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I National Theatre Užice j -

PILAD

PILADE

Translated by:

Ivica Buljan

Adapted and Directed by;

Andrea Paciotto

Adaptation and Dramatization:

Jovan Cirilov

Light and Video Design:

Mia David Zarić

Costume Design:

Snežana Kovačević

Composer:

Rolando Macrini

Sound Design

Nikola Pejović

Videography;

Dejan Parlić

Vahidin Preli, Igor Borojević, Ivana Kovačevi, Tanja Jovanović, Biljana Zdravković, Tomislav Trifunović, Divna Marić, Slobodan Ljubičić, Nemanja Jovanović, Goran Šmakić, Momčilo Murić, Biljana Đoković, Vladimir Kurćubić, Dragana Vranjanac, Svetislav Jelisavčić, Miodrag Brezo, Darko Aćimović, Nikola Božović, Ognjen Obradović.

Cast:

Milena Radomirović Comi

Stage manager:

Prompter:

Mileta Petrović

Ljiljana Matić

Recording production manager:

TechnkarDirector:

Milena Jocić Obradov

Video operator:

Milomir Bogdanovic Deba

Sound engineer:

Nikola Pejović

Light engineer:

Filip Marković

Head of stage tehnicians:

Slavoljub Vasić

Props;

Dragan Dimitrijević

Make-up:

Mirjana Hie

J л Ostoja Milosevic, Filipa Jovanovic.Thrird grade students of The Art School Užice, fashion taylor, and professor Tatjana Jovanović

Costume construction:

INTRODUCTORY NOTE For years Pasolini's tragedies have paralyzed the theatre world, because of their extraordinary strength, the density of the words (in verses), the complexity of the subjects treated and also because of the innovative concept they represented when he first wrote them. Now we are beginning to understand them in a different light and we can attempt to aim at the heart of Pasolini's inspiration with our modern sensibility. His questions are questions that are still very relevant for today's world. The theatre for Pasolini is the place for a dialogue between art and society. The word becomes everything: meaning, action and architecture. It defines the theatre space itself, the stage of the mind in which people stop to listen and to reflect. It becomes the place where the actors, the public, the text and the images that the text recalls, are all in the same level. Inspired by the social and political significance of classical Athenian tradition, he imagined the theatre as a CULTURAL RITUAL, an intense poetic and philosophical confrontation between artists, intellectuals and the public. In the drama Pilade, the classical world is the cultural background. It offers a tradition that serves as an anchor for a society dispersed and confused by deceiving ideologies, false ideas about progress, civilization and democracy. The story takes place in an ideal past and the myth becomes a mean through which interpret the contemporary reality. Pilade is an extraordinarily meaningful text, a marathon of uniquely strong and beautiful verses, a revolution of words that creates a fracture in all that does not change, in the history that repeats itself, in the predictable shame of corrupted political power. The drama describes in a lyrical and epic way the rise and fall of new "nations", it is a metaphor of the countless revolutions and transformations between old and new regimes. At the same time Pilade is a sort of autobiography, telling about the idealist quest of an intellectual in the modern worid. Pasolini himself is like a Pilade, the intellectual closed in his own world. He undertakes a frenetic and poetic search for a light to juxtapose to the blinding light of human Reason. But he fails to find answers and can only shout his curse, proclaiming the sense of helplessness and the impossibility to solve the infinite questions and contradictions of existence.