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every man. This farewell to the Middle Ages and its dogmas, this triumph of life, is particularly felt within this monastic environment. Fifty years before Campanella and his » La Città del Sole«, Marin Držić dreams of a country » where there is no mine and yours«. We wanted these ideas not only to be Pomet’s but also those of the whole troupe. We have striven to convey on the stage the wealth and complexity of this comedy, from its humour and wiles to the most complex states of a reflective and far-seeing mind. The sub-currents of the comedy, its philosophical illumination, do not only provide a counterpoint to the laughter it provokes but also represent the » tezoro « (treasure) of this important theatrical work. Deprived of its visionary dreams, the work would not have been so significant. We wanted the characters to form themselves directly before the spectators’ eyes. Our periodical deviations, which occur when the actors assume the roles of a theatrical troupe within the play, are precisely limited so as not to hamper the manner of acting in which actors and characters fully merge together. In this comedy, Pomet is not alone in struggling to have his ideas (which are closest to those of the author) accepted. Each of Drzić’s characters strives to impose his own idea of justice and his outlook on the world. It is in this conflict between the different conceptions of life that a convincing image of a complex and rich life emerges. Of course, we have tried to establish a harmony between reality and the conditions of the stage. Držić’s realism does not consist in imitating life but is derived from his vision as a poet. His realism also has a certain characteristic that we tried to define and express through the exaltation of the acting, by constantly alternating the two faces of life, by suddenly contrasting open laughter with periods of silence and reflection. We felt that Držić’s modern drama should be performed openly and towards the public. (Miroslav Belović ) || Sk writer (born in Dubrovnik probably in Petrarchian poet, whose poem collection has little to distinguish it from other similar love poems. He developed his writing talent in Sienna watching peasant /ШшШяШёШШ 1 burlesques, comedies and pastoral plays. His main works are pastorales (» Tirena «, » Venera and

Adonis«), comedies (»Uncle Maroje«, » Skup «) and carnival burlesques (»Novela od Stanca«). His wroks were written to be played at carnivals and were produceed by the troupes, » Pomet Družina «, »Garzanja« and » Njarnjasi «. A plebeian, priest, counts’ interpreter and servitor, scribe, church musician, he ended his life as a political emigré, conspirator and revolutionary. Persuaded that the Republic was governed by »twenty crazy monsters«, » twenty misers who were ridiculous in the eyes of their contemporaries«, Držić naively requested the support of the Duke of Tuscany to even out the number of aristocrats and representatives of the people in the Senate. All his life a »poverissimo scrittore«, Držić was a gay poet of the Renasissance far removed from religious preoccupations. He was aware of the faults of his contemporaries and did not create all his Plautus-type misers, senicle old men, servants, adventurers and cuckolds just to amuse and entertain the gentry. He knew how to use the charm of the vernacular, he spoke the language of the common people and was the first to introduce poets and plebeians onto the stage, e.g. Pomet, Dundo ( Uncle) Maroje, Tripče, Bokcilo, etc. He was an astute playwright and had a pronounced talent as a comedian. The fact that his repriory ahs been preserved till the present day is due to the force of his true artistic inspiration. (From an encyclopaedia of the Lexicographical Institute, Yugoslavia) arm Držić 4 , í Ą années en Italie, où il séjourne à Sienne. Nature mobile, Jjn d’entrer dans la suite d’un comte viennois, aventurier avec lequel il circule entre Vienne, Dubrovnik et Constantinople. Son activité de comédiographe ne commence que relativement tard, par la représentation de » Tirena « en 1549. Trois troupes de Dubrovnik, »Pomet-družina«, »Garzarija« et » Njarnjasi « jouent régulièrement ses comédies et ses pastorales. Ses oeuvres les plus connues sont »»Tirena«, » Plakir «, »Novela od Stanca« (La Trace de Stance), »Dundo Maroje«, »Skup« (L’Avare) et »Tripče«. Plébéien, il a non seulement flagellé dans ses comédies l’oligarchie aristocratique qui régnait à Dubrovnik en ce temps-là mais encore s’est activmenet occupé de politique, c’est poruquoi un an avant sa mort (1566) il dut quitter sa ville natale.