Februar

42 | , / , pović, koji je za tu priliku ustupio svoj slikarski atelje na Starom sajmištu. Mesto izvođenja, na kojem se tokomDrugog svetskog rata nalazio ozloglašeni nacistički logor, igralo je za atmosferu komada. Kičma drame Čekajući Godoa je ideja potrage za smislom u vremenu nakon strahota i besmisla Holokausta, koji je celu planetu bacio u tihi očaj. Crnogorski slikar Mario Maskareli bio je saradnik na scenografiji i ponudio je krajnje stilizovano rešenje legendarnog drveta iz komada. Zbog nedostatka sredstava za opremanje predstave, umesto nekog kaširanog stabla koje bi težilo da imitira pravo drvo, Maskareli je upotrebio dršku za metlu i polurđavu žicu s nekog smetlišta. To drvo, koje je doslovno bilo sa đubrišta, prkosilo je sterilnom realizmu i ideologiji koju je predstavljalo, otvarajući vrata čudesnom svetu mašte. Ovaj događaj je otvorio važno pitanje za razvoj beogradskepozorišne umetnosti. I umetnici i publika suočili su se s nedostatkom scene za avangardnu umetnost, koja je u tom periodu bila u punom cvatu u ostatku sveta. Iz prepoznavanja te kulturnepotrebe 1956. nastalo jepozorišteAtelje 212, a Čekajući Godoa prvapredstava koja je igranana sceni togpozorišta.Maskarelijevodrvo bilo je vesnik jugoslovenske posleratne avangarde. Samo naizgled – ništa se ne dešava. It is not well known that Nobel laureate Samuel Beckett visitedBelgrade in 1958. He spent a few days in the then capital of Yugoslavia, resolving copyright issues for the translations of his novels, and then he travelled to the Croatian town of Lovran, where he stayed, with his wife Suzanne, at the Hotel Belgrade. Speci cally,Yugoslav Serbo-Croatwas the rst European language into which Beckett’s works were translated – not counting the writer’s personal translations. The translator, Kaća Samardžić, was the wife of Radomir Konstantinović, a unique intellectual, whose Small Town Philosophy book we quote today more than ever. Thanks to the letters that Radomir exchanged with Beckett, as well as one photograph shot surreptitiously by Politika reporter Srboljub Vranić, we today have a memento of Beckett’s visit to Belgrade. Shown in the image are Beckett and Kaća, walking along Narodnog Fronta Street. Beckettwasmodest and retiring. As if that’s exactlywhy he attracted the attention of the public. The love between the Irish and Serbianpeoples extends frompersonal sympathies to theappetiteof the local readership for Irish literature. Closeness and recognitionwerealso re ected in theearly interest among young Belgrade theatre artists in theplayWaiting for Godot, whichprompted a global revolution in theperceptionof the theatre. Belgradewas the rst city after Paris toreceiveasetting for its rst anti-play in the history of theatre. Aswithother revolutions, this one was also tough. On the actual day of the premiere, the play was removed from the repertoire of the Belgrade Drama Theatre, while legend has it that the key role in this was played by Miroslav Krleža, who didn’t like the nihilistic tone of the drama. Director Vasilije Popović, who was actually the rst student to graduate in theatre direction at the Belgrade Academy of Dramatic Arts, under thepseudonymPavleUgrinov, sustaineda terribleblowprofessionallyandfoundhimself banned from directing at the theatre in the Crveni Krst neighbourhood. The play’s authors didn’t allow this to prevent them from presenting their work to the public, and they received help in their e orts from then young, promising painterMićaPopović, whomadehis painting studio at the Old Fairground available for this occasion. The place of the performance, whichhadhouseda notoriousNazi concentration camp during World War II, suited the atmosphere of the play. The backbone of the dramaWaiting for Godot is the idea of a quest for meaning in the aftermath of the horror andmeaninglessness of theHolocaust, whichpropelled the entire planet into a state of silent despair. MontenegrinpainterMarioMaskareliwasa collaborator on the set design ando ered anextremely stylisedsolution for theplay’s legendary tree. Due to a lack of resources for décor for the play, instead of some laminated tree intended to imitate a real tree, Maskareli used a broom handle and a half-rusted wire that had been discarded. This tree, which literally came from a “dump”, de ed the sterile realismand ideology it represented, opening the door to the wonderful world of imagination. This event addressed an important issue for the development of the theatrical arts in Belgrade. Both the artists and the audience were confronted by the lack of stages for avant-garde art, whichwas then in full bloomaround the rest of the world. Fromthe recognisingof this cultural need, theatre Atelje 212 emerged in 1956, with Waiting for Godot the rst play to be performedon its stage.Maskareli’s treewas the heraldof theYugoslavpost-war avant-garde. Itonlyappearsas thoughnothing’shappening. Predstava Čekajući Godoa, koja se igra u Ateljeu, nastala je 2011. kao studentska predstava, a iz nje je proizašla mala beogradska avangardna pozorišna trupa Tri groša The version of Waiting for Godot that is performed at Atelje 212 was created in 2011 as a student play. It spawned the small, avant-garde Belgrade theatre troupe “Tri groša” [Three Groats]

RkJQdWJsaXNoZXIy MzExMjc5