RADIO SARAJEVO | “CULTURAL MOSAIC”


Author of the article Branko Brdjanin

Theatre Maska i Pokret

Theatre “Maska i Pokret” has been operating for two years, and the project “Somebody has Killed the Play” is, after “Etude,” the second contribution to theatrical research in our country. The specificity of this work is the use of masks, movements and music tightly woven into a dynamic stage unity, which establishes direct, immediate communication with the audience and the audience thus has the opportunity to participate in the play to become a medium through which the story is refracted and, it seems, the most important layer of the whole work.

This treatment of the mask is a characteristic of the theatrical efforts of Iva Kostović-Mandić and Petar Mandić, who are the only protagonists in the play, present as authors in every phase of the work: from script, mask making, choreography and music selection, through stage design to directing. It can be said that indeed the two of them make up this Theatre, whose beginnings by more careful observers of theatrical events in this city are revealed in the project of the independent theatre group “Pokret i Maska” performed three years ago, where they both started with this kind of theatrical expression, after which upon graduation, enriched with new experiences and theoretical knowledge, singled out as propagandists of the introduction of masks, movements and music in direct connection with the theatrical act, unencumbered by additional connotations that would result from possible use and speech, in the function of the play which would mean a different level of acceptance of their stage endeavours.

Otherwise, the theatrical means used in theatre “Maska i Pokret” are traditional, present in the theatrical tradition of both East and the West, and also through the Renaissance and Baroque theatre in our country. But what sets this play apart as a new and conditionally said experimental is bringing the mask, movement and music into a special context in which the mask becomes a living person by ceasing to be an artistic element but enriched by this connection with music and movement come into a position where authors want it to come to life, to develop on the stage immersed in the action, unlike some contemporary stagings in which the mask appears only as an additional element in emphasising the meaning of the traditional theatrical play.

Like this, as they do in theatre “Maska i Pokret”, all stage means used are returned to the basic meaning that they had from the very beginning of the theatre. It could almost be said that the authors strive to restore the syncretic character of the theatre …

RADIO SARAJEVO | “KULTURNI MOZAIK”


Autor priloga Branko Brdjanin

Pozorište Maska i pokret

Pozorište “Maska i pokret” djeluje već dvije godine, a projekat “Neko je ubio pjesmu” je nakon
“Etide,” drugi prilog teatarskim istraživanjima u nas. Specifičnost ovoga rada jeste upotreba maske, pokreta i muzike čvrsto spletenih u dinamično scensko jedinstvo, koje uspostavlja direktnu, neposrednu komunikaciju sa gledalištem a publika tako ima priliku da u saučestvovanju u igri postane medij kroz koji se prelama priča, kao elemenat svjesno istaknut u prvi plan i, čini se, najvažniji sloj cijelog rada.

Ovakvo tretiranje maske karakteristika je teatarskih nastojanja Ive Kostović-Mandić i Petra Mandića, koji su i jedini akteri predstave, prisutni kao autori u svakoj fazi rada: od sadržaja, izrade maski, koreografije i odabira muzike, preko scenografije do režije. Može se reći da zaista njih dvoje čine ovaj Teatar, čije začetke pažljiviji promatrači pozorisnih zbivanja u ovom gradu otkrivaju u prije tri godine izvedenom projektu samostalne pozorišne grupe “Pokret i maska”, gdje su oboje počeli sa ovom vrstom pozorišnog izraza, da bi se kasnije, nakon okončavanja školovanja obogaćeni i novim iskustvima i teorijskim znanjima izdvojili kao propagatori uvodjenja maske, pokreta i muzike u direktnoj vezi u pozorišni čin, neopterećeni dodatnim konotacijama koje bi proizilazile iz eventualnog korištenja i govora, u funkciji igre što bi podrazumjevalo i drugi i drugačiji plan prihvaćanja njihovih scenskih nastojanja.

Inače, pozorišna sredstva koja koriste u Teatru “Maska i pokret” jesu tradicionalna, prisutna u pozorišnoj tradiciji i istoka i zapada a i kroz renesansno i barokno pozorište u nas. Ali ono što ovu predstavu izdvaja kao novo i uslovno rečeno eksperimentalno jeste dovodjenje maske, pokreta i muzike u poseban kontekst u kome maska postaje živa ličnost prestajući biti likovni elemenat, nego obogaćena ovom vezom sa muzikom i pokretom dolazi u poziciju u kojoj autori žele da je ožive, da se ona razvija na sceni uronjena u radnju, za razliku od nekih savremenih inscenacije u kojima se maska pojavljuje samo kao dodatni elemenat u isticanju značenja tradicionalne pozorišne igre.

Ovako kako to čine u pozorištu “Maska i pokret” svim scenskim sredstvima koja se koriste vraća se ono osnovno značenje koja su ona imala od samih početaka pozorišta. Gotovo bi se moglo reći da autori teže vraćanju sinkretičkon karakteru pozorišta …