Saturday, 07. December 2013. 19:30
Monday, 09. December 2013. 11:00
Monday, 09. December 2013. 19:30
Tuesday, 10. December 2013. 19:30
F. M. Dostoyevsky
F. M. Dostoyevsky's ''Crime and Punishment'' is an integral part of any deliberation on crime and its (un)justifiableness, on guilt and confession, punishment and repentance, responsibility and the consequences we are willing to suffer for what we have done. During that process it is hard to say where is Dostoyevsky at his best: in his sharp-witted, analytical dialogues that penetrate incredibly deep and to which he masterfully opposes the complex insights and views on human nature; in the introspective and often self-exhausting monologues; or in the superior sense of atmosphere and the whole of the story, where in the case of ''Crime and Punishment'' he surprisingly harmoniously ''sticks'' little philosophical essays, that the characters dwell in, to an almost crime plot...This novel had its fair share of stagings through different adaptations and dramatizations. This dramatization is the work of the director himself, Zlatko Sviben, who has gathered a respectable cast from all generations of ''Gavella'' Theatre around his ''dramatization script''. One of the greatest works of Russian and the world's literature is an exceptionally complex and challenging material for anyone who wishes to bring it to life on stage, but the eternal story of Rodion Romanovich Raskolnikov, a failed law student who decides to kill and rob an old pawnbroker Alyona Ivanovna even today, 150 years after it was written, shines with the same magical appeal.
Wednesday, 11. December 2013. 19:30
Tuesday, 17. December 2013. 19:30
Wednesday, 18. December 2013. 19:30
At ''The Days of Macedonian Theatre'' held in 2006 in Gavella, when Skopje Drama Theatre presented its three productions, the theatre-goers in Zagreb were able to see two plays directed by Alexander Popovski: Goran Stefanovski's Proud Flesh and Molière's Don Juan. Both had shown that behind them stood a director who didn't want to modestly ''transfer the text to the stage'', but approached it as a model he wished to play with and transpose it into visually impressive images on the set. We believe that Shakespeare's classic is a play that invokes precisely that kind of directorial approach, because the play's vividness is unquestionable and its imaginative interpreters are imperative.
Saturday, 14. December 2013. 19:30
People, along with times - Voltaire serves as proof - are not changing in their essence. Therefore ''Candide or Optimism'' has got no problem with the time distance, because cruelty, stupidity and hypocrisy have easily skipped centuries and anchored themselves in the present. ''To enlighten people, to make things clear, to free the spirit of unneccessary disciplines and to defend man's right to his own opinion.'', is what the French writer and thinker was trying to accomplish with his bestseller (during the author's lifetime the novel was published more than forty times) in the 18th century and it makes sense to do the same today. In this case, luckily for the theatre, this is not only a sensible thing to do but also a potentially amusing, vivid and playful thing to do. What we have in front of us is a kind of a bastard-child of philosophical discussion, satyrical mockery and picaresque adventure, where no one is spared, least of all the state and church authorities. Voltaire asks both himself and us: ''Is optimism possible at all as a credible view on life, or is some naiive delusion at stake, where ''someone passionately claims all is well, even though things are turning evil?''
Monday, 16. December 2013. 19:30
Jean Anouilh's ''Antigone'', which had its opening night in ''Gavella'' Theatre on September 15th, 2012 is an example of the aforementioned exception. In the spring of 2013, after 25 performances in front of a mostly sell-out audience, the director Aleksandar Popovski, the cast of the play and the creative team decided to continue their work on the play which premiered six months ago. The result is a new-old ''Antigone'', a production which shares with its predecessor the textual model, the cast and the names of the entire supporting crew and yet in many ways it differs from it. By being thoroughly dramaturgically reshaped as well as thought out more deeply in terms of the direction, and consequently significantly changed regarding the visual characteristics of the stage and the costumes, this ''Antigone'' differs from its predecesssor first and foremost in the actors' emergence in their roles and new solutions that spring out as the result of it, in terms of the idea, concept and mis en sc?ne. Antigone, Creont, the Chorus, the Guard, Haemon, Ismene, the Nurse, the Messenger, the Maestro and the Page are still telling us the same story, one that now sounds and means something new: the motifs are the same, the reading has changed, both from this side as well as from the other side of the stage.
Thursday, 19. December 2013. 19:30
By writing an almost programmatical text where everything, literally everything, revolves around money and where without carefully planned profit considerations one can't get pregnant, have a baby, die, get a job, quit work, buy an apartment or be in an intimate relationship, Nikiforova shows us what we have become and where faith - even if we didn't have any, because there was no choice in the first place - in what we tend to call ''liberal capitalism'' has gotten us. Her play, however, is not a lecture on morality, but a comedy, a socially engaged one, caught in the web of our everyday sorrows, yet immensly trenchant in its attention to detail and satyrical in the process. The characters it deals with are people like us, people who got ''a bit carried away'' in the supermarket or misjudged the amount of credit they could pay off and all of a sudden found themselves in a situation that was bigger than them, a situation they now need to get out of quickly, in any way they can.
Friday, 27. December 2013. 19:30
Even ten years after the movie premiered, ''Fine Dead Girls'' stands not only as one of the first titles of contemporary Croatian cinematography, but also as an accurate diagnosis of the two-sided nature of ''Croatia today'', with many of its (our) ''-phobias'', ''-ginias'', ''-isms''. The chamber-like quality of this film though, its density, strong characters and archetypal conflicts that they carry with them, have moved it closer to the stage. In addition to that, the co-scriptwriter of the film, Mate Matišić, is one of the most significant contemporary Croatian playwrights and Dalibor Matanić has previous experience working in the theatre (one of the current productions of Croatian National Theatre ''Ivan pl. Zajc'' in Rijeka is the play ''Sjajno mjesto za nesreću'' (A Great Place to be Unhappy) by Damir Karakaš and Nina Mitrović, directed by Matanić). Matanić is also known for his remarkable feel when working with the actors, which is a film constant, as well as for the accuracy in detecting social problems and the willingness to confront them, which are unquestionable. ''Fine Dead Girls'' in Gavella Theatre will not, and can not, be a copy of the movie, but a fully-fledged theatre play, which will use the film merely as a starting point for the questioning of the condition of our society. The story of two college girls - two lesbians in love rent an apartment in a house near West Train Station in Zagreb, wishing to secure a quiet corner and privacy for themselves - starts as a melodrama only to gradually develop into a tragedy, with all its necessary consequences, with its subject matter and approach stands somewhere between the work of Almodovar and Fassbinder, two film-makers very much connected to the theatre.