – Podgorica (od 2001. godine Javna ustanova Kulturno-informativni centar „Budo Tomović“) institucija čija je djelatnost organizacija kulturnih i obrazovnih programa.

MlADeN oBrADoVićglumac i umjetnički direktor PULSE pozorišta u Kanadi

160

The stage was already set when I arrived as a replacement for another actor, I cannot remember who it was. Jadranka Mamić and Žaklina Oštir played in the show, and two more actors whose names I also cannot remember. I played (that I remember well) Konoval and Archibald. The show was half a puppet play, we had parts in which we were on the stage in front of the audience, and then also parts in which I had two puppets which I animated behind the scenography. I joined the show through a recommendation of Jadranka Mamić. She was coaching me for the entrance exam to the academy of art and she thought it would be a good experience for me to stand in front of the audience and thus take the plunge when it comes to the performance on stage. As a high school student, I was intimidated to work with professional actors. But the rehearsals were very pleasant, so that playing in this show turned out to be a pure pleasure for me. I remember that the first show that I took part in was performed in a primary school in Tuzi. I was shocked to realize that my first appearance on the stage was in front of what appeared to be an infinite mass of children.

It was the first show I played in and I will never forget it. Even today, after almost twenty years of my career as an actor, I am still more a theatre actor than a movie actor. And shows, such as “Captain John”, supported my love for theatrical art. Of course, I was lucky to work with and learn from professionals at the very beginning of my career, who opened my eyes for some small stage tricks, which helped me immensely later in my career.

I always loved “Milun Božović”1. It was the first stage that I stood on and I will always remember it as the special one. I think that the shows for children were too intimate for the big halls, such as was the one in “Dom omladine”2. While the small hall in the basement was too creepy, red, and dark. I am really not sure that it would be a good space for children, although the location was a very good one.

1 People’s Educational Association “Milun Božović” (also known as Workers’ Educational Association “Milun Božović”) was founded in 1956 as an institution devoted to adult education. It performed di-verse educational functions, and provided cultural and informative services.

2 “Dom omladine” (mne.) – means the hall of youth. Dom omladine “Budo Tomović”, Podgorica (in 2001 renamed as Public Institution, Culture and Information Centre “Budo Tomović”) is an institution devoted to organizing cultural and educational programmes.

MlADeN oBrADoVićActor and art director of the PULSE theatre in Canada

161

iVANKA VANA PreleVićvajarka i scenografkinja Crnogorskog narodnog pozorišta

Ideja Dragane Kršenković Brković da sa svojim suprugom Tomislavom Brko-vićem osnuje privatno lutkarsko pozorište meni je zvučalo kao bajka. Mislila sam da je to nemoguća misija u društvenim i ekonomskim okolnostima koje nisu bile jednostavne u to vrijeme. Okupili su manju grupu saradnika zainteresovanih i spre-mnih da se upuste u realizaciju lutkarske predstave. Odluka da se osnuje lutkar-sko pozorište bila je dragocjena jer je lutka izvrstan medij kojim se djeca upućuju na usvajanje određenih obrazovnih sadržaja. Preko lutkarskih predstava djeca se efikasnije uče osnovnim etičkim i estetskim načelima, kao i modelima ponašanja. Uvodeći djecu u svijet pozorišne umjetnosti stvara se prostor u kome se podstiču na različite oblike stvaralaštva.

Prvo moje iskustvo sa kreiranjem i izradom lutaka desilo se angažovanjem na pozorišnoj predstavi „Kapetan Džon Piplfoks“. Moje iskustvo u izradi lutaka u tom trenutku bilo je skromno, ali prevagnula je ogromna želja i nevjerovatna Draganina podrška da ja kao skulptor to mogu.

Posebno sam bila opijena samim procesom osmišljavanja i realizacije predstave „Skriveno blago malog trola“. Pored scenografije radila sam različite tipove lutaka – ja-vajke, mapet, ginjole, sicilijanke. U toj predstavi pružila mi se mogućnost da se angažu-jem od idejnog rešenja scenografije i lutaka, do njihove realizacije. Izborili smo se kako sa skromnim sredstvima, tako i sa nepoznanicama u tehničkom smislu na koje smo nailazili i došli do rezultata koji su za mene bili od velikog značaja. U toku procesa po-kušavala sam da se ubrzano uputim u osnovne postupke lutkarskog oblikovanja i me-hanizme za animaciju lutaka. Trudila sam se da saznam ono što lutka svojim oblikom kazuje i ono što svojom funkcijom znači. Lutke koje sam oblikovala zamišljala sam kao instrumente koje glumac treba da oživi, tako da im djeca povjeruju. Bila sam svjesna da je preda mnom ozbiljan zadatak, da nađem mjeru u oblikovanju kako prostora za igru tako i same lutke: ne definisati lik do kraja, ostaviti glumcu da ga nadogradi.

dragocjeno prvo iskustvoThe Precious First Experience

162

Zanimljivo mi je bilo kako da oživim komad sunđera kao i razne druge mate-rijale kojima smo stvarali likove. Moje skulptorsko iskustvo svakako mi je pomoglo da se lakše snađem i usudim na ovakvu avanturu, a s druge strane eksperimentisa-nja materijalima u likovnom smislu bila su mi od velikog značaja. Skulpture su se pretvarale u lutke i raznu drugu plastiku na scenografiji.

Potrebna je bila velika upornost i entuzijazam u svakom segmentu stvaranja predstava, pomagali smo jedni drugima kako bi nadomjestili skromne uslove u ko-jima smo radili. Ovakvo iskustvo izrodilo je divne uspomene i prijateljstvo za sva vremena.

163

iVANKA VANA PreleVićsculptor and scenographer of the Montenegrin National Theater

Dragana Kršenković Brković’s idea to establish a private puppet theatre with her husband Tomislav Brković sounded like a fairy tale to me. I thought that it was an impossible mission in the social and economic circumstances of the time. They gathered around themselves a small group of collaborators, who were ready to give themselves to the realization of a puppet show. The decision to found a puppet theatre was precious, because puppet is a unique medium through which children get directed to acquire certain educational contents. Puppet show is the most efficient means through which children learn about the basic ethics and aesthetic values, as well as about the models of behaviour. By introducing children to the world of theatrical art, we open a space in which they are encouraged to different forms of creativity.

My first experience with designing and creating puppets happened when I was engaged in the show “Captain John Peoplefolks”. My previous experience in creating puppets was quite modest, but a huge desire was stronger, as well as Dragana’s unbelievable support that as a sculptor I could do it.

I was especially captivated with the process of devising and with the realization of the show “Hidden Treasure of a Little Troll”. Apart from the scenography, I created various types of puppets – Javanese, the Muppets, guignols, Sicilians. In that show I got an opportunity to get engaged all the way from the conceptual plan of the scenography and puppets to their realization. We managed to carry on despite the modest financial resources and also despite the challenge of technical novelties that we were encountering, and we came to the results that were of great importance to me. In that process I was trying to quickly familiarize myself with the basic procedure of puppetry and the mechanism of puppet animation. I was trying to learn what a puppet says with its shape and what its function in the show means. I imagined that the puppets I was to model were the instruments which the actors were to put to life, so that children can believe in them. I was aware that a serious task was in front of me, that I have to find the right measure in modelling both the space for the play and the very puppets: the character was not to be defined to the very end, the actor should be allowed to build on the character.

164

It was interesting to bring to life a piece of sponge, as well as a variety of other materials which we used for making puppets. My experience as a sculptor helped me to easily get around this and to dare enter this adventure, while, on the other hand, experimenting with the material in a visual sense was of a great significance for me. Sculptures turned into puppets and other scenographic plastics.

I needed a good deal of persistence and enthusiasm in every segment of creating the shows, we were helping each other in order to make up for the modest conditions in which we worked. This experience left beautiful memories and gave birth to an everlasting friendship.

mEdiji o „pLaVoj LagUNi“

Media on“Blue lagoon”

166

167

Premijeru predstave „Kapetan Džon Piplfoks“, po tekstu Dušana Radovića, izvelo je prije dva dana u sali Biosko-pa „Kultura“ „Lutkarsko pozorište Plava laguna“. U režiji Huseina Bata Dukaja lutke, napravljene u radionici istog pozorišta, oživjeli su glumci Žaklina Oštir, Jadranka Ma-mić, Dragiša Simović, Mijat Radonjić i Lidija Dedović.

Svi koji, bar povremeno, dožive pozorišni čin ne mogu ostati ravnodušni na istinu da je u Podgorici prošle go-dine ozvaničeno, a sada i oživljeno, Lutkarsko pozori-šte „Plava laguna“. Pozorište koje ćе, ро riječima idej-nog tvorca, dramske spisateljice i dramaturga Dragane Kršenković Brković, pokušati svojim predstavama da razbije već ukorijenjeni stav kako je za dječiju scenu do-voljno samo oživjeti svijet životinja, mašte, а da pritom iz predstave ne zrači duh, misao, ona dublja ravan koja predstavu čini kompletnim pozorišnim činom. Prvijen-com „Kapetan Džon Piplfoks“, „Plava laguna“ taj orijen-tir nije zaboravila. Jedan od najigranijih tekstova Duška Radovića, raskošno otvorenu potku za scensku priču o razotkrivanju mitova i gluposti, ona je pirandelovski smjestila u igru koja može početi bilo gdje i bilo kad. Oko zaokružene cjeline Radovićevog čina dramaturg Dragana Kršenković Brković vrlo jе vješto dogradila štivo za igru iz koje se rađa ona druga. Tako je neosjet-no, prirodno dobijena igra u igri i mogućnost da glumci

The premiere of the show “Captain John Peoplefolks”, after the text by Dušan Radović, was performed two days ago on the stage of “Kultura” Cinema, by “Puppet Theatre Blue Lagoon”. Directed by Husein Bato Dukaj, the puppets, made in the workshop of the same theatre, were brought to life by the actors Žaklina Oštir, Jadranka Mamić, Dragiša Simović, Mijat Radonjić, and Lidija Dedović.

All of us who, even temporarily, have experienced a theat-rical act cannot stay indifferent to the truth that the Pup-pet Theatre “Blue Lagoon” was officially inaugurated last year in Podgorica and today it is brought to life. The the-atre which will, in the words of its conceptual creator, the playwright and dramaturge Dragana Kršenković Brković, attempt with its shows to break the deeply rooted attitude that for a stage made for children it is enough to only bring to life the worlds of animals, imagination, while the very show, all the while, does not reflect the soul, the thought, that deeper level which makes it a complete the-atrical act. In its premiere of “Captain John Peoplefolks”, “Blue Lagoon” did not forget this guiding idea. One of the most frequently performed texts by Duško Radović, with its luxuriously open undertaking for theatrical storytell-ing about the unveiling of myths and follies, is set by “Blue Lagoon”, in a Pirandellian fashion, into a play which can start anywhere and anytime. Around the rounded whole of Radović’s act, dramaturge Dragana Kršenković Brk-

MirsaD rastoDer MirsaD rastoDerradio crne gore, podgorica, 26. januar 1995. radio montenegro, podgorica, january 26, 1995

169

tumače više likova – da grupa mladih kampera na obali mora otkriva tajne: о čudovištu, legendarnom kapeta-nu, njegovom kukavičluku i glupim gusarima koje je lako nagovoriti i upotrijebiti.

Slijedeći osnovnu nit predloška da se mitovima prikriva obmana i da u životu snagom duha treba tragati za svim tajnama koje su iza linije datih stvari, reditelj Husein Bato Dukaj to је, u cjelini uzev, vrlo dobro ugradio u slike i odnose na sceni – što bi, svakako, mnogo jasnije bilo u nekoj pozorišnoj sali, od koje je ona u Bioskopu „Kultura“ daleko. Ovako, dijelom zbog toga, pa i nedo-voljne karakterizacije lutki i glasovne nečitkosti – gusa-ri povremeno nijesu stizali do publike, što је, naravno, ometalo gledaočevu koncentracіju i praćenje igre koju su ljupko i sa puno glumačkog šarma vodili Žaklina Oštir i Dragiša Simović, uz zapaženu saradnju, zanatsko umijeće Jadranke Mamić i Mijata Radonjića.

Kompozitor Leo Đokaj dokazao je da umije osjetiti duh pozorišta i predstave iz koje je i ova pjesma: (Muzika iz predstave).

Ukratko, „Kapetan Džon Piplfoks“, nije, dakle, razoča-rao, što је i dovoljno za radovanje prvijencu pozorišta „Plava laguna“ (kome treba pružiti ruku pa, sigurno, očekivati i više). Do tada treba vidjeti pokazano i stvo-reno bez velikih izdataka, ali sa mnogo ljubavi, ра i pro-fesionalnosti.

ović very skilfully built up a text for play, wherefrom yet another play bursts out. Thus we are given a seamless, naturally embedded play within a play and the possibil-ity that actors interpret a plurality of characters – and so that a group of young campers by the sea may discov-er secrets: about the monster, the legendary captain, his cowardice, and the foolish pirates who can be easily per-suaded and manipulated.

By following the central thread of the template, that myths serve to hide the deception and that in life we should use the power of the soul to search for all the secrets which stand behind the line of the given phenomena, the direc-tor Husein Bato Dukaj very skilfully built it in the images and the relations on the stage – which, certainly, would be more obvious in a real theatre hall, from which the one in the “Kultura” Cinema was pretty far away. Thus, partly because of the said reason and partly because of the insufficient characterisation of the puppets and the voice illegibility – from time to time the pirates could not reach the audience, which, of course, interfered with the concentration of the audience and their ability to follow the play that was, in a lovely way and pregnant with the actors’ charm, led by Žaklina Oštir and Dragiša Simović, with a noticeable cooperation and artistic skills of Jad-ranka Mamić and Mijat Radonjić.

The composer Leo Đokaj proved that he can feel the spir-it of theatre and the show, from which comes the follow-ing song: (The music from the show).

Shortly, therefore, “Captain John Peoplefolks” did not dis-appoint us, which is enough to celebrate this premiere of “Blue Lagoon” theatre (to which we should extend support and from which we, certainly, can expect more). Until then, we should go see what is performed and created without a lot of expenses, but with a lot of love and professionality.

171

Komad Kapetan Džon Piplfoks Duška Radovića igra lutkarsko pozorište „Plava laguna“ iz Podgorice

Pozorišni život u Crnoj Gori postao je odnedavno bo-gatiji za još jedno lutkarsko pozorište, privatno i pro-fesionalno, pod nazivom „Plava laguna“. Osnivanje jednog ovakvog teatra za najmlađu publiku predstavlja pravo osvježenje i priliku da se, uz već postojeće Dječje pozorište, osmisli i obogati pozorišni život za djecu. Potreba za jednim ovakvim pozorištem javila se odav-no na ovim našim prostorima, jer su lutkarske igre bile nekako zanemarene i potisnute sa repertoara. To su znalački iskoristili osnivači „Plave lagune“, ponudivši gledaocima svoju prvu predstavu „Kapetan Džon Pi-plfoks“, po tekstu Dušana Radovića.

Pretpremijera predstave igrana je u sali bioskopa „Kul-tura“. Organizatori su se opredijelili za reafirmaciju fenomena pretpremijere, budući da ovdašnja publika donekle i nije navikla na takve poteze. No i pored pro-ređenih gledalaca, pretpremijera je protekla u pravoj pozorišnoj atmosferi, raskošnoj igri s lutkama, uz vje-što odabrane songove.

The piece Captain John Peoplefolks by Duško Radović is performed by the puppet theatre “Blue Lagoon” from Podgorica

The theatre life in Montenegro has recently become richer with the appearance of another puppet theatre, private and professional one, called “Blue Lagoon”. The foundation of such a theatre for the youngest audience represents a true refreshment and an opportunity for us to, together with the already existing Childhren’s The-atre, conceive and enrich the theatre life for children. The need for such a theatre appeared long ago in the region, because puppet plays have been somehow ne-glected and repressed from repertoires. The founders of “Blue Lagoon” recognized the situation by offering their audience their first show “Captain John Peoplefolks”, adapted from the text by Dušan Radović.

The pre-premiere of the show was performed in the hall of “Kultura” Cinema. The organizers opted for the re-affirmation of pre-premiere, since the local audience is not used to such a manoeuvre. However, apart from the scarce audience, the pre-premiere developed in a true theatrical atmosphere, in the luxurious play with pup-pets, and with skilfully chosen songs.

Milutin Đuričković Milutin Đuričkovićpodgorica – „pobjeda“, ponedjeljak, 30. januar 1995. podgorica – “pobjeda“, monday, january 30, 1995

igra, poUKa, mašTa pLay, moraL, imagiNaTioN

pozorišna kritika theatre criticism

172

Dramaturgija, režija, animacija i tehnologija lutaka je jedan od najkompleksnijih vidova teatra, kojim se bavi mali broj ljudi. Ipak, čini se da lutkarstvo vaskrsava i konstituiše se u, uslovno rečeno, posebnu scensku umjetnost, sa posebnom estetikom, dramskom struk-turom i drugim segmentima. Kako bi to rekao Hen-rik Jurkovski, lutkarstvo je u prednosti nad dramskim pozorištem zbog oblika (lutaka), jedino mimika ne postoji. Istovremeno, lutke čine čvrstu vezu sa likov-nom umjetnošću, koja igra važnu ulogu u uspostav-ljanju vizuelne komunikacije sa publikom. Kao oblik koji ima dušu – lutka zahtijeva istančano psihološko osvjetljavanje i emotivnu karakterizaciju, uz fizičku radnju glumca (animaciju).

Komad „Kapetan Džon Piplfoks“ je jedan od najigra-nijih tekstova Dušana Radovića, našeg istaknutog pis-ca za djecu. Reditelj Bato Dukaj po dramaturgiji Dra-gane Kršenković Brković maštovito je postavio scenu, omogućavajući glumcima da se razmahnu, slobodnije kreću i igraju. Ovdje je, zapravo, realizovan osoben pristup, koji se vidno razlikuje od sličnih izvođenja istog teksta. Tako je lutkarskim igrama dosegnuta ne samo igra radosti, već i mudrosti saznavanja, što je vrlo bitno kod djece. Autentično i nadahnuto glumci su osjećali značenje lutke, pa se u tom smislu može reći da je početak ohrabrujući. Reditelj je dosta pa-žnje posvetio glumcima koji su djelovali kompaktno i ujednačeno.

Marionetske scene bile su dobro izvedene, mada po-jedini oblici lutaka nijesu baš najsrećnije urađeni. Radovićevu gusarsku priču glumci su lijepo dočarali, uz upotrebu posebnih kostima. Dekor je adekvatan i

The dramaturgy, direction, animation, and technology of the puppets are among the most complex theatrical forms, which are dealt with by a small number of people. Nevertheless, it seems that puppetry is resurrecting and getting constituted into, relatively speaking, a special stage art, with its unique aesthetics, dramatic structure, and other segments. As Henryk Jurkowski says, puppet-ry has an advantage over the drama theatre because of its form (puppets), only the mimicry does not exist here. At the same time, puppets allow a strong connection with visual arts, which plays an important role in the main-tenance of visual communication with the audience. It is a form which has a soul – puppet requires a nuanced psychological shadowing and an emotional character-isation, together with the physical manoeuvres of the actor (animation).

The piece “Captain John Peoplefolks” is one of the most frequently performed texts by Dušan Radović, the most prominent children author. The director Bato Dukaj, following the dramaturgy of Dragana Kršenković Brk-ović, imaginatively set the scene, allowing the actors to open out, to move and play with more freedom. What we have realized here, actually, is a specific approach, which noticeably differs from similar performances of the same text. In this one, the puppet performance reached not only the play of joy, but also the wisdom of finding out, which is very important for children. In an authentic and inspired way, the actors felt the meaning of puppet, which announces that this inauguration is encouraging. The director devoted a lot of time to the actors, whose work appeared compact and harmonized.

Marionette scenes were well performed, although cer-tain forms of puppets were not done in the most for-

173

zanimljiv u postavci. Nesumnjive glumačke kvalitete i sposobnost komuniciranja sa djecom pokazali su: Jadranka Mamić, Žaklina Oštir, Dragiša Simović, Mi-jat Radonjić i Lidija Dedović. Ova lutkarska predstava osmišljena je animacijom raznovrsnih oblika, pred-meta i rekvizita, koji su finim sugerisanjem glumaca, naročito Mamićeve, Simovića i Oštirove bili višeznač-ni i radovićevski obojeni. Dinamika nije izostala, bilo je pjesme, igre i radosti.

tunate way. The use of special costumes also helped the actors to conjure Radović’s pirate story well. The decor is adequate and of an entertaining setting. The undoubt-ful artistic qualities and capability to communicate with children were displayed by: Jadranka Mamić, Žaklina Oštir, Dragiša Simović, Mijat Radonjić, and Lidija De-dović. This puppet show is realized with the animation of diverse forms, objects, and requisites, which, through delicate suggestions by actors, especially by Mamić, Si-mović, and Oštir, were of diverse meanings and colour-ed in Radović’s fashion. Dynamism never failed, with singing, dancing, and joy.

175

U predstavi učestvuju glumci iz Bara i Podgorice – Dra-giša Simović, Jadranka Mamić, Žaklina Oštir, Mijat Ra-donjić i debitantkinja Lidija Dedović, a muziku je radio Leo Đokaj

Redakcija Programa za djecu i mlade Televizije Crne Gore, u okviru dokumentarnog ciklusa „Mali veliki“ jednu emisiju posvetila je Dječjem lutkarskom pozori-štu iz Bijelog Polja. Odlučili su se na to jer je Ljubav tih djevojčica i dječaka prema lutkama i veliko zalaganje i rad na predstavama koje pripremaju izazvala pažnju svih, o tome reditelj Husein Bato Dukaj kaže:

Bjelopoljski mališani su, željni novih iskustava i znanja, i svega ostalog vezanog za tu vrstu pozorišnog izraza, radoznalo i pažljivo slušali svaku izgovorenu riječ i ura-đeni pokret starog glumca i reditelja, čika Vasje Stanko-vića. Vesela igra riječi i lutaka ispred i iza paravana, ali takođe njihov uporan i ozbiljan rad, podstakli su u meni želju da se jednom i ja posvetim takvoj igri sa lutkama i napravim veselu priču koja će se dopasti mališanima.

Dukaj ističe da se dugo čekalo na realizaciju te ideje. Takva prilika se ukazala formiranjem novog profesi-onalnog lutkarskog pozorišta za djecu „Plava laguna“.

neW PuPPet theatre “blue lagoon”

Taking part in the show are the actors from Bar and Podgorica – Dragiša Simović, Jadranka Mamić, Žaklina Oštir, Mijat Radonjić, and the debutant Lidija Dedović, while the music was composed by Leo Đokaj

The Montenegrin National TV editorial board for chil-dren and youth devoted one show to the Children’s Pup-pet Theatre from Bijelo Polje as a part of the documen-tary cycle “The Big Small”. They have opted to do so be-cause the love of puppets among our girls and boys and the great devotion and the work invested in the shows which they are preparing attracted everybody’s atten-tion, about which its director Husein Bato Dukaj says:

The little ones from Bijelo Polje, eager for new expe-rience and knowledge, and everything else connected with this kind of theatrical expression, curiously and attentively listened to each said word and each per-formed gesture of the old actor and the director Čika Vasja Stanković. The joyful play of words and puppets both in front and behind the paravane, but also their unremitting and preserving work, inspired a desire in me to devote myself to a similar play with puppets one day and myself to write a story that will be liked by the little ones.

olivera ugrin olivera ugrinpodgorica – „pobjeda“, srijeda, 18. januar 1995. podgorica – “pobjeda“, Wednesday, january 18, 1995

„dŽoN pipLFoKS“ prEd NajmLaĐima

novo lutkarsko Pozorište „Plava laguna“

“johN pEopLEFoLKS” iN FroNT oF ThE yoUNgEST


176

Zaista treba pohvaliti jednu takvu inicijativu gospodi-na Tomislava Brkovića, koji je ujedno i direktor pozo-rišta i gospođe Dragane Kršenković Brković, drama-turga ovog pozorišta, i čestitati im na hrabrosti da u ovako teškim vremenima, kada se tako reći jedva pre-življava, osnuju lutkarsko pozorište, ne bi li time ko-liko-toliko pokrili tržište u lutkarstvu, prvenstveno u Crnoj Gori, gdje zaista nedostaje ova vrsta pozorišnog izraza ističe Dukaj.

Ovo tek formirano lutkarsko pozorište nema svoju zvaničnu scenu, o čemu je javnost već obaviještena na konferenciji za štampu prije dva mjeseca. Tada su po-kretači pozorišta rekli da će uglavnom raditi kao putu-jući teatar za najmlađe. Prvo će mališani iz naše repu-blike, a potom i u Srbiji imati priliku da vide predstave koje će uglavnom biti zasnovane, kako rukovodioci pozorišta kažu, na kvalitetnim dramskim tekstovima.

Za prvu predstavu ovog lutkarskog pozorišta pripre-mljen je komad „Kapetan Džon Piplfoks“, po tekstu Dušana Radovića, a ona je ujedno posvećena i obilje-žavanju desetogodišnjice smrti poznatog pisca.

Sve lutke, kaže Dukaj, i male i velike, kostimi, izrađe-ni su u radionici ovog pozorišta, što zaista predstavlja novinu kod nas i za svaku je pohvalu. U predstavi uče-stvuju glumci iz Bara i Podgorice – Dragiša Simović, Jadranka Mamić, Žaklina Oštir, Mijat Radonjić i debi-tantkinja Lidija Dedović, muziku je radio Leo Đokaj, a za scenu i ostale detalje, rekvizitu i organizaciju uop-šte, pobrinuo se Žarko Vukadinović.

Bilo je zaista zadovoljstvo raditi sa ovom veselom dru-žinom. Radovićev duhoviti tekst pružao nam je mo-

Dukaj points out that it took a long time for this idea to get realized. Such an opportunity materialized with the formation of the new professional puppet theatre for children, “Blue Lagoon”.

Such an initiative by Mr. Tomislav Brković, the di-rector of the theatre, and Mrs. Dragana Kršenković Brković, who is the dramaturge of the theatre, is truly commendable and we should congratulate them for their courage to create a puppet theatre during these difficult times, when one can hardly earn a living, and thus to, as much as it is possible, cover the market in puppetry, especially in Montenegro, where such the-atrical expression has been absent, Dukaj points out.

This, only recently formed, puppet theatre does not own its own official stage, about which the publicity was already informed through the press conference two months ago. At that time the founders of the the-atre announced that they would be mostly working as a travelling theatre for the youth. Those will be the little ones from our Republic, and after that the chil-dren from Serbia, who will be given the opportunity to attend these shows that will, for the largest part, be based on quality dramatic texts, as the management of the theatre says.

For the first puppet show of this theatre, the piece “Captain John Peoplefolks”, made from the text by Dušan Radović, was prepared, while, at the same time, it is committed to mark ten years from the death of this celebrated writer.

All the puppets, says Dukaj, both those small and the big ones, the costumes too, are made in the workshop

177

gućnost da ja, glumci i autor muzike krenemo na jed-no divno putovanje. Maštovito građena priča o stalnoj ljudskoj težnji za avanturom, nepoznatim, mističnim, a istovremeno priča o manipulisanju ljudima, nudila mi je bezbroj rješenja pri animiranju glumaca, tj. luta-ka, mizanscena ističe Bato Dukaj.

of this theatre, which certainly makes a novelty in our country and deserves all the praise. The actors that take part in the show come from Bar and Podgorica – Dragiša Simović, Jadranka Mamić, Žaklina Oštir, Mijat Radonjić, and the debutant Lidija Dedović, the music is composed by Leo Đokaj, while the stage and other details, requisites and the organization as a whole were taken care of by Žarko Vukadinović.

It was truly such a pleasure to work with this cheerful company. Radović’s humorous text offers a possibility for me, for the actors, and for the composer to embark on a beautiful journey. An imaginatively composed story about the perpetual human desire for adventure, the unknown, the mystic, and, at the same time, a sto-ry about manipulating people, offered me innumera-ble solutions about how to animate actors, i.e. the pup-pets, mise en scène, emphasized Bato Dukaj.

179

Premijeru predstave „Iz Zmajeve riznice“ izvelo je Lut-karsko pozorište „Plava laguna“ iz Podgorice

U prvoj godini postojanja profesionalno Lutkarsko pozorište „Plava laguna“ iz Podgorice izvelo je nedav-no drugu premijeru. Riječ je o predstavi „Iz Zmajeve riznice“, koja je rađena prema motivima bajke „Katica među patuljcima“ Jovana Jovanovića Zmaja. U režiji i dramatizaciji Dragana Kršenković Brković je uspjela da izgradi vlastiti i već prepoznatljivi lutkarski imidž, koji ovoj kući daje poseban izraz. Naime, ona kao pro-fesionalni dramaturg nastoji da osmisli dječju predsta-vu sa atraktivnim i zabavnim tonovima, te sa ambici-jama da se bajka kao trajna umjetnička vrijednost što cjelovitije približi najmlađem uzrastu.

Okrenutost svijetu snova, mašte i duha izaziva dosta angažovanja i dramaturških iskušenja. Stoga, autori su u scenskoj postavci iscrpli bogatu domaću baštinu, konkretno opus Čika Jove – Zmaja, koji je daleko po-znatiji kao pjesnik nego li kao pisac bajke, stvorivši na taj način zanimljivu i originalnu bajku o usamljenoj djeci i teškim iskušenjima u životu. Takvim pristupom i aktuelnom idejom „Plava laguna“ je postigla dobar teatarski učinak i kontakt sa brojnom publikom. Sce-nografija Veselina Konjevića i odabrana muzika Ne-

The premiere of the show “From Zmaj’s Treasury” performed by the Puppet Theatre “Blue Lagoon” from Podgorica

In the first year of their existence, the professional puppet theatre “Blue Lagoon” from Podgorica has recently per-formed their second premiere. This show is “From Zmaj’s Treasury”, which was done after the motives from the fairy tale “Katica among the Dwarfs” by Jovan Jovanović Zmaj. In her directorial and dramaturgical work, Dragana Kršen-ković Brković managed to develop her unique and recog-nizable puppetry image, which gives a special expression to this theatre. Namely, as a professional dramaturge, she attempts at creating a show for children with attractive and entertaining notes, but she also aims at bringing a perma-nent artistic value of fairy tale, in its completeness, as close as possible to the youngest audience.

Their focus on the world of dreams, imagination, and soul calls for a lot of investment and dramaturgical chal-lenges. Therefore, in their scenic setting, the authors have exploited the rich domestic heritage to its maximum, in particular the opus of Čika Jova – Zmaj, who has been far better known as a poet than as a writer of fairy tales, but who, nevertheless, created a capturing and an original fairy tale about lonely children and the heavy challenges in their life. With such an approach and by implementing a topical idea, “Blue Lagoon” has achieved a good theatri-

podgorica – „pobjeda“, utorak, 4. jul 1995. podgorica – “pobjeda“, Tuesday, july 4, 1995

igrE S LUTKama pLayiNg WiTh pUppETS


Milutin Đuričković Milutin Đuričković

180

bojše Vujovića dali su poseban ton predstavi, mada je na trenutke bilo tehničke nesaglasnosti oko sinhroni-zovanja teksta i zvuka.

Glumice Zoja Bećović i Jadranka Mamić uspješno su animirale lutke. Upotrebljavajući šest ginjola i dvije javajke, one su dočarale duboke psihološke preobra-žaje. Takođe, glumice su igrale istovremeno nekoliko likova, a promjene glasa nijesu se toliko primjećivale. Osavremenjivanje Zmaja bilo je urađeno s ukusom, jer tu nije bilo mjesta mehaničkom interpoliranju teksta ili klasičnih pedagoških poruka. U modernom, ali i bajkovitom maniru, obrađena je priča o prožimanju dobra i zla, sa obaveznim hepiendom.

Jadranka Mamić i Zoja Bećović bile su uglavnom na visini svojih zadataka, tako da u njihovim rolama praktično i nije bilo padova. Pored glume – jedna od najmarkantnijih komponenti u predstavi bile su i lut-ke, izrađene u lutkarskoj radionici ove kuće. U umjet-ničkom smislu oblici lutaka bili su veoma efektni i znatno bolji od ginjola iz prethodne predstave. Sklad-nost i ubjedljivost obogatili su maštovit dekor i razno-like boje. Stilizacija lutaka dostignuta je i u formi i u likovnim valerima.

Ovom predstavom i lutkarskim igrama djeci je približen stvarni ljudski život sa dobrim i lošim stranama. Tako-đe, uzajamno sadejstvo glumca i lutaka ukazivalo je na otkrivanje i spoznavanje ljudi i svijeta, a to je upravo ono što najmlađima danas svakako treba pružiti.

cal effect and communication with numerous attendees. The scenography by Veselin Konjević and the music se-lected by Nebojša Vujović gave a special note to the show, although for a short moment there appeared a technical disagreement between the text and the sound.

Actresses Zoja Bećović and Jadranka Mamić successful-ly animated the puppets. By the use of six guignols and two Javanese puppets, they depicted deep psychological transformations. Also, the actresses played several char-acters at the same time, while the employed change of the voice was not so noticeable. Modernization of Zmaj’s text is done with a good taste, because there was not enough room for mechanical interpolation between the text and the classical pedagogical morals. In this modern, and also a fairytale manner, a story about the intertwinement of good and evil is told, yet with an inevitable happy ending.

Jadranka Mamić and Zoja Bećović were at the height of the task, so that there practically were no slips in their roles. Apart from acting, among the most imposing com-ponents in the show, were the puppets, made in the pup-petry workshop of this theatre. In the artistic sense, the forms of the puppets were very effective and significant-ly better than the guignols from the previous show. The harmony and persuasiveness enriched the imaginative decor and the diversity of colours. The stylization of the puppets is advanced both in the form and in the visual colour values.

In this show and in its puppetry play, the real human life, with all its good and bad sides, is conveyed to children. In addition to this, cooperation between the actors and the puppets pointed towards the ways of revealing and getting to know humans and their world, which is exactly what our youngest generations need to be given today.

181

Lutkarsku predstavu „Skriveno blago malog trola“, po tekstu Selme Lagerlef i u režiji Gorana Bulajića, izvodi „Plava laguna“

Lutkarsko pozorište „Plava laguna“ nastavlja sa utvr-đenom repertoarskom koncepcijom, njegujući pr-venstveno žanr bajke. Rukovodeći se tim usvojenim načelom, lutkari ovog ansambla adaptirali su skandi-navsku bajku „Skriveno blago malog trola“, poznate švedske spisateljice Selme Lagerlef, dobitnice Nobelo-ve nagrade za književnost. U adaptaciji Dragane Kr-šenković Brković i u režiji Gorana Bulajića, predstava se prikazuje u dosta neuslovnoj prostoriji Radničkog univerziteta „Milun Božović“ u Podgorici.

Lutkari su se s pravom odlučili za scensko oživljavanje skandinavske bajke i mitologije koja nije toliko po-znata mališanima. Dramaturški pristup mitu nije sve-den samo na simboliku, koliko na izražajnu sugestiv-nost i pokrete lutaka. U predstavi je, naime, korišćeno pet vrsta lutaka, u dobroj scenografiji i dizajnu Ivanke Vane Prelević – ginjoli, veliki ginjoli, mapetovci, sici-lijanke i javajke. Za razliku od prethodnih lutaka, ovi

podgorica – „pobjeda“, petak, 17. maj 1996. podgorica – “pobjeda“, Friday, may 17, 1996

TragaNjE Za KamENom mUdroSTi

SEarchiNg For ThE SToNE oF WiSdom


Milutin Đuričković Milutin Đuričković

The puppet show “Hidden Treasure of a Little Troll”, adapted from the text by Selma Lagerlöf, directed by Goran Bulajić, performed by “Blue Lagoon”

The puppet theatre “Blue Lagoon” continues with its set rep-ertoire conception, by tending, in the first place, to cherish the genre of fairy tale. Guided by this established principle, the puppeteers of this company adapted the Scandinavian fairy tale “Hidden Treasure of a Little Troll”, written by the renowned author Selma Lagerlöf, the winner of the Nobel Prize for literature. Adapted by Dragana Kršenković Brković and directed by Goran Bulajić, this piece was performed on quite an inadequate stage of the Workers’ Educational As-sociation “Milun Božović” in Podgorica.

The puppeteers have rightfully chosen to theatrically bring to life the Scandinavian fairy tale and mythology that our little ones are not familiar with. The dramatur-gic approach to myth is not focused only on symbolism, but also on the suggestiveness and the movements of the puppets. The show is using five kinds of puppets, in a good scenography and design of Ivanka Vana Prelević – guignols, big guignols, the Muppets, Sicilians, and Ja-vanese. Unlike their previous puppets, these forms are

182

183

oblici su bili znatno inventivniji i maštovito su ura-đeni, naročito lutke Vještice Frige, Ulafa Jakobsona, pečurke, Trola i drugih. Autori muzike bili su Rajko Kadović i Ranko Vučurević, a uloge su tumačili Ja-dranka Mamić, Marta Pićurić i Zoja Bećović.

Ovaj komad privlači pažnju najmlađih, prije svega po projektovanju sopstvenih želja i strepnji u svijet čudesa. Istovremeno, opozicije dobro-zlo, istina-laž, podvig-nagrada, zločin-kazna odveć su poznate po edukativnom usmjerenju koje ovoga puta nije toliko naglašeno, ali je prisutno. Priča govori o hrabrom i mladom vikingu koji traga za kamenom mudrosti, kako bi izbavio svoje selo od velike nesreće. Na tom neizvjesnom putu nailazi na mnoge prepreke zle vje-štice. Na kraju, naravno, dobro pobjeđuje.

Predstava ima pojednostavljenu radnju sa uprošće-nim likovima. Šteta je što i pored dobre rasvjete Zora-na Kovačevića, nijesu postojali tehnički uslovi za ko-rišćenje reflektora, jer bi time završna scena bila mno-go ubjedljivija i raskošnija. Takođe, upotreba lutaka na otvorenoj sceni, gdje glumice nastupaju fizičkom pojavom nije uvijek bila najsrećnija, jer je ljudsko pri-sustvo odvraćalo pažnju i tako onemogućavalo prisni-ju animaciju lutke, koje su bile potisnute u drugi plan. Na sreću, takvih scena bilo je vrlo malo. Najmlađi gle-daoci su imali priliku da upoznaju draž i specifičnost skandinavskog mita, koji je dramaturški zanimljivo isceniran, uz dobru igru sve tri glumice.

S druge strane, može se govoriti o dječijoj sposobnosti da predstavu prime i usvoje na adekvatan način, da izdvoje utiske i proizvedu nove, da reaguju na njih, da se sažive sa igrom do etičkog i estetičkog vrednova-

significantly more inventive and imaginatively devised, especially so the puppets Sorceress Friga, Olaf Jacobson, the mushrooms, Troll, etc. The authors of the music are Rajko Kadović and Ranko Vučurević, while the roles were interpreted by Jadranka Mamić, Marta Pićurić, and Zoja Bećović.

This piece attracts the attention of the youngest, by pro-jecting, in the first place, desires, and apprehensions of the world of wonders. At the same time, the oppositions good-evil, truth-lie, undertaking-reward, misdeed-pun-ishment are familiar enough from the children back-ground education. However, while clearly present, they are not explicitly emphasized in the play. The story tells about a young courageous Viking who is searching for the stone of wisdom in order to save his village from a great misfortune. On his uncertain journey, he comes across numerous obstacles made by an evil witch. In the end, of course, good wins out.

The show develops around a reduced action with sim-plified characters. It was unfortunate that, despite the excellent lighting set by Zoran Kovačević, the technical conditions were not satisfactory and the reflectors could not have been used, because the last scene would have been much more persuasive and luxurious with them. Also, the use of puppets on the open stage, on which the actors physically appear too, was not always the hap-piest solution, because the personal presence of actors distracted the attention and obstructed a more intimate animation of puppets, which now were upstaged. Hap-pily, these scenes were few. The youngest spectators had an opportunity to be introduced to the charm and the uniqueness of the Scandinavian myth, which, in drama-turgical terms, is skillfully played, with a good acting of all the three actresses.

184

nja i slično. Dakle, ove i druge lutke i te kako mogu, ako se, kao u ovom slučaju, valjano dramski osmisle, doprinijeti saznajnom, obrazovnom, vaspitnom i etič-kom procesu kod djece.

On the other side, we can also speak about children’s abil-ity to accept the show and to embrace it adequately, to single out the impressions and to produce new ones, to respond to them, to empathise with the play to a certain ethical and aesthetical degree of evaluation, etc. There-fore, these and other similar puppets, if they are well dramatically designed as is the case with this show, can contribute to the cognitive, educational, and ethical de-velopment of children.

„Bajka o trolima“, Pobjeda, 3. april 1996. godine“fairY tale about trolls“, Pobjeda, april 3, 1996

„tri predStave u jednom danu“, Pobjeda, 24. januar 1995. godine”three shoWs in one daY“, Pobjeda, january 24, 1995

„ginjoli pod Bedemima“, Pobjeda, 18. jul 1995. godine“guignols under the bastions“, Pobjeda, july 18, 1995

„Skriveno Blago malog trola“,Pobjeda, 19. april 1996. godine“hidden treasure of a little troll“, Pobjeda, april 19, 1996

187

Svetlana popović1

Prije godinu i po dana u Crnoj Gori je, osim postoje-ćeg, jedinog „Dječijeg pozorišta“, oformljeno još jedno, i to prvo privatno Lutkarsko pozošte „Plava laguna“. Mi smo posjetili to pozorište i evo nas u sali koja je do maločas bila prepuna. Tu su bili mališani koji su pratili predstavu Skriveno blago malog trola.

Da kažemo i to da su ovo pozorište oformili bračni par Tomislav Brković i Dragana Kršenković Brković – sa kojom ćemo porazgovarati o ovom pozorištu.

Dragana, ovo pozorište – između ostalog – prepoznatljivo je i po tome što dosta pažnje posvećuje autorima koji su, možda, bili manje zastupljeni kada je riječ o pozorišnim adaptacijama. Zašto ste se odlučili baš za takav koncept?

1 Fotografije koje prate ovaj transkript su preuzete sa video snimka intervjua.


s draganom kršenković brković

vodila svetlana Popović

za radio-televiziju Crne gore1

transcript from the conversation

svetlana Popović had with

dragana kršenković brković

for Montenegrin national tv1

Svetlana popović1

A year and a half ago, apart from the only existing “Chil-dren’s theatre” in Montenegro, another private puppet theatre was founded, “Blue Lagoon”. We are visiting the theatre, now that the crowded hall has emptied. The hall was full of the little ones who attended the show Hidden Treasure of a Little Troll

Let us start with the fact that this theatre was created by the married couple Tomislav Brković and Dragana Kršen-ković Brković – with whom we will talk about this theatre.

Dragana, this theatre – among other things – is unique for its endeavour to pay attention to the authors who are not so well presented today, when it comes to theatrical adaptations. Why have you chosen such a concept?”

1 Photographs accompanying this transcript are screenshots taken from a video recording of the interview.

LUTKarSKo poZorišTE „pLaVa LagUNa“ pUppET ThEaTrE “bLUE LagooN”

P R E M I J E R A P R E d S T A V E „SkRIVENO BLAgO MALOg TROLA“1996.

T H E P R E M I E R E O F T H E S H O w “HIddEN TREASURE OF A LITTLE TROLL”1996

188

dragaNa KršENKoVić brKoVić

Kada smo novembra 1994. godine kretali u ovu veliku avanturu koja se zove formiranje jedne pozorišne kuće, namerno smo odlučili da odaberemo upravo lutkarstvo kao jedan specifičan pozorišni izraz koji deci prilazi na onaj pravi način – preko lutke.

U tom trenutku odlučili smo da to naše buduće pozori-šte (to pozorište koje sada za sobom ima već godinu i po dana rada) nosi i neka specifična obeležja. Prvo smo od-lučili da posvetimo pažnju određivanju tekstova. Sma-tramo da tekst u pripremanju predstave predstavlja onu osnovu bez koga praktično prave pozorišne predstave, barem za decu, gotovo i nema.

Mislim da se pozorišni život u Crnoj Gori nalazi u jed-nom – rekla bih – gotovo alarmantnom stanju. Nepo-stojanje zgrada, nepostojanje nekih osnovnih uslova koji su praktično preduslov za pozorišni rad, gotovo je zakočio pozorišni život. To traje već dosta dugo i čini mi se da se publika, i pored intenzivnog napora ove pozorišne kuće („Dječijeg pozorišta“), osipa. Trebalo je krenuti ponovo, pomoći svojim radom. Dakle, trebalo je krenuti od temelja.

Lutka i lutkarstvo predstavljaju prvi kontakt dece sa scenom. Ako vi decu odnegujete da prime pozorišnu predstavu i da uživaju u njoj, ona kasnije, kada odrastu i kada postanu prava pozorišna publika, neće pozori-štu prilaziti racionalno – znači, neće odlaziti u pozorište zato što tako treba, zato što svet tako čini – već iz svoje duboke potrebe. To je jako važna stvar.


When in November 1994 we embarked onto this ad-venture of forming a theatre company, we were resolved about puppetry as a specific theatrical expression that ap-proaches children in that true way – through a puppet.

At that moment, we were also determined that this our future theatre (the theatre which is now functioning for a year and a half) should have some unique characteris-tics. First, we have decided that we should pay attention to the selection of texts. We are of the opinion that text is the most important element in preparing a show, it presents the basis without which a real show, at least the one meant for children, is almost impossible.

I think that the theatre life in Montenegro is – I should say – in an alarming condition. The lack of theatre buildings, the lack of some of the basics which are the practical pre-conditions for theatrical work, have al-most halted theatrical life. This has been so for quite a long time and it seems that the audience, despite the intensive efforts of this theatre (“Children’s theatre”), is dissipating. It needed a new beginning, and we had to contribute to it with our work. Hence, it asked for con-sidering the very fundaments.

Puppetry represents the first contact of children with the stage. If you educate children to accept the theatrical show and to enjoy it, then, later, when they are adults, and when they become real theatre audience, they will not approach theatre rationally – which means that they will not go to the theatre because they are supposed to, because everybody does so – but they will do so from their deep need. That is a very important thing.

189


vodila nela savković za

radio-televiziju Crne gore

– Treći program, april 1996.

transcript from the conversation

nela savković led for

Montenegrin national tv

– Third Channel, april 1996

LUTKarSKo poZorišTE „pLaVa LagUNa“ pUppET ThEaTrE “bLUE LagooN”

P R E M I J E R A P R E d S T A V E „SkRIVENO BLAgO MALOg TROLA“1996.

T H E P R E M I E R E O F T H E S H O w “HIddEN TREASURE OF A LITTLE TROLL”1996

Nela Savković

Na ovoj sceni dječijeg pozorišta „Plava laguna“ lutke poči-nju da žive kroz priču i muziku. Ovo je, inače, prvo pozo-rište te vrste u Crnoj Gori. Pitamo direktora, gospodina Tomislava Brkovića, kako je došao na ideju da osnuje jed-no ovakvo pozorište?

TomiSLaV brKoVić

Pa, zbog nedostatka crnogorskog lutkarskog pozorišta za djecu mi smo odlučili da osnujemo lutkarsko pozo-rište, kao osnovu i temelj za sve ljude – buduće posjeti-oce velikih pozorišnih predstava za odrasle.

Nela Savković

On the stage of the puppet theatre “Blue Lagoon”, the puppets start living through stories and music. This, however, is the first theatre of this kind in Montenegro. We ask its director, Mr. Tomislav Brković, how he came to the idea to found such a theatre.

TomiSLaV brKoVić

Because of the lack of a puppet theatre for children in Montenegro, we have decided to start a puppet theatre, as the basis and the foundation for all the people – fu-ture visitors of great theatre plays for the adults.

190

Nela Savković

Koliko premijera je imalo ovo Vaše pozorište?

TomiSLaV brKoVić

Ovo je sada treća premijera. Imali smo Kapetan Džon Piplfoks, onda Iz Zmajeve riznice i sada je Skriveno bla-go malog trola.

Nela Savković

Hoćete li se pojaviti u Kotoru?

TomiSLaV brKoVić

Ja se nadam da hoćemo jer... Prijavili smo se, sad očeku-jemo selektora... Vidjećemo...

Nela Savković

Ovdje je i gospođica Ivanka Vana Prelević, inače vajar. Vi ste zaduženi za dekoraciju scene i lutaka.

iVaNKa VaNa prELEVić

Da. Ja sam, pored idejnog rješenja lutaka i scenografije, radila i na samim lutkama i scenografiji, u čemu mi je mnogo pomogla Dragana Kršenković Brković. To je je-dan timski rad u koji sam se upustila malo ovako... To

Nela Savković

How many premieres did your theatre have?

TomiSLaV brKoVić

This was our third premiere. We had Captain John Peo-plefolks, then From Zmaj’s Treasury and now Hidden Treasure of a Little Troll.

Nela Savković

Will you play in Kotor?

TomiSLaV brKoVić

I hope we will because... We have applied to, now we are waiting for the selector’s notice... We’ll see...

Nela Savković

Miss Ivanka Vana Prelević, who is a sculptor, is also with us. You are in charge of the decoration of the stage and of the puppets.


Yes. Apart from the conceptual solutions of the pu-ppets and the scenography, I have also worked on the very puppets and the scenography, in which I received

191

much help from Dragana Kršenković Brković. It was a teamwork in which I just launched... It was my first time and I had no idea what was waiting for me... So that I had a lot of understanding both from the director and from the actors. It did take a long time, but I am satisfied with the work and with how it is received.

Nela Savković

How do you find this transfer from sculpture to chil-dren scenography?


As I graduated from the Faculty of Applied Arts, my de-partment organized studies in applied plastics, which inc-luded jewelry and toys, so that puppets were not unfami-liar to me. There was only that technical part, which was a problem for me at the beginning. However, I consulted the colleagues who were in the same position in Malo pozo-rište1 “Duško Radović” and the problem was solved soon.

1 Malo pozorište (mne.) – Small Theatre.

mi je prvi put i nisam znala što me sve čeka... Tako da sam imala veliko razumijevanje kako reditelja, tako i sa-mih glumaca. To je trajalo dosta dugo, ali ja sam zado-voljna samim radom i kako je sve to primljeno.

Nela Savković

Kako Vam izgleda taj prelaz sa vajarstva na dječiju sce-nografiju?


S obzirom da sam ja završila Fakultet primijenjenih umjetnosti, ja sam na mom odsjeku imala i upotreb-nu plastiku, to znači, nakit, igračke – tako da mi i lutke nisu bile strane. Jedino taj tehnički dio, koji mi je postao problem u početku. Međutim, ja sam se sa ljudima koji se bave time profesionalno u Malom pozorištu „Duško Radović“ konsultovala i to je bilo riješeno vrlo brzo.

Nela Savković

Hvala. Razgovaramo i sa gospođom Draganom Kršen-ković Brković, koja je inače dramaturg. Recite mi kako je koncipirano ovo pozorište?

Nela Savković

Thank you. We are also talking to Mrs. Dragana Kršen-ković Brković, who is a dramaturge. Tell me how this theatre is conceived.

192


U trenutku kada smo kretali sa formiranjem ove dosta smele ideje... mislim, ući u rad i formiranje nečeg što bi trebalo da bude jedna prava, ozbiljna pozorišna kuća, zahteva baš i ogroman trud i prava je jedna avantura.

Od samog starta smo želeli da postignemo neke druga-čije oblike i obrise. I, evo, posle treće premijere mislim da polako taj koncept počinje da se materijalizuje, da se konkretizuje, da se pokazuje ona ideja sa kojom smo krenuli. Pre svega mislim na ideju da sama predstava, znači, sama scena deci ne donosi samo obrise jedne priče. Znači, priče ispričane jednim manje ili više zani-mljivim pozorišnim rečnikom, izrazom u prvoj ravni, plošne, nego da donese priče koje će nositi, kao sve pra-ve bajke, koje su inače najzastupljeniji vid dečijeg stva-ralaštva, dakle da donese onu vertikalu. To je jako važno i mislim da je taj novi pristup, jedan novi dramaturški okvir, koji smo pokušali u ovim tekstovima da iznese-mo, polako donosi drugačije rezultate.

Sve one nedoumice, koje su u startu bile uslovljene ne-iskustvom u radu na lutkama, itd., počinjale su polako da se brišu tom dubljom, unutrašnjom stranom i di-menzijom predstava koje su, eto, još jednom ponavljam, na našu veliku sreću, uspele da „iznesu“ na površinu i one arhetipske slojeve priča.

Nela Savković

Vi ste se odlučili za tekstove koji nisu bili toliko prisutni u javnosti, kao što su recimo bili Pepeljuga ili Crvenka-pa. Zbog čega?


Pa, znate kako... To je... Rad većine pozorišta... govorim sada mnogo šire, o jugoslovenskoj sceni... obično je za-snovan na tekstovima koji su najpoznatiji. Znate, to su


At the moment when we launched into building up this particularly daring idea... what I have in mind is start-ing a formation of something which was supposed to be one real, serious theatre house, requires a huge amount of work and is a real adventure.

From the very beginning, we wanted to achieve some other kind of forms and contours. And, here, after the third premiere, I am confident that our original concept starts to materialize, to particularize, to reflect the idea from which we embarked. In the first place, I have in mind the idea that the show as such should not only offer the children the outlines of a story. It means we don’t need the stories told in a more or less interesting theatrical language, the expression which is, in its first level of performance, flat, but we need to bring out the stories that will carry, like all the real fairy tales, which are the most frequent form of artistic creation for chil-dren, the vertical element that is so much needed. It is very important and I believe that this new approach, a new dramaturgical frame, which we have tried to bring about with these texts, is slowly giving different results.

All those perplexities, which at the beginning were conditioned by the lack of experience in working with puppets, etc., slowly started to disappear in front of this deeper, inner side and the dimension of the shows, which, as we have seen, and I repeat again, and to our great pleasure, succeeded to “bring out” on the surface those archetypal layers of the stories.

Nela Savković

You have opted for the texts that were not so present in the public, such as Cinderella or Little Red Riding Hood. What is the reason?

193

Grimove... Andersenove bajke. Ja smatram da svakoj novoj generciji treba prikazati i doneti na sceni i te kla-sične bajke, ali pozorište ne sme sebe jednim stereoti-pom gotovo da uklješti. Mora se kretati u neke nove pokušaje koji će iznedriti i neke nove rezultate.

Tako da smo namerno za prvi tekst u ovom pozorištu odabrali tekst Duška Radovića Kapetan Džon Piplfoks, želeći da jednim novim pristupom, u stvari, na jedan diskretan način skrenemo pažnju na taj naš lični po-zorišni credo – credo same kuće pozorišne: pokušati napraviti i neke pomake u nekim drugim... različitim planovima.

Ostale dve predstave su bili moji tekstovi, Iz Zmajeve riznice i Skriveno blago malog trola. Oba teksta nikada do sada nisu izvođena tako da su to praizvedbe na ovoj sceni. Smatramo da smo i jednim i drugim tekstom, kao i jednom i drugom predstavom uspeli da taj neki svoj osnovni koncept i ostvarimo. Zmaj je, recimo, u predstavi Iz Zmajeve riznice odjednom zaživeo – iako arhaičan rukopis ima taj pisac – odjedanput je on za-živeo kao jedan moderan pisac. Jednostavno, lako je komunicirao sa decom u ovoj sali, tako da nismo po-grešili u izboru.

Nela Savković

Kojim uzrastima su namijenjene ove vaše predstave?


Namerno smo predstave tako dramaturški obojili da odgovaraju različitim uzrastima. Recimo, Kapetan Džon Piplfoks je bio namenjen deci, recimo u uzrastu od (oko) 10 godina, dakle otprilike deci nekog starijeg uzrasta. Iz Zmajeve riznice smo pokušali da obojimo tako da bude namenjena najmlađem uzrastu i mislim da je predstava najlakše komunicirala sa tim uzrastom, a


Well, you know what... Such is... the work of the most of the theatres... and I am talking about a wider con-text now, that of the Yugoslav stage... It has mostly been based on the texts that are most familiar to the audience. You know, those are Grimms’... Anderson’s fairy tales. I am of the opinion that these classic fairy tales should be offered and showed on the stage to each new gener-ation, but theatre must not clench itself by one stereo-type. It must be moving towards new attempts that will give birth to some new results.

So that we purposefully chose that the first text for this theatre should be a text by Duško Radović, Captain John Peoplefolks, because by this new approach we wanted to discretely focus the attention of the audience towards our personal theatrical credo – credo of our very thea-tre company: we are trying to make new movements on some other... different planes.

The other two shows are based on my texts, From Zmaj’s Treasury and Hidden Treasure of a Little Troll. Neither of the texts was performed before, so that these are the premieres on this stage. We believe that with both these texts, and also with both of the shows, we have man-aged to realize our main concept. Zmaj, for example, has suddenly revived in the show From Zmaj’s Treasury – despite the archaic writing of this author – sudden-ly, he has revived as a modern author. Simply, he easily communicated with the children in this hall, so that we did not make a mistake with this selection.

Nela Savković

Which generations are your shows dedicated to?


We have dramaturgically coloured these stories pur-posefully so that they suit different generations. For ex-

194

ova predstava (Skriveno blago malog trola) po nekoj svojoj ozbiljnosti i vokaciji koju nosi opet je namenje-na starijem uzrastu. Tako smo i na tom planu napravili ravnotežu.

Nela Savković

Zašto ste se odlučili za lutku kao žanr?


Tomislav je upravo to tačno rekao – bio je to nameran izbor. U trenutku kada smo odlučivali kojim putem, kojim scenskim izrazom da krenemo, namerno smo se zadržali na lutki kao jednom momentu koji je početni u formiranju nečijeg senzibiliteta. Jer, lutka je idealan okvir da dete jedan tako važan umetnički izraz kao što je scenski, i scenu kao takvu, primi na najbolji mo-gući način. Najneposrednije. A s obzirom na veoma teške uslove u kojima pozorišni život, možda unazad i deceniju, u Crnoj Gori postoji... koji polako uzima oblik prave krize... mi smo želeli tim našim radom da doprinesemo... da pokušamo da ga obogatimo.

Želeli smo da doprinesemo i da on postane mnogo raznovrsniji. Bilo bi jako lepo da u Crnoj Gori, u Pod-gorici pre svega, postoji nekoliko pozorišnih scena ra-zličitog profila, koji bi negovali različiti scenski izraz. I za odrasle, i za decu. Zašto ne? Imati samo jedno pozorište za odrasle, institucionalno, i samo jedno pozorište za decu za kompletnu Crnu Goru... mislim da je to jako malo. Jednostavno – nedovoljno je. Po-zorište je u toj meri važna institucija da je nemoguće ostaviti sve to samo na jednoj kući, koja bi, i u tako teškim uslovima... a očigledno su užasno teški uslovi u kojima te pozorišne kuće rade... zadovoljila sve po-trebe ove sredine.

ample, Captain John Peoplefolks is dedicated to children of, let us say, around 10 years of age, therefore to a bit older children. We have tried to tone From Zmaj’s Treas-ury in such a way that it can be played to the youngest generation and I believe that the show best communi-cated with that age. While this show (Hidden Treasure of a Little Troll) has a specific seriousness and a special vo-cation that best responds to older ages. So that we have made a balance on this plane too.

Nela Savković

Why have you opted for the puppet as a genre?


Tomislav has just rightfully said – it was a choice with a purpose. In the moment when we were deciding which way to take, which stage expression to use, we have de-cided to start with the puppet, which is the very first moment in the formation of one’s sensibility. Because, puppetry is the ideal expression for a child to accept in the best possible way such an important artistic expres-sion as is the theatrical one, and the stage as such. In the most immediate way. Also, having in mind the difficult conditions in which theatre life in Montenegro has ex-isted in the last decade, perhaps... and which is slowly taking the form of a real crisis... we wanted to contribute to it with our work... we wanted to try to enrich it.

We wanted to contribute also to the diversity of the theatre life. It would be very nice if Montenegro, and Podgorica in the first place, had several stages of dif-ferent profiles, which would cherish different theatrical expressions. For the adults and for the children. Why not? To have only one theatre for the adults, an institu-tionalized one, and only one theatre for children, for the whole of Montenegro... I think it is too little. Simply – it is not enough. Theatre is such an important institution that it is impossible to leave everything to one house

195

Nela Savković

Šta se novo priprema na repertoaru Lutkarskog pozori-šta „Plava laguna“?


Imamo projekat koji bi trebalo da krene krajem ovog leta, ali naša praksa je da mi o novim projektima priča-mo u trenutku kada mi u stvari stupamo, tako da... eto... Ostavimo to kao neku našu malu tajnu.

only, the house which would, in so difficult conditions... and it is obvious that the conditions in which these the-atres work are especially strenuous... would satisfy all the needs of this society.

Nela Savković

What are the new things that are being prepared for the repertoire of the Puppet Theatre “Blue Lagoon”?


We have a project whose implementation should start at the end of this summer, but we tend to discuss new projects at the moment when we actually start working on them, so that... here we are... Let us leave it as our small secret for now.

Nela Savković

U svakom slučaju, puno uspjeha. Hvala Vam... Ovdje su i glumci i animatori Lutkarskog pozorišta „Plava la-guna“. S moje desne strane je gospođa Zoja Bećović. Vi ste dugo prisutni u teatru, prije svega u lutkarskom tea-tru. Koje ste sve lutke oživljavali u svojoj karijeri?

Nela Savković

Whatever is the case, I wish you a lot of success. Thank you... With us are also actors and animators of the Pup-pet Theatre “Blue Lagoon”. On my right side is Mrs. Zoja Bećović. You have been present for a long time in the-atre, in puppet theatre in the first place. What kind of puppets have you brought to life in your career?

196

Zoja bEćoVić

Znate, imala sam zaista sreću u svom dvadesetogodiš-njem radu... ne smijem reći ono preko što ide... da oži-vim i mali i veliki ginjol, i plošnu lutku, i javajku, i lutku na štapu, i, evo, napokon, i sicilijanku. Jedino koga ni-sam uspjela da upoznam i oživim to su marionete.

Nela Savković

Zbog čega marionete?

Zoja bEćoVić

Pa, gledajte... Nažalost, pozorište u kome radim, „Dječije pozorište“, nikad nije imalo adekvatnu scenu. A ipak ma-rioneta iziskuje posebnu tehnologiju. Onda, nikad nisu imali ni kreatora lutaka koji bi mogao da napravi tu vrstu lutaka. To je, znate, jedan sistem koji mora da bude do per-fekcije urađen da bismo mogli da ga usvojimo i oživimo.

Zoja bEćoVić

You know, I have really been lucky in the twenty years of my professional life... no need to be precise about the years over these twenty... to be able to bring to life both small and big guignol, flat puppet too, a Javanese too, rod puppet also, and, here, finally, a Sicilian. The only puppets I still have not managed to get to know and bring to life are marionettes.

Nela Savković

Why not marionettes?

Zoja bEćoVić

Well, you see... Unfortunately, the theatre in which I work, “Children’s Theatre”, has never had an appropriate stage. While marionette asks for a special technology. Then also, they have never had creators of puppets who would be able to make such kind of puppet. That is, you know, a system which has to be made to a perfection for us to be able to adopt it and bring it to life.

Nela Savković

Hvala... Ovdje je i gospođa Jadranka Mamić. Kako ste Vi doživjeli ovu animaciju?

Nela Savković

Thank you... Here is also Mrs. Jadranka Mamić. How did you experience this animation?

197

jadraNKa mamić

U ovoj predstavi po prvi put sam radila sa sicilijankom, to su ove velike lutke, i prvi put kad sam je dobila u ruke nije bilo baš jednostavno. Mislila sam biće problema. Dosta su teške, činilo mi se da ono što ja osjećam neću – možda – uspjeti da prenesem na njih. Ali, poslije, ipak nekako čovjeku to uđe, taj posao se nekako napravi. Sa velikim zadovoljstvom smo to radili. Nadam se da će biti još prilika.

Nela Savković

Nadamo se i mi. Zašto ste se odlučili za lutkarsko po-zorište?

jadraNKa mamić

Mislim da to djeci ovdje u Crnoj Gori... u Podgorici fali. Mislim da im fali tih predstava i bilo bi najbolje kada bi bilo još mnogo takvih pozorišta, privatnih ili ne... kako god da se organizuju... trebalo bi to zbog djece. Znate, trebalo bi snimiti njihove izraze lica kad oni gledaju naše predstave. To je onda posebno zadovoljstvo.

jadraNKa mamić

This show was my first time to work with Sicilians, they are those big puppets, and when I first got it in my hands, it was not simple. I expected that there would be some problems. They are pretty heavy, it appeared to me that what I was feeling I might not – eventually – pass onto them. But, later, however, one somehow gets to learn that and the job gets done too. We did it with great pleasure. I hope there will be more opportunities.

Nela Savković

We hope too. Why have you chosen puppet theatre?

jadraNKa mamić

I think that children here in Montenegro... in Podgorica, miss it. I think that they miss these shows and it would be best if we had a lot more of such theatres, private or not... whichever way they are organized... we should do it because of the children. You know, one should record the expressions on their faces as they are attending our shows. That brings a special pleasure.

198

Nela Savković

To je, naravno, nešto što se lako ne može opisati... Gos-pođa Marta Pićurić prvi put sarađuje sa pozorištem „Plava laguna“.

marTa pićUrić

Da, ovo je moje prvo gostovanje u ovom pozorištu, na-dam se da neće biti i poslednje. Moram da kažem da sam ja već dugo član „Dječijeg pozorišta“ u Podgorici. Međutim, ja sam strašno malo imala prilike da radim sa lutkom. Sticajem okolnosti, naravno. Uvijek sam bila ispred paravana ili na Dramskoj sceni. Ali mogu, i mo-ram da istaknem, da smo tako divno sarađivali na ovoj predstavi da je to... prosto... prosto ne može da se opiše.

Nela Savković

Koja je to lutka koju držite?

marTa pićUrić

Ovo je sicilijanka, Ulaf Jakobson, Viking.

Nela Savković

Šta mislite – kako ove predstave utiču na djecu?

Nela Savković

Of course, that is something that cannot be easily de-scribed... Mrs. Marta Pićurić cooperates with “Blue La-goon” theatre for the first time.

marTa pićUrić

Yes, this is my first job in this theatre and I hope that it will not be the last one. I have to say that I have been a member of the “Children’s Theatre” in Podgorica for a long time. However, I had really only a few opportuni-ties to work with puppets. Accidentally, of course. I have always been in front of the paravane and on the Drama Stage. But I can, and I have to, emphasize that we had such a beautiful cooperation throughout this perfor-mance, that it is... simply... simply it cannot be described.

Nela Savković

What kind of puppet is the one you are holding?

marTa pićUrić

This is the Sicilian, Olaf Jacobson, Viking.

Nela Savković

What do you think – how do these shows affect chil-dren?

199

marTa pićUrić

Ja mislim da... barem mogu da kažem kako moja djeca doživljavaju ovu predstavu. Jedva čekaju kad se zakaže: – Mama, možemo li sa tobom? – Zašto? – Tako mi se sviđa... Tako im se lutke sviđaju, muzika, tekst... E, mo-ram i to da kažem, da je mene strašno privukao tekst. Da je to jedan od razloga što sam prihvatila da igram u ovoj predstavi.

marTa pićUrić

I think that... at least I can say how my children experi-ence the show. They cannot wait for it once it is sched-uled: – Mamma, can we go with you? – Why? – I like it so much... They so much like these puppets, music, the text... And, I also have to point out one more thing, I personally was so much attracted by the text. That is one of the reasons I accepted to play in this show.

Nela Savković

Hvala Vam. Sa nama je i jedna mala dama. Reci mi kako se zoveš?

KSENija brKoVić

Ksenija.

Nela Savković

Kako se zove ta lutku koju držiš?

KSENija brKoVić

Trol.

Nela Savković

Thank you. We have a little lady with us too. Tell us your name.

KSENija brKoVić

Ksenija.

Nela Savković

What is the name of the puppet you are holding?

KSENija brKoVić

Troll.

200

Nela Savković

Hvala, Ksenija... Bilo je to Lutkarsko pozorište „Plava laguna“. Mame i tate, nadamo se da ste shvatili koliko je značajno da vaša djeca steknu naviku da posjećuju po-zorišta jer će tamo upoznati jedan drugačiji svijet koji vi, ipak, ne možete uvijek da im pružite.

Nela Savković

Thank you, Ksenija... It was the Puppet Theatre “Blue Lagoon”. Moms and dads, we hope that you have real-ized how important it is for your children to develop a habit of visiting theatre performances, because there they will meet with a different world, which you really cannot always offer them yourselves.

„pLaVa LagUNa“ iZ daNašNjE pErSpEKTiVE

“Blue lagoon”froM today’S perSpective

Porodica Brković ośetila je te 1994. da su đeci i svim ljudima potrebni ljepota i blagost kao odgovor na neukus i mržnju koji su nas okruživali, pa su, umjesto da tek kritikuju loša vre-mena, stvorili priliku kojom se, baš kao u bajci, daje primjer kako se zlo pobjeđuje dobro-tom – otvorili su prvo profesionalno lutkarsko pozorište „Plava laguna“ u Podgorici, poka-zujući istomišljenost sa Geteom u stavu da je „podijeljena radost, dvostruka radost“. Zna-mo da velike stvari ne nastaju samo iz plemenite namjere, čak ni u sredinama đe umjetnost snažno inspiriše stvarnost, već se moraju hrabro udružiti ljubav, znanje i volja kako bi se proširili vidici. Uz pomoć stvaralaca-entuzijasta: reditelja, glumaca, vajara, slikara, kompo-zitora – pionira u ovome žanru kod nas, Brkovići su dokazali da se čuda u kulturi dešavaju ako razborito gledamo na život i onda kada se čini da je eho rata zaglušio pamet. Uspjeli su u tome poštujući dijete, pozivajući ga da promišlja, pita i zaključuje, a ne da se samo zabavlja; plijenili su njegovu maštu čarobnim pričama, otkrivajući mu vrijednu biblioteku i oživljavajući tajnovite svjetove likom, pokretom, govorom, muzikom. Postajali su jedna družina mališani, lutke, glumci, rodbina, i svim čulima tragali kroz vjekove prošlosti i bu-dućnosti, upoznajući vedrinu i tugu, strahove i pobjede, sebe i prirodu, i shvatajući da su neznanje, predrasude, lijenost – sile tame protiv kojih moramo voditi „borbu neprestanu“.

Tako su gospodin Tomislav Brković, gospođa Dragana Kršenković Brković i njihove kćer-ke Čarna i Ksenija Brković od onoga što su voljeli i njegovali u svome biću i u svome domu – priče, lutke i igre – osmislili pozorište i obogatili male mitologije dječaka i djevojčica, koji su devedesetih godina prošloga vijeka, zahvaljujući raznim ginjolima, javajkama, marione-tama, sicilijankama, razumjeli da ne postoje dobra i loša vremena, već dobri i loši ljudi, i ponijeli, kao svoje, riječi pisca: „Dobro učinjeno jednom, učinjeno je zauvijek“.

U Podgorici,

mr Nela Savković-VukčevićDirektorka JU Gradsko pozorište, Podgorica

11. februar 2019.

laguna za đecu

204

In 1994, Brković family intuited that our children and all our adults needed beauty and gentleness as a response to hatred and the lack of good taste that surrounded us at the time, so that, instead of criticising the bad times, they created an opportunity that, just as in a fairy tale, provided an example of how good can conquer evil – they founded the first professional puppet theatre “Blue Lagoon” in Podgorica, showing, thus, an agreement with Goethe that “shared joy [equals] double joy”. We know that great things do not grow only from a noble intention, even in the societies in which art has strongly influenced reality, but that we have to courageously unify our love, knowledge, and will in order to broaden our horizons. With the help of the authors-enthusiasts: directors, actors, sculptors, paint-ers, and composers – the pioneers in this genre in our society, Brković family has proven that miracles take place in culture if we develop a rational perception of our life, even when it seems that the echo of the war had deafened our mind. They managed to do this by re-specting children, by inviting children to think, to ask, and to reach their own conclusions, rather than only to take pleasure in performances; they captured a child‘s imagination by magical stories, by uncovering in front of a child a valuable library and by enlivening the secret worlds with image, movement, speech, and music. The little ones, the puppets, the actors, and their relatives became one family and searched with all their senses through the past and future centuries, thus getting to know joy and sadness, fears and victories, themselves and nature, and understanding that ignorance, prejudices, and laziness are the dark powers against which we have to stand a “perpetual fight”.

In this way, Mr. Tomislav Brković, Mrs. Dragana Kršenković Brković and their daughters Čarna and Ksenija Brković used what they loved and cherished in their beings and in their homes – stories, puppets, and plays – to create a theatre and enrich the little mythologies of boys and girls, who in the 1990s, thanks to a variety of guignols, Javanese puppets, mar-ionettes, and Sicilians, understood that good and bad times do not exist, but that there are always good and bad people, and, as their own, they carried away the words of the author: “When goodness is done once, it is done forever”.

In Podgorica,

Nela Savković-VukčevićDirector of the City Theatre Podgorica

February 11, 2019

lagoon for children

205

Plava laguna je dovoljno slikovit naziv za Lutkarsko pozorište, imenom razgaljuje i daje osjećaj ušuškanosti i spokojstva. Tu se neće desiti nikakve bure, one čekaju na otvorenom moru. Priča o lutkarskom pozorištu za djecu, koju je u ovoj knjizi priredila dr Čarna Brko-vić, posebno je svjedočenje žene djeteta, antropološkinje sada, koju su njoj i njenoj sestri Kseniji, pa hiljadama djece tokom izvođenja stotinu predstava, priredili njihovi roditelji, Dragana i Tomislav Brković. Iz ove je bajkovite porodice, iz potrebe da uprizore doživljaje bajkovitog svijeta, kako se u lutkarskom pozorištu može najbolje, jer je igra lutaka najbliža dječijem uzrastu, jer djeca vole lutke, drže ih u rukama i vjeruju da su lutke njihovi prijate-lji, nastali prizori predstava u vrijeme kada... u vrijeme kada je izvan lagune, već godinama, bura strašnih događaja ugrožavala djetinjstvo i život, u vrijeme rata.

I sada, dok listam knjigu, iz nje zrači radovanje misiji kojom se šire krila velike ljubavi koja postoji u porodici uprkos svemu, koja tumači djeci svijet jezikom znalački odabranih priča. Zamišljam hiljade djece koja su, zakriljena prizorima igre, brujala i kliktala zajedno, gledala zajedno predstave u sali, sada već nepostojećeg, Kina „Kultura“ i koja će, ako budu držala u ruci knjigu o pozorištu „Plava laguna“, ponovo osjetiti čari svog djetinjstva.

Lutkarsko pozorište „Plava laguna“ je bila i lijepo teatarsko vrijeme za tada, sasvim mlade reditelje, glumice, glumce, mlade umjetnike, ne navodim imena jer su u knjizi svi posebno dirljivo vidljivi. Posebno je lijep i način, ozbiljnost s kojom su pristupali autori prikaza predstava „Plave lagune“. Upozorava to da je vrijeme drugo i da se zagubio osjećaj za važ-nost njegovanja lutkarskog teatra.

Knjiga će podstaći, nadam se, i neke druge, sada mlade ljude, da preduzmu najviše što mogu, da prave lutkarske predstave za djecu, jer... važno je pamtiti djetinjstvo, kao što je sa pogledom u svijet kroz prizore predstava Lutkarskog pozorišta „Plava laguna“.

Varja đukićglumica Crnogorskog narodnog pozorišta

lutkarSko pozorište „plava laguna“(1994–1996)

206

Blue Lagoon is a sufficiently picturesque name for a puppet theater, its name soothes and gives a feeling of coziness and tranquility. Tempests do not happen there, they take place on an open sea. The story about the puppet theatre, compiled in this book by Dr Čarna Brković, is a unique testimony of a woman child, an anthropologist now, which to her and her sister, as well as to thousands of children, was bestowed through hundreds of the performances organized by their parents Dragana and Tomislav Brković. From this magical family, from their need to enliven the events from a world of fairy tales, the way it is best done in a puppet theatre – because puppet play is closest to a child, because children love puppets, they keep them in their hands and be-lieve that puppets are their friends – that the scenes in the performance were created at the time when... at the time when outside of the lagoon, for years already, a tempest of terrifying events had been endangering childhood and life, at the time of war.

Even now, as I am turning the pages of this book, it radiates the joy in the mission, the joy that spreads the wings of the great love that exists in the family despite everything else, the love that interprets the world to children in the language of professionally chosen stories. I can imagine thousands of children who, enveloped with the scenes of the play, boomed and shouted togeth-er, watched the performances together in a hall of now already gone “Kultura” Cinema, the chil-dren who, if they ever happen to hold in their hands this book about the theatre “Blue Lagoon”, will again feel the charms of their childhood.

The puppet theatre “Blue Lagoon” provided also a good theatre time for then-young directors, actresses and actors, young artists – I am not mentioning their names because they are all visible in the book in a touching way. Especially is pleasing the seriousness with which the authors of the newspaper reviews approached the performances of “Blue Lagoon”. It does warn us that the time has changed and that we have lost the feeling for the importance of cherishing puppeteering.

I hope that the book will inspire some other young people today to invest their best into creat-ing puppet performances for children, because... it is important to remember childhood, such as one that offered a view to the world through the scenes of the performances of the Puppet Theatre “Blue Lagoon”.

Varja đukićActress in the Montenegrin National Theatre

the puppet theatre “Blue lagoon”(1994–1996)

207

„Plava Laguna“ je moje prvo dječije pozorište, u zrelom dobu. To je bilo srećno vrijeme za dijeljenje vremena sa drugom djecom, odraslima, lutkama, u vremenu kada je svje-tlosti nedostajalo. „Plava Laguna“, pozorište i za nas odrasle, jedan prostor koji je svake subote, najčešće, isijavao radost, snažnu poruku, a mi potvrđivali snagu čistog života! „Plava Laguna“, prva, blistala je za sve nas, a danas, blistav sjaj, ljepljiv u sjećanju i svje-dočenju, budi novu nadu i radost.

Hvala Dragani Kršenković Brkovic i Tomislavu Brkoviću što je „Plava Laguna“ živjela i što su omogućili, da uz njihovu djecu, druga djeca, ali i odrasli, budu i ostanu njihov iskreni dio.

Doc. dr Biljana Maslovarić

BliStav Sjaj „plave lagune“

208

“Blue Lagoon” is my first theatre for children, in my adulthood. It was a happy opportunity for sharing time with other children, with the adults, the puppets, an opportunity that appeared at the time when light was missing. “Blue Lagoon”, a theatre that also served the adults, one space that every Saturday radiated joy, a powerful message, and where we confirmed the strength of pure life! “Blue Lagoon”, the first, was shining for all of us, while today, its lustre, adhering to the memory and testimony, awakens new hope and joy.

Thank you Dragana Kršenković Brković and Tomislav Brković for making “Blue Lagoon” live and for allowing that, together with your children, other children too, as well as the adults, be-come and stay their true part.

Assistant Professor Biljana Maslovarić

the luStre of “Blue lagoon”

211

Dr Čarna Brković je docentkinja na Odjeljenju za kulturnu antropologiju / evropsku etnologiju Georg August Univerziteta u Getingenu, Njemačka. Diplomirala je etnologiju i antropologiju na Univerzitetu u Beogradu, Srbija, te doktorirala socijalnu antropologiju na Univerzitetu u Mančesteru, Velika Britanija. Autorka je etnografije „Upravljanje dvosmislenošću“ i ko-urednica zbornika „Pregovaranje oko društvenih veza u Bosni i Hercegovini“.

Dr Čarna Brković is a Lecturer in Cultural Anthropology / European Ethnology at the Georg August University Goettingen, Germany. She graduated from the Department for Ethnology and Anthropology, University of Belgrade, Serbia, and obtained doctoral degree in Social Anthropology at the University of Manchester, UK. She is the author of an ethnography “Managing Ambiguity” and a co-editor of a volume “Negotiating Social Relations in Bosnia and Herzegovina”.

CIP – Katalogizacija u publikacijiNacionalna biblioteka Crne Gore, Cetinje

ISBN 978-9940-9656-9-3COBISS.CG-ID 37928976

Documents

podgorica 2019. - carna.brkovic