Dušan Jovanović: Predstave ne bo, igra v dveh delih
6 nastopajočih (1ž, 5m)
Besedilo je izšlo v reviji Perspektive (letn. 3. 1962/63, št. 28/29, str. 1017 – 1037).
Grotesque There will be no show je žanrsko neopredeljiva igra, ki s poigravanjem in parodiranjem odpravlja mejo med odrom in občinstvom.
Playwright, director and essayist Dušan Jovanović (1939) has been shaping Slovenian and wider theatre for more than five decades. In the 1960s and early 1970s he was one of the founders of the Študentski aktualni gledališče (ŠAG), the Pupilije Ferkeverk Theatre and the experimental theatre Glej. He worked as the artistic director of the Slovene Youth Theatre (1978-1985) and as a teacher at the AGRFT (1989-2006).
In parallel with his theatre directing (there are around ninety of them), dramatic texts were also created. His first and unstaged work There will be no show (1962) with playful irony foreshadows texts that have introduced radical changes in content and form into our literary space. These are dramas Fools (1968), Brands, then Emilia (1969), Play head tumor and air pollution (1971), The life of country playboys after World War II or We want foreigners - we don't give ours (1972) and Victims of boom-boom fashion (1975). In the following years, Dušan Jovanović tackled socially engaged topics such as the informburo, war, revolution, individual freedom, violence and totalitarianism in a different way – and yet organically connected to his early texts. First, there were Liberation of Skopje (1977) and The Karamazovs or The Re-Education of the Heart (1980), and later the Balkan trilogy, which was a response to the wars of the 1990s: The riddle of the Korazh (1994), Antigone (1996) and Who Sings Sisyphus (1997), če omenimo le nekatere. Vseh naslovov niti nima smisla naštevati, ker je Jovanović napisal približno trideset dramskih tekstov; omenimo še Wall, lake (1989), Don Juan on a dog (1990), Kozarcky Clinic (1999), An exhibitionista (2001) in zadnjega, Boris, Milena, Radko (2013).
He often undertook dramatizations of prose texts, including Dostoevsky's (Be angry; Delusions), Bartola (Alamut) and Tolstoy (Anna KareninaHe has written numerous screenplays, and in his later years he also dabbled in essay writing. In 2011 he published his debut poetry collection (I didn't).
The play takes place in a single location, which is described in the subtitles as a small seaside town. From the courtyard where the underwear is hung, the coast and a small pier are supposed to be visible. In the middle of the courtyard lies N, tied up. It is like this from beginning to end: he does not speak and no one bothers with him. Extra 2 mends the net, Extra 1 does nothing. The main protagonists sit in the front on swivel chairs. In the list of characters they are marked as an ordinary (X) and an unusual person (Y).
V prvem delu se skoraj do konca pogovarjata le X in Y, le na koncu se z nekaj replikami oglasi tudi eden od Statistov. Govori v glavnem Y, ki blebeta in kriči več ali manj same nesmisle. Ob tem je nasilen in vulgaren. Teme od kulinarike do vojne in miru se vedno znova iztečejo v vsevedno presojanje ljudi in obtoževanje sogovornika. X mu odgovarja na kratko in je najprej pasiven in prijazen. V nadaljevanju se začne braniti pred obtožbami gostobesednega soigralca in postaja vidno prizadet. Y se sčasoma naveliča zmerjati le kolega in se posveti zmerjanju občinstva. Zaradi prisotnosti gledalcev dogajanje poimenuje kar kongres. X publiki razloži, da je videno in slišano zgolj improvizacija, plod igralčeve domišljije. Y je po njegovem mnenju s svojim blebetanjem pokvaril predstavo in ogrozil njeno nadaljevanje. Ko hoče X zapustiti prizorišče, ga Y pregovori, da ostane in brani svoje interese. Trdi, da se tudi X ni držal zapisanega besedila in je sokriv za nastalo situacijo. X sprejme izziv in konča prepir z grožnjo, zato se Y pred njim umakne in začne maltretirati druge. Do konca prvega dela ponižuje Prvega statista in zmerja občinstvo.
In the second part, the dialogue between the two main actors continues along the same lines until it is interrupted by the arrival of the Old Woman, who is looking for her son. Y first claims that her son is dead, but later questions his death. Since he brutally humiliates the Old Woman all the time, Extra 2 can no longer stand it and stands aside. In the entire drama, he is the only one who effectively opposes him, to which Y reacts in his own way: "Everything we say is a lie. Barking at others and lying is a law of society and a law of the theater." Towards the end, Y also gets tired and declares that he has said everything and that they should leave him alone. His fellow actors (except N, who cannot move) leave, but soon return and, shouting "catch the thief," drag him off the stage.