The premiere of the play “A Streetcar Named Desire”, which has already been performed at the BELEF festival and the Ulysses Theater in Brioni, will be performed on Saturday, September 3 at 8 p.m. on the Small Stage of the Belgrade Drama Theater. The preview is scheduled for September 2, and the repeat for September 4, 2022.
Branka Katić, Vanja Nenadić, Miloš Petrović Trojpec, Marko Todorović, Nađa Sekulić, Jovo Maksić, Nikola Malbaša, Miloš Lazarov and Bojana Stojković play in the play.
A Streetcar Named Desire is a dramatic work that literary factography ranked among the classics almost at the moment of its creation, thus making it likely that its currentness at the time was universally and openly recognized even today and here. Tennessee Williams is a writer who won the Pulitzer Prize for this play in 1948, the first of three.
It was a success in the theater directed by Elia Kazan, and a few years later the same director made a cult film based on that work. While driving our Tram, Williams speaks loudly about topics that troubled him, about weaknesses that were an integral part of his existence: mental lability, homosexuality, alcoholism.
And it was precisely this persistence, inherited from Chekhov, that allowed the individual, if it was selected and described by the master’s pen, to become a general place and our common problem. Therefore, relying on the discovery of the state of the human soul, the intimate drama of its heroes, their emotional turmoil – make it relevant for every time, including ours.
In this Tram, some very important issues are also addressed today, issues concerning the position of women in modern society. Williams, if he were our real, not just a literary, contemporary would be a well-known and recognized advocate of female emancipation.
Namely, very clearly and unambiguously in the middle of the last century with this text, he opened the question: can a woman survive in the world of extreme materialism, in the almost hysterical circumstances that grind our lives. Blanche says: “Deliberate cruelty cannot be forgiven.”
And our world, unfortunately, has become even more cruel. But apart from the courage to speak about the forbidden, apart from the ability to make us recognize the problems of the characters who selflessly share it with us, he talks about the moment when one time passes forever and disappears, and another, new one, comes.
At that time, Williams wrote about the demise of one class (Blanche) and the creation of a new one (Stanley), about those who manage to transfer and survive (Stella), about the emergence of a new order of values.
Today, we are also aware of the times of change that, as history always skillfully takes care of, caught us unprepared and in these chaotically arranged situations, our timetable turns into panic and disorder. The clash of the old and the new can be read first and foremost as a clash of two worldviews.
Do we have the right to believe that illusion can be an integral part of life, that there is still room for love in this world that renounces, shames emotions. Our illusions have been abolished, the need to “escape from a reality in which we do not feel comfortable” has been thwarted.
And as the writer says: “People get over it easier if you take away their money, than illusions”.
The play was co-produced by the Belgrade Drama Theatre, BELEF and the Ulysses Theater.
TRANSLATION: Vera Nešić and Dragoslav Andrić
DRAMATURG: Željka Udovičić Pleština
SCENAGRAPHER: Zorana Petrov
COSTUME DESIGNER: Bjanka Adžić Ursulov
STAGE MOVEMENT AND CHOREOGRAPHY: Staša Zurovac
COMPOSER: Nigel Osborne and Davor Rocco
STAGE SPEECH: PhD Ljiljana Mrkić Popović
LIGHT DESIGN: Andrej Hajdinjak
SOUND DESIGN: Marko Kekezović
Source: Sito&Rešeto by www.sitoireseto.com.
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