Croatian House of Culture - Thuesday, May 3rd 7:30 p.m.
Croatian House of Culture - Wednesday, May 4th 8:30 p.m. (out of competition)
Theatre Atelje 212, Belgrade, Serbia
M. Krleža: THE GLEMBAY FAMILY
Director: Jagoš Marković,
Set designer: Miodrag Tabački;
Costume designer: Zora Mojsilović;
Consultant: Mani Gotovac;
Light designer: Radomir Stamenković
Cast: Boris Cavazza, Anica Dobra, Nikola Ristanovski, Jelena Đokić, Vlastimir Đuza Stojiljković, Branislav Trifunmović, Tanasije Uzunović, Svetozar Cvetković, Mladen Sovilj, Stefan Trikoš, Aleksandar đurđić
Opening night: 4. II. 2011.
Duration: 120 min
The Glembay’s are the dark prognosis of the world /from 1929./ The Glembay's are decomposing as individuals, as subjects, but the glembaism as a system continues to function flawlessly. Their hands are full of daily political/mafia deals in the echoes of communism, fascism and clericalism. Leone is, therefore, the Other; he makes the difference. In the second act we can literally feel two forms of living, two different languages, that of the father and of the son. There is an unbridgeable abyss between them. The Glembay's are a classical falocentric system... the baroness Castelli has exchanged her sensual intelligence for the power she gained by selling herself. That makes her a dangerous element for the whole society.
The scene between the father and the son is distinguished as the knot of the drama... In that scene the father and the son fight to life and death. The space is very tight... We can smell blood... But Leone knows that a myriad of heads will grow out of the deathly wounded beast as in visions of the apocalypse, and that it is useless to kill them. His personal tragedy lies within: Puba is on the horizon - the neo-fascist honours student who will take over the lead of the Glembay company.
There is no place where Leone can settle; he is literally – out of joint.
From his tight existential hole Leone can lucidly see all his life. The skeleton of the Glembay's is the drama of the son, as an eternal and cyclical constellation of the European panorama, from Orestes, via Hamlet to No One’s Son.
Mani Gotovac, from the Programme booklet
"Krleža is accessible, he is not boring; on the contrary, he is polemical, so that in Atelje 212 theater his play has taken a form of a dispute, polemics, of fighting for a truth.
Obscenity and hypocrisy are at moments comical and at moments disgusting, dramatic and ominous.
It seems as if the Glembay's were written today. With these brilliant actors it can be played in Belgrade, Zagreb, Ljubljana, or Skopje with equal success.
It is a mature, well balanced and a well-played performance."
Muharem Pervić, Politika
"In this tabloid reality, with miserable social criteria, Miroslav Krleža is an excellent reference on how banal is everything that we live!"
Kokan Mladenović, director of Atelje 212