Serbian National Theatre, premiere 17th October 2024
Director Andraš Urban, in his previous plays, Once Upon a Time in Novi Sad and Neoplanta, explored the life of the Hungarian national minority through turbulent times in Novi Sad and the political and public life in the capital of Vojvodina. He shed light on the false idyll of multiculturalism and multiethnicity. Following this trajectory, he continues in his new play, Balkan Beauty, on the stage of the Serbian National Theatre.
While Once Upon a Time in Novi Sad is a comedic cabaret that humorously critiques theatre administration and the status of actors, Neoplanta and Balkan Beauty are based on the novels of Laslo Vegel, exploring the history of the city and the political transformations it underwent. The play Balkan Beauty is adapted from the book Balkan Beauty or Schlemiel’s Bastard, which follows the life of a Hungarian man, Johan/János/Jovan Šlemil (brilliantly portrayed by Dimitrije Aranđelović) in Novi Sad during various political regimes and ideologies in the first half of the 20th century — reflecting the reigns of Miklos Horthy, Adolf Hitler, and Joseph Stalin. Throughout these regimes, the ‘ordinary man’ endures hardship while clinging to the hope of securing a job as a clerk at the post office for his daughter. The ideology’s influence shapes their lives and determines the protagonist’s name.
The dominant feeling in the narrative is the impossibility of establishing continuity in our region. As a new postal clerk sits at the counter, a new government takes over, replacing her with its staff and imposing its own rules. Just as the Hungarian minority and society in Novi Sad become accustomed to the torture of one system, another arrives to oppress them differently. Just as they dream of a saviour who will liberate them, he comes, imposes a dictatorship, and robs them of their dreams. The most frightening thing is that no one will come to save us; we should get used to the horrors of life. However, what is dangerous and misleading in the narrative itself is the relativization and revisionism of political ideologies. J. Schlemiel has dreams of political saviours from opposite ends of the ideological spectrum. Although both prevent Schlemiel from getting his daughter a job and show no goodwill toward the Hungarian minority in Vojvodina, the play suggests that Nazism and socialism are equally destructive policies. This is not the play’s theme, so I will not dwell on it. The author intends to address the repression of individuals, society, and minorities under various systems.
Balkan Beauty. Photos: -D. Rauški
Another important theme of the play is homeland. The characters cannot even bring themselves to say the word. The narrator, J. Schlemiel’s grandson, Franc/Ferenc/Franjo Schlemiel (articulated very well by Marko Savković), questions the meaning of this word while recounting his grandfather’s life. Homeland, then, becomes where our grave is, a place that only the wealthy can afford, and so on. The conclusion of Balkan Beauty could be that homeland is language (Erika, the mother, strikingly portrayed by Mia Simonović Aranđelović, obsessively teaches her son Franc German because she feels Germany is her homeland). In a broader sense, the question of language is fundamentally linked to the question of story. Similarly, the issue of (national) identity also revolves around one’s life narrative. At the heart of this play is the story of Franc, who seeks to uncover the identity of his biological father to discover his origins and sense of self. Like his grandfather, he realizes he cannot define his identity solely based on his name.
Beyond the family story that reflects nearly a century of Novi Sad’s history lies our collective confrontation with this city’s past. It is said from the stage that we still haven’t come to terms with the (mis)deeds of the 20th century and that socialism, though no longer alive, has not been buried. The past, as sociologist Lea David states in the title of her book, cannot heal us, and I fear that constantly repeating this to people who weren’t even witnesses of that time leads to a banalization of the term “confronting the past”, a phrase we don’t even fully understand.
The play is vibrant and dynamic in every aspect. The mise-en-scène is impeccable, and the imagery created by Urban is exceptional. One particularly striking scene features the ensemble performing synchronized tennis, which has become a symbol of Serbian national identity and a status emblem for the ruling class. Urban decision to include a cellist on stage and use the cello as the story’s accompanying sound is intriguing. Although the reason for this choice isn’t clear, it doesn’t necessarily require justification; sometimes, enhancing the atmosphere is enough. I want to highlight actress Ivana Pančić Dobrodolac, who portrays a communist character whose war isn’t over. She craves revenge and blood, spreading fear and demonstrating dominance in the name of the ideology of equality and unity. Her performance is both convincing and terrifying. The SNP ensemble hasn’t displayed such cohesion in a long time.
Credits:
Author: Laslo Vegel // Director: Andraš Urban // Adaptation and Dramaturgy: Vedrana Božinović // Set design: Marija Kalabić // Costume design: Marina Sremac // Composer: Irena Popović Dragović // Choreograper: Andreja Kulešević // Cello: Aleksandra Lazin
Cast: Jelena Antonijević, Draginja Voganjac, Jovana Mišković, Mia Simonović Aranđelović, Ivana Pančić Dobrodolac, Anđela Pećinar, Katarina Bradonjić, Dušan Vukašinović, Dimitrije Aranđelović, Marko Savković, Peđa Marjanović, Aljoša Đidić
Danilo Milovanović Vukmanović
Further reading: review of Once Upon a Time in Novi Sad
For more information, visit: snp.org.rs
Divna Stojanov is a dramaturg and playwright. She writes mainly for children and young people.
