Bitef

Sa velikim uspehom postavljao je dela domaćih i svetskih klasika: Dostojevskog, Rostana, Gončarova, Singera, Kiša, Aleksandra Popovića, Vaclava Havela, Ljubomira Simovića, Franca Ksavera Kreca, Dušana Kovačevića, Sema Separda, Edvarda Bonda ... u kojima pronalazi konkretne tragove koji otkrivaju suštinsku moć pozorišta u naše vreme, vezuju i ta dela i njihove autore za konrektan prostor i konkretno vreme u kojem predstava nastaje, izbegavajući dnevnopolitičku dimenziju, banalnost i političku vulgarizaciju. U Jugoslovenskom dramskom pozorištu režirao je predstave Muke po Živojinu Radoslava Pavlovića i Na letovanju Maksima Gorkog, ŠEKSPIR U JUGOSLOVENSKOM , DRAMSKOM POZORISTU 9. april 1952. KRAU UR (King Lear), reditelj Mata Milošević 15. i 16, april 1954. ROMEO IJUÜJA (The Tragedy of Romeo and Juliet), reditelj Mata Milošević 28. decembar 1956, MAGBET (Macbeth), reditelj Mata Mibšević 21 januar 1961, RIČARD 111 (The Tragedy of King Richard 111), reditelj Tomislav Tanhofer 9. jun 1962. HAMLET (Hamlet), reditelj Mata Milosevic 23. januar 1964, SAN LETNJE NOĆI (A Midsummer Nights's Dream), reditelj Miroslav Belović 24. januar 1970, KORIOLAN (Coriolanus), reditelj Franc Jamnik 22. januar 1971. HAMLET (Hamlet), reditelj Steva Žigon 25. novembar 1977, OTELO (Othello), reditelj Steva Žigon 16. jul / 17. septembar 1979. KRAU UR (King Lear), reditelj Paolo Mađeli 25. avgust / 9. septembar 1987. OLUJA (The Tempest), reditelj Dejan MijaS 3. jun 1992. BOGOJAVUANSKA NOĆ (Twelfth Night), reditelj Jagoš Marković 7. oktobar 1992. HAMLET (Hamlet), reditelj Gorčin Stojanović 5. januarJ993. VESELE ŽENE VINDZORSKE (The Merry Wives of Windsor), reditelj Branko Pleša 3. decembar 1994 / 5. avgust 1995, TROIL I KRESIDA (Troilus and Cressida), reditelj Dejan Mijač

SHAKESPEARE'S EARRING The argument about who wrote Shakespeare's plays: Shakespeare the actor or an other author, was known even to Laza Kostić. It tormented him. For themselves, Shakespeare's contemporaries had no doubts at all; they had been convinced that their acquaintance, actor and theatre manager for 'the Globe" was indeed the author of King Lear, Julius Caesar and Hamlet. But those very contemporaries weren't aware of the fact of sheer genius the writer of Shakespeare's plays must have possessed. Only through the test of time had it become obvious that Shakespeare's theatre was the utmost reach of human expression. And then, naturally, arose the theories: that the actor who, in Johnson's words, 'knew but little Latin, and almost no Greek!" (meaning he wasn't very highly educated), that that actor could by no means be the writer of Hamlet and so many other magnificent tragedies, comedies, and farces. All the theoreticians and professors ventured from a point that seemed obvious: the writer of Hamlet had to be a man of immense culture, high intellect and vast lecture: therefore, it could not have been the historical Shakespeare. If we should compare Shakespeare to Moliere or Lope de Vega - who were superb theatrical craftsmen as well - we would see that Shakespeare, aside from the craft saw deep into historical events, the very Zeitgeist of certain eras and had to, accordingly, obtain such knowledge somewhere. But where? In books, which the historical Shakespeare had not read that is what the professors assert There were always artists who came forth to defend the historical Shakespeare: they found that he wrote his pieces with many geographical and historical errors, which a learned man wouldn't have committed. Beside of which, they claimed that Shakespeare could have penetrated into epochs and characters without much schooling, by the simple intuition of a genius. But all of this was mere defence - they only defended the man, they proved that Shakespeare, aside from his mistakes of a poor scholar, was after all - a genius. ... And now, in the year 1952, issued the new book by professor Titeili who, like the French scientist Lefraines, remarks the following: Shakespeare could not have written Hamlet simply because "deep knowledge" of Danish issues permeates the play etc... Professor Titeili fell under the illusion shared by all those who believed that solely "correct" data in a certain art work realised the atmosphere of truth...