- DirectorTara Manić
- DramatistDejan Prćić
- CostumeSrđan Perić
- Director of photographyLuka Trajković
- Edited byMarija Jelušić
- PhotographyMarijana Janković
- Make upSnežana Petković
- Duration55 minutes
one of the most intriguing dramatic writers of contemporary Russian drama, in the play "Jul" - deals with the problem of the rescue of an ordinary man, the man who can be each of us, by the power of irony.
Even a woman, for which the writer insists that the main character Peter, like other characters, interprets a woman, that is, an actress.
Peter is a seventy-year-old criminal and killer who, due to the fire, remains socially and existentially threatened. The path of his rescue will be permeated by crudeness, violence, the search for "his own crazy idol", as perhaps the only refuge he belongs to.
By combining cruelty and tenderness within that ordinary man's relationship with others, to God, and to himself, Vyrypaev raises the main question - at what point in time, this man, within the system part of him, becomes the victim of his own salvation.
The drama text is divided into two parts. The first section describes the path of the main hero from his native village to the madman. On this path, Peter, in order to survive, must kill, defend, and be cruel, as much as a man in trouble can (must be).
The second part is more elaborate, raised almost to the metaphysical level, which is embodied in the show with means of film expression. The distorted state of consciousness of the protagonist, Peter, is expressed in video materials that accurately depict the characters who appear to him in a dream - who is possessed and from whom he tries to get rid of it.
The performance "Jul" was selected for the FIAT - International Alternative Theater Festival, from September 9 to 16, in Podgorica.Article NIN
You're eating me, I'm eating you
On the scene alone, Nataša Tapušković interprets the image of a man, a criminal and murderer, with the idea of eating a victim, seeking salvation
Drama in two parts: The first whole describes the way from the birthplace to the "madness", the continuation is related to the hospital and resembles a dream.
Nataša Tapušković plays the monodrama of Jul Ivan Vyrypaev at the Cultural Center Stari grad. Instead of the theater, at the entrance, as if we were entering someone's apartment. The scenery consists of two double-sided windows, a watch clock with a pendulum stopped (10 hours, 26 minutes), and white walls, important for this complex and bitter story. The actress, interpreting the figure of seventy-year-old Peter, to whom the fire destroyed everything, the criminal, the killer on the road to salvation, to the "born madman" - is pulled out of the window. The end of the long robe of the dress remains closed, so we immediately wonder if and how much the movement of the protagonist will be limited, on the scene that the old clock divided halfway along the axis of symmetry, creating a space for doubling the lost personality.
But while Peter is talking about the creepy reality in which they want to eat their sacrifice, telling them so easily that you are doing a TV show about cooking dedicated to preparing a meal "from the feet" rather than a confession of monsters and fairies, in addition to a clogged box, the playing field gradually narrowing the walls. July, stratified in ice / honey games, warm / cold (sharp enough to have spoken curses resembling a break) - the climax is on the move, regardless of the fact that the space for movement in the editorial setting Tara Manić is continually questioning reduces.
We are not just talking about bars on the balcony that are visible through the window, or in the hospital room; bats on Petar's face ... Straight jacket is trying to limit movement, and "brush" - speech. (She's cruel with the words of Vyrypaev!) In such a game, Natasa Tapuskovic alone is brilliant, especially in the scene when Petar caught and beat with a metal rod for breaking ice on a monastery staircase.
It points to a possible rescue, to the fate of the protagonist, the burden of the system that surrounds him - fighting for word and step. How long will her cruel and elegant collision with the walls last? As long as the body does not break, or return to the position of the fetus. After all, the sinner returns to life in pieces. First leg, then hull. Ivan Vyrypaev's drama is also divided into two parts. The first continent describes the way from the birthplace to the "madness": if it wants to go ahead, it has to be defended, to be cruel and kill. The clinic is tied to the hospital and looks like a dream. Respecting symmetry, on two opposite walls, the director plays videos. The whiteness of the room, used to design shadows (it is fantastic that in the moment of pronouncing the Russian puzzle with a fox, the shadow of the actress, accidentally or intentionally, it really produces the contour of a fox) becomes a canvas with chaotic scenes from the hero's head. Screened stream of consciousness and multiplication of personality - a film in which all episodes are played by Natasa Tapuskovic
In the meantime, she freed the dress and used a long toep to hide and open to the outside world. To sleep under the bridge. The lights of the world, from which the main hero was turned off, looked through the windows. The glitter of apartments on buildings in the distance. Fast-moving car headlights from a hospital window that made isolation more terrible. A cigarette was lit (Jovan Hristic: "In the theater, as Jan Kot, spiritually remarked, only cigarettes were lit up"), and one candle (often candles burn in the monodrama).
Finally, the space opened elsewhere, on the wall, in a video clip. Suddenly there were fairy-tale grown-ups before us. Though the voices were beaten, we were thinking of the traumas that were drawn from that innocent era, such as the tail. It looks like a long piece of clothing on whose end you stand and you can not go any further.
NIN 9.5.2019. 55
She graduated from the Faculty of Dramatic Arts. Member of the Yugoslav Drama Theater since 2000.
- JDP: Why does Herr R. run amok? (Mrs. R.), Einstein's Dreams (Kolombina, Đina, Dr Helga, Telesna, Jelena), Hotel "Slobodan promet" (Marsela), Nora! (Nora), Betrayal (Ema), Miss (Jovanka), Orchard (Varja), Just be nice(She), Metamorphoses, Candid or Optimism (Kunigunda and Markiza), Seagl (Nina), Supermarket (Dijana Crnojević Švarc), Pavilions (Mala), Dirty hands (Jessica)
- ATELJE 212: How much is pate? (Babica / Komšinica 2), Therapy (Woman, Bitch, Sister)
- BDP: The crime on the goat's island (Pia), Kathie and Hippopotamus (Ana), All my sons (En Diver)
- UK “Vuk Karadžić”: Photograph 51 (Dr. Rozalin Franklin)
- Folk (Sladjana) 2012-2014
- The last audition (Kraljica Natalija) 2008
- Theater in the house (Olga) 2007
- Life is a miracle (Sabaha) 2006
- Spring in Limassol (Vanja) 1999
- Pokondirena tikva (Evica) 1997
- Equation with one unknown (self) 2016
- Disquiet (mother) 2016
- Monument to Michael Jackson (Ljubinka) 2014
- Tenor Lirico Spinto (Melina) 2014
- Balkan is not dead (Eleni Karinte) 2013>
- Skinning (Lidija) 2010
- Life is a miracle (Sabaha) 2004
- Barking on stars (Danica) 1998
The winner of the City of Belgrade Award for Theater Art 2010, the three Annual Prizes of the JDP, the Branka and Mladja Veselinović Awards
At the just completed international - the 7th Monodrama Festival in Bečej, the play "Jul" is on an equal footing with the representative of Croatia, by a jury - declared the winner of Befemon.
The official announcement of this year's jury is as follows:
The jury of Dusanka Glid Stojanovic, Ivana Buljan Legati and Denes Debrei unanimously decided to split the two monodramas equally at this year's festival.
Such a decision was made because both accomplishments - the monodramas "Jul" by Natasa Tapuskovic and "Just Here" by Vanja Matujec - contain intimate research work that is not initiated by the absence of other opportunities or difficulties in the profession that acting implies. These two examples merely confirm that this is a place of solitude that monodrama implies, and that it leads to the enlightenment of public loneliness, sometimes so necessary, and that artistically invigorating opens the moment for the artist himself to hear the unprecedented reach of the stage cognition. And this happens when both ego and super ego and id are united in a symphony of words, thoughts, consciousness, subconscious, superconscious and unconscious.
Although dealing with such different subjects, these two actresses put themselves under the lens of self-observation and experimentation over themselves: Natasha Tapuskovic, putting herself in the role of a man who, brought to the very edge of existence, unleashes the true nature of man in all his lowest and primary impulses. a Vanja as the role of a neuroticized and pre-romanticized "no-mute" person who sees himself in the "Hollywood collapsed" world as the most necessary extras in those crucial hours of the show.
Both have the extraordinary and extraordinary power to achieve the collective plus of the world in the solitude of monodrama, thus touching the audience on the 7th "Be: femon".