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- Paulina Andreyevna; Ivana Vuković - Maria llynichna Masha; Boris Liješević - Boris Alexeyevich Trigorin; Boris Isaković - Yevgeny Sergeyevich Dorn - Doctor; Dimitrije Dinić simulating Semyon Semyonovich Medvedenko; Jovan Živanović - Jacob, worker, dog, curtain; Milica Trifunović, Tijana Marković - Prompters, maids; Dušan Mamula - various functions Musical Team: Aleksandar Ružičić; Borislav Čičovački, Nenad Marković, Isidora Žebeljan, Boban Stošić, Goran Kostić, Ivan Marjanović Stage Manager: Zoltan Bešenji Photography: Srđan Đurić Simultanious translation to English: Bojana Kovačević Petrović Production: Serbian National Theatre, Novi Sad

11 That exclusively theatrical power of transubstantiation, which is truly the doubling of reality (which is why theater exists!) that simultaneous feeling that we are here, in the theater, watching a performance of The Seagull, but also on Sorin’s property, as guests among his neighbors and friends, of which the most prominent place, like in other pieces of Anton Pavlovich, belongs to a doctor, here Evgenii Alexeyevich Dorn, who, for these few hours, comes to represent the one we know as the unique Boris Isaković, is the greatest achievement of this Chekhovian undertaking of Serbian National Theatre. Zlatko Paković, Danas

JJ For Janežič, who says that in the theater we are “witnesses of the living beings on the stage, who will never be the same again,” the theater is not a dazzling deception after which we go home, but a real communication that means something to both the actors and the audience. Janežic s concept is officially called “no acting, please” and in The Seagull it is such as to give us an insight into how the show looks on the inside: the entire performance is one marathon rehearsal, where we see actors as living people who interact with each other, their mistakes, attempts, partners and the audience. So, as hours pass, the show grows before the audience, from whom nothing is hidden, and the actors - fully leaning on what they are producing - become real characters of a play, Bojan Munjin, Novosti

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