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uomeniKa bonanaj Diia je toiiko poznata da je Papa, za vrijeme jednog službenog posjeta, od Titine zatražio da mu zaigra jedan od Filumeninih monologa, De Filipo je režirao i film istoga naslova, u kojemu je adaptirani komad sadržavao vjencanje u talijanskome stilu i angažirao zvijezde Sofiju Loren (Sophia Loren) i Marcela Mastrojanija (Marcello Mastroianni) te snimio njegovu TV verziju. JAGOŠ MARKOVIĆ Roden je u Podgorici 1966,godine, Diplomirao je kazališnu režiju na Fakuitetu dramskih umetnosti u Beogradu 1987. u klasi Borjane Prodanović i Svetozara Rapajića, Najznačajnije među četrdesetak njegovih dosadašnjih režija su: Romeo i Julija, San letnje noći i Na Tri kralja W. Shakespearea, Tartif i Učene žene J. B. P. Molijera, Evripidova Hekuba, Elektra Evripid-Kiš, Adam i Eva M, Krleže, Kate Kapuralica V. Stullija, Skup M. Drzića, Lorkin Dom Bernarde Albe, Simovićeva Hasanaginica, Dekameron _ - Dan ranije Bokačo-Glovacki, Joneskova Celava pjevačica, Govornica prema vlastitom tekstu (koji se danas izvodi i u inozemstvu), Čarobnjakiz Oza L F, Bauma, Trimusketara A Dime (A. Dumas) te Kiplingova Knjiga o džungli. Osim dramskih, režirao je opernu predstavu Pepeljuga G. Rosinija. Dobitnik je svih najviših strukovnih nagrada i priznanja u svojoj zemlji, a nerijetko je nagrađivan i nagradama publike. U izuzetno dugačkom nizu su i Nagrada Ministarstva kulture Crne Gore za doprinos kulturi, Nagrada Ministarstva kulture Srbije, Sterijina nagrada, Nagrada grada Beograda, Nagrada "Bojan Stupica", dvije nagrade za najboiju režiju na Festivalu djeteta u Kotoru, četiri uzastopne nagrade za najboiju režiju na Festivalu komedije u Jagodini, Nagrada "Davidof za suvremeni scenski izraz, dvije godišnje nagrade Jugoslovenskog dramskog pozorišta... Za najboljeg je redatelja godine prema anketi kazališnih kritičara izabran 1996. godine, a 2002, takoder je proglašen redateljem godine i to prema izboru televizijskih gledatelja. Medu najnagradivanijim njegovim predstavama mediteranskih tema su one nastale prema tekstovima hrvatske dramske baštine, Kate Kapuralica dobila je ukupno 35 nagrada, dok je Skup, nakon brojnih drugih nagrada, oduševio publiku na ovogodišenjem Festivalu malih scena u Rijeci i dobio većinu nagrada. The Mediterranean is incredible. It is so vibrant and the going to extremes... it simply calls for exaggeration. Personally I am very prone to it. And how can I not be when I was raised in the environment where I could be on the seaside in half an hour and on Lovćen in an hour more. That is the image you pick up right from the start That Mediterranean... so calling it an exciting area it would be an understatement You have gone through life in

JAGOŠ MARKOVIĆ Why is he directing Filumena Marturanol The text is very interesting because it is alive. Everything thrives in it. Hate and love. There is no indifference leading to alienation, and alienation means - alive but dead. Also, because it possesses an energetic and salvational vibe, the one giving life in my opinion. An awkward, painful, bloody, ridiculous, miserable magnificent existence with hundreds of years of solitude and pain, with moments of happiness that are fleeting but that linger forever in memory, a life filled with wounds and scars, but a non-surrendering life as well. Sometimes I think looking at the play in rehearsals, they do not live there, it is sheer life force living through them. I am not concerned with egos. I can admire personality. But the being, the ontological, to that I must bow like I bow to life, Eros, childbirth. Why is the famous Filumena Marturano from 1946 famous today as well? At the time the piece was originally written, it was shocking that the mother had once been a whore. Now it is shocking that a whore, her entire being is. wants, and will be - a mother. As first, the word "whore" does not exist for me. What is it, that is a major question. The ones taking money for it are whores the least It is more of a

vain if you have not kept just inside a fragment of pleasure and pain, and they are almost the same, and turned them into a single wrinkle, a single grey hair. I am talking, of course, about the inner beauty of the Mediterranean. You ask me about rushing. My mouth is gaping wide to take the most out of life. First they said: if he doesn't go mad, something will come out of him, and later they said: if he doesn't burn out something will come out of him, I am neither mad nor burnt out I am more and more calm and more and more on fire."

And so, Jagoš Marković, a great fan of the Mediterranean, of it in an excerpt of long conversation, who after having directed Kate Kapuralica, Comedy of Errors. Decameron. Lucretia or Zdero, House of Bemarda Alba and Skup (with which he had recently enthralled the audience in Rijeka by a modern read into the Croatian legacy and collected all prizes at the festival of Small Stages) comes to us once again to explore the inexhaustible Mediterranean topics. However, asked about Filumena Marturano which he directs after Danijel Načinovics translation, he replied: "I will not speak about The play because it must do that for itself. Theatre is a matter of the senses and I shall not be the one to put it to words. Frankly speaking, I do not think I really could.' Director Jagoš Marković