http___www.gavella.hr_eng_productions_current_productions_king_richard_iii.xml
http___gavella.hr_predstave_aktualne_predstave_kralj_rikard_iii_1.xml
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 12.1 13.1 14.1 15.1 16.1 17.1 18.1 19.1 20.1 21.1 22.1 23.1 24.1 25.1 26.1 27.1 28.1 29.1 30.1 31.1 32.1 33.1 33.2 33.3 33.4 33.5 34.1 34.2 34.3 34.4 34.5 35.1 35.2 35.3 35.4 36.1 36.2 36.3 36.4 36.5
Director: Aleksandar Popovski Translator: Andy Jelčić Dramaturge: Dubravko Mihanović Stage Design: Aleksandar Popovski Costume Design: Marita Ćopo Music: Marjan Nećak Video: Lana Cavar and Timy Šarec Stage speech Assistant: Ivana Buljan Legati Lighting Design: Zdravko Stolnik Stage Design Assistant: Nastja Miheljak Costume Design Assistant: Mia Popovska Production’s Visual Identity: Vanja Cuculić / Studio Cuculić Photography: Jasenko Rasol Cast: Richard, Duke of Gloucester, later King Richard III: Ozren Grabarić George, Duke of Clarence, his brother: Andrej Dojkić Lord Hastings, Lord Chamberlain: Sven Šestak Lady Anne, widow to Edward, prince of Wales: Martina Čvek Queen Elizabeth, wife to king Edward IV: Dijana Vidušin Lord Rivers, her brother: Sven Medvešek Duke of Buckingham: Živko Anočić Queen Margaret, widow to king Henry VI: Bojana Gregorić Vejzović King Edward IV: Hrvoje Klobučar Dutchess of York, mother to Richard, Edward and George: Slavica Knežević Sir William Catesby, a nobleman: Nikola Baće Two Assassins: Ivan Grčić and Đorđe Kukuljica Cleaner: Filip Šovagović Mrs Shore: Anica Kovačević Stage Manager: Ana Dulčić Prompter: Andrea Glad First rehearsal: October 6th, 2017 Opening night: December 15th, 2017 William Shakespeare’s King Richard III, an exceptionally powerful and political play, a story of ambition, lust for power and dominance is brought to you in a new translation by Andy Jelčić and envisioned by the director who has already staged ‘’A Midsummer Night’s Dream’’ in Gavella, one of our most successful productions ever. King Richard III is a play of epic proportions, complex in its genealogical labyrinths, demanding not only because of the intricate dramaturgical spiral and layered relationships, but also because of the emotional trap the English Bard set up for us. We are led through the events by a character (anti-hero) whose actions are anything but moral, yet his cunning is so seductive, his insight so devastating that we are forced to follow him on his journey and observe the events through his eyes (as well). Lords and queens, dukes and assassins weave a gripping plot full of suspense. They bring to the stage a world where, first and foremost, man is wolf to man and only then a brother, son, friend, lover... ‘’Gavella Theatre has raised the bar incredibly high and it won’t be easy to reach it. It’s Shakespeare, talking about us! Popovski surrounds Richard with strong female characters, queens, all of whom are fighting the bloody battle for the throne. Bojana Gregorić Vejzović as queen Margaret gave one of her finest performances and she is followed by Dijana Vidušin, Slavica Knežević and Martina Čvek.’’ (Bojana Radović, Večernji list) ‘’In a play which clearly alludes to contemporary political events the director didn’t decide to directly modernize it but he tied it to the present using several fine, effective ‘buckles’ such as the one towards the end of the first part where Filip Šovagović, playing the cleaner, speaks from the audience, as the representative of the public and the people. Ozren Grabarić portrayed Richard’s physical deformity with exceptional ease and consistency at the same time also shaping Richard’s mind games and changes of character – from a desperate man through a cruel person, a false friend, a seductor... to an aged and powerless man in the end. Additionally, he enriched all the changes with a side-commentary for the audience, which gave the character a touch of humour, making him more familiar and contemporary to us.’’ (Igor Tretinjak, Vijenac) ‘’The translation by Andy Jelčić is assured and unimposing, lavish enough to carry the ingenious eloquence of the Bard yet also has a contemporary sensibility, syntax and rhythm, such as Shakespeare’s language had for his contemporaries. That is why time flies when listening to it and, perhaps, it is easier to abridge it. This is not the first time Aleksandar Popovski supremely directed Shakespeare in Gavella Theatre. Exactly ten years ago he staged ‘’A Midsummer Night’s Dream’’. (Tomislav Čadež, Jutarnji list)
1.1 2.1 3.1 4.1 5.1 6.1 7.1 8.1 9.1 10.1 11.1 12.1 13.1 14.1 15.1 16.1 17.1 18.1 19.1 20.1 21.1 22.1 23.1 24.1 25.1 26.1 27.1 28.1 29.1 30.1 31.1 32.1 33.1 34.1 34.2 34.3 34.4 35.1 36.1 37.1 38.1 39.1 40.1 41.1 41.2 41.3 41.4 42.1 42.2 42.3 43.1 43.2 43.3 43.4
Redatelj: Aleksandar Popovski Prevoditelj: Andy Jelčić Dramaturg Dubravko Mihanović Scenograf: Aleksandar Popovski Kostimografkinja: Marita Ćopo Autor glazbe: Marjan Nećak Autori videa: Lana Cavar i Timy Šarec Suradnica za scenski govor: Ivana Buljan Legati Oblikovatelj svjetla: Zdravko Stolnik Asistentica scenografa: Nastja Miheljak Asistentica kostimografkinje: Mia Popovska Vizualni identitet predstave: Vanja Cuculić / Studio Cuculić Autor fotografija: Jasenko Rasol Igraju: Rikard, vojvoda od Gloucestera, kasniji kralj Rikard III.: Ozren Grabarić George, vojvoda od Clarencea njegov brat: Andrej Dojkić Lord Hastings, komornik: Sven Šestak Lady Ana, udovica Edvardova, princa od Walesa: Martina Čvek Kraljica Elizabeta, supruga kralja Edvarda IV.: Dijana Vidušin Lord Rivers, njezin brat: Sven Medvešek Vojvoda od Buckinghama: Živko Anočić Kraljica Margareta, udovica kralja Henrika VI.: Bojana Gregorić Vejzović Kralj Edvard IV.: Hrvoje Klobučar Vojvotkinja od Yorka, Rikardova, Edvardova i Georgeova majka: Slavica Knežević Sir William Catesby; Velikaš: Nikola Baće Dvojica ubojica: Ivan Grčić i Đorđe Kukuljica Čistač: Filip Šovagović Gospođa Shore: Anica Kovačević Inspicijentica: Ana Dulčić Šaptačica: Andrea Glad Prva proba: 6. listopada 2017. Premijera: 15. prosinca 2017. Predstava traje dva sata i 40 minuta, sa pauzom. U novonaručenom prijevodu Andyja Jelčića i viziji redatelja koji je u teatru "Gavella" uprizorio "San Ivanjske noći", jedan od najuspješnijih naslova u povijesti naše kazališne kuće, dolazi nam Shakespeareov komad izuzetne snage i političnosti, priča o ambiciji, vlastohleplju, moći i žudnji za dominacijom. "Kralj Rikard III." obiman je dramski materijal, složen u svojim rodoslovnim labirintima, zahtjevan ne samo zbog kompleksne dramaturške spirale i slojevitih odnosa, već i radi emotivne zamke koju nam je engleski bard priredio. Naime, kroz događaje nas vodi lik (antiheroj) čiji su postupci sve samo ne moralni, ali inteligencija mu je zavodljiva i sposobnost uvida razorna pa ne možemo ne putovati s njim, ne promatrati događaje (i) njegovim očima. Lordovi i kraljice, vojvode i ubojice, iscrtavaju fabularni sklop visoke napetosti i prenapregnutosti, donoseći na pozornicu svijet gdje je čovjek čovjeku ponajprije vuk, a tek potom brat, sin, prijatelj, ljubavnik... Nagrade: Festval Purgatorije, Tivat, 2018. - nagrada za glumačku bravuru: Bojana Gregorić Vejzović Viminacium Fest – mitovi stari i novi, Požarevac, 2018. - nagrada za najboljeg glumca večeri: Ozren Grabarić - nagrada za najboljeg glumca Festivala: Ozren Grabarić "Gavella je ljestivicu digla nevjerojatno visoko i parirati joj neće biti lako. (…) To je Shakespeare koji govori o nama! Popovski oko Rikarda slaže jako ženske uloge, kraljice, sve odreda ogrezle u krvavu borbu za tron. Bojana Gregorić Vejzović kao kraljica Margareta ostvarila je jednu od svojih boljih uloga, a prate je u stopu: Dijana Vidušin, Slavica Knežević i Martina Čvek." (Bojana Radović, Večernji list) "U komadu koji jasno asocira na suvremene političke neprilike redatelj nije išao za izravnim osuvremenjivanjem komada, već ga je povezao s današnjicom nekolicinom finih i efektnih kopči, poput kraja prvog dijela u kojemu Filip Šovagović u ulozi čistača progovara iz gledališta, kao predstavnik javnosti i naroda. (…) Neopisivom lakoćom i dosljednošću odigrao je (Ozren Grabarić) Rikardovu fizičku deformiranost, istodobno odlično oblikujući njegove mentalne igre i karakterne mijene – od očajnika preko okrutnika, lažnog prijatelja, zavodnika… do u trenu onemoćala i ostarjela kralja na kraju. Sve mijene dodatno je obogatio ironičnim komentarom u publiku koji je liku dao dozu duhovitosti, u isto nam ga vrijeme približivši i pretočivši u našeg suvremenika." (Igor Tretinjak, Vijenac) "Ovaj prijevod, djelo Andyja Jelčića, tečan je i nenametljiv, dovoljno raskošan da ponese genijalnu rječitost piščevu a opet, senzibilitetom, sintaksom i ritmom, nadaje se kao suvremen idiom, onakav kakav je dakle i bio i Shakespeareov jezik njegovim suvremenicima. Zato uz njega vrijeme prolazi brže, a možda ga je zato lakše i sažimati. (…) Aleksandar Popovski nije prvi put ovako suvereno režirao Shakespearea u Gavelli. Prije evo gotovo točno deset godina postavio je "San Ivanjske noći"." (Tomislav Čadež, Jutarnji list)