PERCHANCE DREAMING
Šta se dogodi kada se karakter iz predstave “Snovi i prepreke” zavrti i u tom okretu obre u novoj predstavi “Možda sanjati”? Taj “spin-off” dovodi do novih prizora koji postavljaju pitanja o smislu odlaska iz sopstvene zemlje, o životu u umetnosti, o mogućnosti ili nemogućnosti izbora, o vrednosti sopstvenog sna. [2016]
Every day, on the way to her theater, a young woman meets a man playing on the street, surrounded by an unpacked backpack and instruments, wrapped in a blanket with an exotic pattern. They do not share a mother tongue, but they do share different languages that extend beyond speech. She tells him, or only imagines telling him, the story of her life. He answers her with music.
They try to find the meaning of their life choices in a world where people are forced to leave their homes to save themselves, in which sometimes the most important thing is to follow the thread of Shakespeare's dreaming.
A totalitarian mind would have our life and dreams be nothing, and not only from the point of view of some constructed totality, but also for ourselves, for each of us individually. And the DAH Theater play "Maybe Dream!" (2016, directed by Dijana Milošević) opens windows for us and frames (literally - stage-wise) those very small lives and small dreams of ours, for which we should not allow anyone to convince us that they were the same as everyone/everyone else or were irrelevant from the point of view of the whole. And who determines what that whole is and must be - somehow they always fail to tell us that.
In her mature and developed stage presence, Ivana Milenović Popović plays out her life and her dreams, and the interaction with the musician (Uglješa Majdevac) allows that presence to be determined exactly as such - stage presence, overcoming the dichotomy between reality and fiction, life and art, sleep and reality, dreams and wakefulness. And of course, it is a show about both art and the artist: because what happens when, after a long and arduous acquisition of artistic skills, "working on ourselves", we again - but this time just like artists - face the hard wall of reality, when we realize that for us, and for us as artists, there is no escape again, no way out, no coquetry, and that the burden we have taken on is not at all easy. That anything other than saying our word would be cowardice and a crime, and that finally we, as artists, have to do something. That sometimes that word is not only for us, but also for someone else, for some others, who are hungry for us with anticipation and hope, with the feeling that we owe them something - after all, basically. That as artists we must be able to put ourselves in the place of another, others, sometimes in the place of so many others that we don't even know their number, because others should never be a number. And there, where no one is a number anymore - that's where art would have to be born.
- Vladimir Kolarić, writer, theoretician of film and art [TILL THE LAST BREATH]
Direction and dramaturgy: Dijana Milošević
Actress: Ivana Milenović Popović
The following texts were used in the play:
Ivane Milenović Popović, excerpt from "Hamlet" by V. Shakespeare, text by Irene Mayer from the book
"The Female Side of War", text by Jugoslav Hadžić from the play "Dreams and Obstacles."
Musician: Uglješa Majdevac
Music: PI Tchaikovsky, C. Nielsen, D. Brubeck, Slovak folk motif, Bulldozer,
W. Lutoslawski, I. Stravinsky, U. Majdevac
Scenography: Neša Paripović
Costume: Ivana Stanković
Lighting design: Milomir Dimitrijević
Photo: Una Škandro
PR and organization: Nataša Novaković
DAH Theater would like to thank Jadranka Anđelić, Zoran Lazović, Maja Mitić and Šira Wulf.
DAH Theater would like to especially thank Irina Kruzhilina for the conceptual design of the costumes.
The realization was supported by the Ministry of Culture of the Republic of Serbia
