Evenfall

 

Director: IVICA BOBAN

Scene Design: MARIN GOZZE

Costume Design: DORIS KRISTIĆ

Music: DAMIR ŠIMUNOVIĆ

Light Design: VESNA KOLAREC

Projection and Video Design: IVAN LUŠIČIĆ LIK

Dialect Coach and Assistant Director: SRĐANA ŠIMUNOVIĆ

 

CAST:

IZMIRA BRAUTOVIĆ as Mara Nikšina Beneša

MIREJ STANIĆ as Made

GLORIJA ŠOLETIĆ as Ore

NIKA LASIĆ as Pavle

SRĐANA ŠIMUNOVIĆ as Kata

HRVOJE SEBASTIJAN as Luco Orsatov Volco

BRANIMIR VIDIĆ as Sabo Šiškov Prokulo

MIJO JURIŠIĆ as Lujo Lasić

ZDESLAV ČOTIĆ as Vaso

 

‘All these spatial metaphors and symbols that we find in the Dubrovnik Trilogy are necessarily interconnected through a common period of the contemporary poetic act, in such a way that almost one century in Vojnović’s apocalyptical vision of obliteration and death is compressed into a single moment and transformed into an integral theatrical event.’ (Joško Juvančić)

Ivo Vojnović is one of the best-known and most preformed Croatian playwrights, and theatre artists are always intrigued by his Evenfall that makes us contemplate our own destiny. Direction of this play written in 1902 and dealing with the disappearance of Dubrovnik’s upper class has been entrusted this time with one of Croatia’s most famed directors – Ivica Boban. This is enough of a reason to expect Evenfall to make one of artistic highlights in the upcoming theatre season.

As part two of Vojnović’s Dubrovnik Trilogy, Evenfall is an emotionally charged play, remembering with nostalgia the kind of Dubrovnik that no longer exists, nor shall ever exist again. With its highly nuanced psychological relations between characters, this drama about the decline of the Republic’s nobility, who are more likely to give up their life than their millennial ethos, is included among the best modern Croatian plays, or even dramatic literature ever written in Croatian. Evenfall gives a true chronology of the decline of a city, an era, and one social class, which is why Vojnović’s skilful depiction of impoverishment of the House of Beneš or his reminding about ‘olden days’ with irony are more pronounced that than the scenes of desire between two lovers (Pavle and Lujo).

 

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