Jagos markovic biography sample
Maja Mrđenović*
Artistic activities in Montenegro (population 630,000) are still largely characterized by a traditional approach, with very little interdisciplinary experimentation and social engagement.
The theatre system is disjointed and unevenly distributed: the standard bearers of its theatre activity are the two national theatres—the Montenegrin National Theatre in Podgorica and the Zetski Dom Royal Theatre in Cetinje; and the city theatres of Podgorica and Nikšić. In addition, there are occasional independent theatre productions in municipal cultural centers and several summer theatre festivals. That is, independent theatre as such remains underdeveloped in the country, certainly in comparison to publicly budgeted institutions.
Montenegrin cultural policy has generally put “state identity”—understood as essentially following the “official line” and the absence of critical thinking—at the forefront. Indeed, international trends such as inclusiveness and decentralization have been all but ignored—a tendency that unfortunately mirrors the wider socio-political situation in the country. Since 1990, the state has been run by the same political party—the Democratic Socialist Party—meaning that the government has not changed for 30 years.
According to measures of both the European Commission and of Transparency International, Montenegro could therefore be characterized as a “captured state,” which implies that public policies can often take place through corrupt means with intellectual “elites” (directors of educational and cultural institutions), supporting the ruling party’s positions.
Specifically, laws dealing with Culture and Theatre, define “public interest” in vague and generalized terms. The National Program for the Development of Culture 2016-2020, an analysis of the fundamental planning document in the field of culture, reveals not only a lack of strategic planning but is dominated by organizational modes
The man who lived wholeheartedly for the theater died, according to the news, of a heart attack. How to understand that ironic move of the director of life towards the biggest boy of our theater? 2023 "Infinity Pool", Role: resort Cop, Director: Brandon Cronenberg, Production: Forge, Hero Squared, 4 Film 2022 “The Weekend Away”, Role: Pavić, Director: Kim Farrant, Production: Netflix 2021 “The CNN Children”, Role: Dino, Director: Aida Bukvić, Production: Kreativna deKultura 2021 “The Hitman's Wife's Bodyguard”, Role: Gaurd, Director: Patrick Hughes, Production: The Lionsgate 2013 “Eyjafjallajökull” (The Vulcano) Role: Police officer on airoprt, Director: Alexandre Coffre, Production: Canal + 2011 “Spots”, Role: Žac, Director: Aldo Tardozzi, Production: Kinoteka 2010 “The show must go on”, Role: Albin, Director: Nevio Marasović, Production: Vizije & Pinknoiz 2007 “Play me a Love song”, Role: Draško, Director: Goran Kulenović, Production: Interfilm post - production "A Life's Worth", Role: Tomislav, Director: Ahmed Abdullahi, Production: Yellow Bird 2019 "Success", Role: Martin, Director: Danis Tanović, Production: HBO 2018 "On the Border", Role: Domagoj Stiglic, Directors: Daniel Kusan, Zoran Margetic and others, Production: Nova TV 2017 "Christmas Uprising", Role: Šarl, Director: Željko Sošić, Production: Dogma Studio 2015 "Rest in Peace", Role: Nikola Rado, Director: Goran Rukavina, Production: Drugi Plan 2014 "Dawn of Dubrovnik", Role: Boris Pavela, Director: Mladen Dizdar, Production: Nova Tv 2013 "Stella", Role: Martin, Director: Mladen Dizdar, Product PH.D. AT THE NATIONAL THEATRE STAGE
Jagoš Marković entered the theater very young (he enrolled at FDU as the youngest in the class of professors Borjana Prodanović and Svetozar Rapajić). Years passed, but his spirit and energy never grew old. It was because he was genuinely, in a childish euphoric way, delighted in each of his theatrical processes. That childish playfulness was so precious and unrepeatable in the plays The Wizard of Oz i Romeo and Juliet "Boška Buhe". He made those plays during the darkest darkness of the nineties, when it seemed to us that all our lights had gone out. His Dorothy's journey along the yellow brick road was also our journey, our escape from the darkness of the nineties. Romeo and Juliet's cry for love was also our cry.
The people in the theater, oppressed by the misery of the surrounding world, needed Jagoš's emotionality and enthusiasm. That is why they so often and gladly called him to cooperate with them. Over time, when we thought of rapture in the theater, the first association became Jagoš Marković. In this world of ours, where it is more and more fashionable to be cool and making cerebral art, his "a lot of everything and in all directions" was so atypical... so... so... Jagoshevian. In a colloquial theatrical speech, Jagoš Marković gave us a new word - "jagoševski". When a certain action in the play or the whole play is said to be "Jagoševska", one knows exactly what is meant - it is a play with a lot of emotion and that emotion flows into the audience through all channels - through stage effects: wind blowing, falling leaves, sand, rain, a swing swinging in the corner, clocks and, of course, lots of music.
There was always a lot of music in Jagoš's plays. He had a strong sense of the emotional charge that music brings, and that's why I think it's a grea Movies
TV Shows
Ph.d.
drama by Branislav Nušić
Ph.D. is one of those few Nušic’s comedies produced by the National Theatre of Belgrade only once – premiere was held on December 17, 1936. However, this was not the first performance: the piece had been already produced by some of our provincial theatres. Although rarely loyal to the author, critics held the theatre management responsible for such a situation. Josip Kolundžic, a director, received approval from the critics. It was noted that he “proved to be excellent in Nušic’s characterization” and that he managed to escape “to overload the performance with unnecessary details”, establishing his concept on situation comedy and on highlighting satirical elements in the play. But, the critics noted that the said could be applied only to the first part of the play; in the second part caricature and farce were dominant. Set and costume designers were not listed in the theatre bill. The roles were assigned to the favorite “Nušic’s actors”: Dušan Radenkovic (Života Cvijovic), Teodora Arsenovic (Mara), Viktor Starcic (Milorad), Miss. Cvetanovic (Slavka), Fran Novakovic (Uncle Blagoje), Anka Vrbanic (Ms. Spasojevic), Milica Bošnjakovic (Ms. Protic), Zora Zlatkovic (Ms. Draga), Mata Miloševic (Velimir Pavlovic), Jovan Ðedo Antonijevic (Ph.D. Rajser), Velimir Boškovic (Nikolic), Žanka Stokic (Sojka), Ðura Marinkovic (Husband to Sojka), Marica Popovic (Klara), Mica Koncan (Pepika), Miss. Voljenac (Girl with a bunch of flowers), Miss. Markovic (Marica) and Dušan Het (Piccolo). Some of the critics, specially praised thoughtful and psychologically justified interpretation of young Mata Miloševic, others found that the most outstanding were Žanka Stokic and Dušan Radenkovic, “the two actors who have been fully realized in Nušic comedies”. Fran Novakovic was complimented to be “more than brilliant” for creating a real “acting masterpiece”. The rest of the ensemble was also well judged.