"Glembajevi PROZA, Vol. 2" by Saša Božić, Jelena Miholjević and Borna Baletić is the last premiere of this season at Teatar &TD
Dear all,
The last premiere of the season at Teatar &TD, the production "Glembajevi PROZA, Vol. 2", an original project by Saša Božić, Jelena Miholjević and Borna Baletić, will take place on Thursday, 18 June in the foyer of the Velika dvorana &TD at 20:00. Repeat performances are scheduled for 19 and 20 June. The adaptation is by Saša Božić. The production features Jelena Miholjević and Borna Baletić, costume design is by Marita Čopo, and lighting design by Tomislav Maglečić. The production for De facto is by Ivana Brajdić, and the show was created as a co-production of De facto and Teatar &TD.
After the first part laid bare the cold family genealogy, the creative duo Saša Božić and Jelena Miholjević joined forces with Borna Baletić and present a continuation of their exploration of Miroslav Krleža's prose cycle about the Glembays, blending salon prose with stand-up comedy.
The production "Glembajevi PROZA, Vol. 2" manipulates the spectator's gaze, transforming the audience from passive observers into voyeurs and participants. This theatrical act turns Krleža's sentences into sharp, darkly humorous scenes about Glembay-style romantic anguish. In focus are two anthological short stories: the fatal love of Marcel Faber for Laura Varonig, and the emotional collapse of Barunica Lenbachova.
The innovation of the direction lies in a radical departure from traditional dramatic adaptation and the introduction of the concept of a "reading performance". The act of reading prose ceases to be passive literary reception and becomes a dynamic stage event in which the rhythm of Krleža's sentences and the romantic topoi of Glembay prose are deconstructed live, with and in front of the audience. Krleža's prose is read between the lines, microphone in hand and finger on the trigger of irony. The first short story ("Ljubav Marcela Fabera za Lauru Varongovu") precisely analyses idealised, newly awakened intimations of love among young people. In contrast, the second short story ("Barunica Lenbachova") delivers a dark psychological study of the portents of romantic ruin and emotional collapse among middle-aged people.
Jelena Miholjević and Borna Baletić perform a poetic yet brutally witty anatomy of toxic bourgeois relationships. The production plays with the very idea of watching as seduction. Did Krleža's lovers truly love each other, or were they merely seeking an audience for their private, hysterical performances?