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provide small studios for those with specialised tastes and at the same time ensure that his performers constantly extend their repertoire without being run completely into the ground. To abandon metaphor, however, the plain fact is that, at a time when the theatre outside London seems to be afflicted by a deadly caution, the Citizens’ Is one of the few theatres to be challenging all the conventional repertory assumptions. Too many British repertory thetares lack a distinctive artistic policy. A repertory theatre should not just be a place where plays get done every three weeks or so out of a vague sense of obligation to the community but a place with its own recognisable production style. And If 1 single out Glasgow Citizens' (acclaimed this year both on a European tour and at the Edinburgh Festival) it Is because it is one of the few British theatres that fulfils this condition.

The cornerstones of Havergal's policy at Glasgow are a belief In a youthful, democratic company and in a voluptuous theatricality in presentation. The average age of the 20strong company is 24 and all get paid £29 per week. In itself the age factor is not so surprising since repertory has always been built around youth for one very obvious reason: money. Glasgow, however, has turned economic necessity to artistic adventage by highlighting the youthfulness of Its actors; grey wigs and old men character-walks are firmly banished and everything is done to make the spectator use his Imagination to supply the missing years. Havergal says that what he’s after is “that direct charge between actor and audience that normally gets drained away through the usual British theatre rubbish" the kind of charge he found in “1789" where there was a palpable contact between performer and spectator, I see what he means: my only reservation would be that there are some plays (“The White Devil” for Instance, which I saw in Glasgow a year ago) where the age differentials are part of the play's essential fabric.

More radical, however, than the stress on youth, is the belief that the actors should themselves have a crucial say in both play-selection and casting. “We don’t want to do plays”, sa/ys Havergal, “that are a yawn to us. Actors want to do plays whose problems they can Identify with or which speak to them in some way; “The Threepenny Opera”, “Danton’s Death", "Venice Preserved” and “Saved” are examples of plays that get them. “The Recruiting Officer”, on the other hand, is an example of a play we discussed but finally dropped because several members of the company had been in productions around the Industrial reps that they felt didn't work." The actors are also free at any time to suggest what roles they particularly do or do not want to play. “I think It Is important", says Havergal, “that actors should enjoy what they do and do what they enjoy. After all, there’s so much stacked against being in the theatre that if you’re miserable as well there’s no point.” Self-indulgence or an example of enlightened democracy? The latter, I believe. What

I would like to see Is the Glasgow approach spread right through British repertory so that actors had a commitment to their role and the play bred out of an involvement in the actual selection; and an end to those pockets of resitance where casting for a new production goes up on the company board rather like the final choice of the school first 11 for an important match.

But where Havergal really runs counter to general repertory thinking is In his attitude towards the presentation of the community's problems on stage. Talk to any repertory director these days and he will say part of his job is to reflect the social and political problems of his town or city; and 1 would argue that he Is right in that a local theatre should be just as much a forum for discussion and debate as the local newspaper. But Havergal argues otherwise; If, he says, we did a show on the Upper Clyde Shipyard it would be patronising because we don't know as much about It as the people Involved. What he would rather do Is offer people revolutionary classic drama —■ like "Danton's Death” and then let them relate It to their own lives.

Wei yes; but the dificulty there is that it takes a good deal of sophisticated understanding to grasp the contemporary relevance of Georg Buchner. I think Havergal is on safer ground when he argues that part of the function of the Glasgow Citizens’ Is to offer an experience unavailable elsewhere in the city; something you can't get from the bingo halls, the pubs, the numerous movie-houses or the two variety theatres. And, having seen the company hälfe a dozen times over the past two years, 1 would say he does this partly through the eye-seizing power of Philip Browse's sets [as imaginative as any in Britain) and partly through the emphasis on the exuberant physicality of his company. I only hope other groups profit from the example of people like Havergal at Glasgow by gradually evolving a distinctive policy committing their company to It and then pursuing it come hell, high water or any amount of local damnation.

kako god hoćete

Pod naslovom Kako god hocete i podnaslovom Bogojavljenska noć komedija je prikazana prvi put na beogradskoj sceni u subotu

10/23. juna 1906. godine. Na faksimilu plakata objavljenom na dan premijere u »Politici« stajalo je »prevod sa engleskog«, mada je u stvari Mihajlo R, Popović ovo délo preveo u prozi sa nemačkog, Reditelj je bio Hija Stanojevié, koji je istovremeno tumačio ser Tobija od Posriga, kako se onda písalo. Na premijeri i jedinoj reprizi uloge Sebastijana i Viole tumačila je češka tragetkinja Mana Kvapilova. Orsino je bio Dobrica Milutinovic, luda Svetislav Dinulović, Manija Zorka Todosié. Predstava je data usred leta, a posle reprize i odlaska Kvapilove skinuta je sa repertoara, pa kritika o njoj nije posebno písala. Drugi put je prlkazana 24. marta 1923. godine u prevodu Svetislava Stefanovića i u režiji Jurij Rakltina. Malvolija je ¡grao Dimitrije Ginió, Oliviju Mara Taborska, Violu Desa Dugalié, a Mariju Žanka Stokić. 27. decembra 1939. godine u Narodnom pozorištu komediju režira Branko Gavella, u dekoru Ljube Babiéa Malvolija Igra Fran Novakovié, Orslna Svetolik Nikaćević, Sebastijana Božidar Drnić, Valentina Mirko Mlllsavljevlć, Oliviju Sava Severova, Violu Dara MHišević, a Mariju Ljubinka Bobié. Četvrti put na sceni Narodnog pozorišta »Bogojavljenska noć« režira Bojan Stupica sa Violom Mirom Stupicom, Marijom Majom čučković, i Malvolijom Vasom Pante I Idem. U Zagrebu je prvi put prlkazana pod irnenom »Noć svetih 'kraljeva ili kako god želite« 10. janeara 1897. godine pod upravom Stjepana Mieltića. Delo su zbog žurbe preveía četiri knjlževnika: Nikola Andrić, August Harambašlć, Stjepan Miletić I Milan Šenoa. Malvolija su igrali Dragutin Freudenreich i Josip Rapid, Oliviju Manija Ružička Strozzi i Zlata Markovac, a Maniju između ostallh Mila Dimitrijević. 168