SCENOGRAFIJA Ivona, burgundska kneginja / SET DESIGN

Buehnenbild pozoriste Scenic Design scenografia scenografija scenography set design STAGE DESIGN theater Theatre

Stage is designed to complement text and director's vision, to create the space for actors to play.

Court plots and intriegues are supported though set design details, where even topiars are shaped like people listening to the conversations happening in the court and park.

Everything is reflecting one another, leaving space for no secrets, which is emphasized with some openings and gaps in topiary garden mazes, perfect for espionage.

Super artificial and obviously plastic greenery creates fake surrounding, juxtaposed with black and white floor and scenery, made of highly refelctive and glossy polycarbonate.

Costume and make up are fully black and white, while stage is pierced with some vivid green details, like apples and tenis balls.

Everything is brought to the extreme, becoming grotesque, beutiful becomes ugly and vice verca.

Greenery inspired and stylised after French gardens and landscaping, leaves wrapped around statues are ivy, again communicating ever present poisonus surrounding and threaths to Ivona's wellbeing and, finally, life.

Running water features are both in and outside, signifying that the court is everywhere, like machine that is always working.

Premijera : 23. mart 2015, scena „Pera Dobrinović“, Srpsko narodno pozorište

Premiered on March 23rd 2015, „Pera Dobrinović“ scene, Serbian National Theatre

Vitold Gombrovič
IVONA, BURGUNDSKA KNEGINJA

Witold Gombrowicz

IVONA, PRINCESS OF BURGUNDIA

Preveo / Translation: Petar Vujičić

Reditelj / Director: Radoslav Milenković
Scenograf / Set Designer: Miljena Vučković
Kostimograf / Costume Designer: Jasna Badnjarević
Koreograf / Choreographer: Ista Stepanov
Lektor / Lector: Dejan Sredojević
Scenske borbe / Scenic fights: Dejan Karlečik
Asistent režije / Assistant director: Jelena Antonijević
Fotograf / Photographer: Srđan Đurić
Izbor muzike / Music: Radoslav Milenković

Inspicijent / Stage manager: Vladimir Savin
Sufler / Prompter: Srđan Stojnović
Dizajn svetla / Light Designer: Marko Radanović
Majstor tona / Audio Designer: Todor Savin
Asistent kostimografa / Assistent Costume: Snežana Horvat

Igraju / Cast:

Ivona Copek / Ivonna: Marija Medenica

Kralj Ignac / King Igraciy: Jugoslav Krajnov

Kraljica Margareta / Queen Margaret: Tijana Maksimović

Knez Filip, prestolonaslednik / Prince Philipp: Marko Savić

Komornik / Chamberlain: Predrag Momčilović

Iza, dvorska dama / Isa: Jovana Mišković

Ciril – Ciprijan / Kirill - Kiprion: Marko Vasiljević

Ivonine tetke / Ivonna's Aunts: Ljubica Rakić, Gordana Kamenarović

Inocent, dvoranin / Innokenty: Marko Savković

Valentin, lakej / Valentin: Dragomir Pešić

Prosjak / Beggar: Miodrag Petronje

Dvorske dame / Madams: Anka Popović, Jelena Antonijević, Maja Nikolić, Olivera Stamenković, Alisa Lacko

Dvorani / Court: Miloš Lazić, Dušan Vukašinović, Goran Bačić, Vukašin Ranđelović, Nikola Stojanović

https://www.snp.org.rs/?page_id=10485&lang=lat

„Počnimo s kraja: isterivanje ružnoće, kojim se okončava Ivona, burgundska kneginja, umnogome liči na pogubljenje žrtvenog jarca koje, prema Rene Žiraru, dopušta razrešenej krize unutar zajednice. Nemoguće je, na primer, ne prepoznati žrtvenu dimenziju u ovom raspletu koji se zbiva na prijemu, zvanično priređenom u čast Ivone, ali u suštini organizovanom da bi se ona odstranila.“

Ana Fijalkevič – Senje, Vitold Gombrovič i Rene Žirar

„Da bi Ivonu ubili, moraju opet svi da navuku odgovarajuće njuške, da izađu iz stereotipa dogovornosti, da stvore situaciju ubistva. Ali ta situacija je takođe glupa, ne smešta se u konvenciju, preti da ih učini smešnima, intimno je za njih ponižavajuća. Da bi ubili Ivonu, treba da se preruše u Hamleta ili u Ledi Makbet. Treba da postanu patetični. Jedna od najsjajnijih Gombrovičevih ideja jeste scena, u kojoj kraljica, da bi se u sebi osmelila da Ivonu otruje, raščupava kosu i maže lice mastilom.

Ulazi u Šekspirovu ulogu, uskače u gotovu shemu – istovremeno književnu i đačku. Takvih psiholoških otkrića ima u Ivoni mnogo. Ona vodi poreklo od Kralja Ibija, ali njena filozofska problematika je mnogo zrelija i savremenija.“

Jan Kot, Punoletna Ivona

BONUS:

Several years later, and unexpected reuse of several scenographic elements from the Play.

In cultural station "Svilara" elements of scenography were used as backdrop and inspiration for creative and educational workshops with children. They were reiterpretated as green guardians, for ecology workshops.

https://svilara.kulturnestanice.rs/en/urban-gardens-permanent-exhibit-at-the-plateau-in-front-of-the-svilara-cultural-station/