Cyclops

Ranko Marinković’s novel Cyclops is without a doubt considered to be one of the classics of 20th century Croatian literature, and some consider it to be the first postmodern Croatian novel. On one level, “Cyclops” is an hommage to the bohemian atmosphere of inter-war Zagreb in which such poets as Tin Ujević composed their verses and frequented cafés which served as focal points of intellectual life of one of the final generations of that rare species, the artist-erudite. In this environment is placed the by now archetypal character that is Melkior Tresić, a young intellectual in search of an identity, simultaneously enamoured and revolted by the motley crew with which he attempts to identify himself, such as the father-figure offered by the poet Maestro or the befuddling Ugo, who is at once enchanting, gruesome and pathetic. On another level, the novel is a love story whose gravitational centre is the Unknown Woman. Melkior makes her wear the name Vivijana, after the French actress Viviane Romance, thus giving birth in his mind a personification of eternal desire, if not lust, which bears the contours of a whole panoply of mythical and literary women which provoke in Melkior an unbearable envy, but also an idealistic tendency toward the Beautiful. This highly rich and complex work can be read in many a way, be it downright realistically, be it as a Kafkaesque nightmare, perhaps even as a Pirandellian work, without at any point making it seem shallow or placid, hence this new stage adaptation of a novel which, after more than four decades since its last appearance on stage, bears the signature of the play’s director, Saša Anočić.

“Saša Anočić, in cooperation with the dramaturgist Petra Mrduljaš (...) in the end has successfully devised an original creation for theatre-goers who were able to enjoy themselves in the positive energy of the Gavella Theatre’s troupe. (...) Franjo Dijak is a subtle, both frail and sensitive, and highly talented actor (...) he performed the role of [Melkior] Tresić consistently, sharply and magically... And as an emotional and physical counterweight comes Živko Anočić’s Ugo. In that role comes the younger of the Anočić brothers, who has managed to reach his utmost potential in this role... In this troupe there are hardly any dissatisfying performances, they all seem to breathe in unison... We would like to underline the stage virtuosity of Sven Medvešek and Janko Rakoš in multiple roles, the comedic force of Ivana Grčić and the minute precision as shown by Nikola Baće as the ceremonial marshal in the psychiatric hospital. (...) Here is a play that occupies a theatre hall not by cheap, popular tricks, but by a holistic theatrical competence.” (Mira Muhoberac, Vijenac)

“The play is anchored by the pseudo-historical costumes of Marita Ćopo, rich, detailed, finely chosen, some even of lyrical value with respect to their corresponding character. Dijana Vidušin breathed into Vivijana a lively tone, she pretends to be slow-witted, and uses her sex-appeal ironically as well as making jocular use of her voice. She acts very well indeed. Martin Čvek in the role of Enka intelligently avoids literal meanings and interpretations, she is visibly contrary to an overly passive, casual position, Živko Anočić as Ugo is wittily tragi-comic, but, this tragi-comic aspect typical of Marinković is best put on display by Filip Šovagović as Atma.” (Tomislav Čadež, Jutarnji list)

“The play sets off with a captivating scene in which Melkior Tresić and Don Fernando, in the audience, discuss Hamlet, and goes on with a promising continuation of constructing a pre-war atmosphere of the city (which may or may not be Zagreb), in which we, as the audience, recognise the images found in Marinković’s novel - the newspaper vendor, the shoeshine, among others. Everything is in movement, the various scenes seem to flow into one another, heated discussions in the tavern, drinks and cigarettes abound, and the music (by Matija Antolić). There is also to be found a poster defaced by a swastika, and in the background, an enormous Cyclops’ eye, standing there as an intimation of a forthcoming evil.” (Nina Ožegović, T-portal)

“At long last, this stage adaptation of Marinković’s timeless and brilliant work was a wise move. (...) Gavella’s Cyclops needs a long and successful life in its home theatre, and many an audience member will be enriched by not a few useful words that will help in sailing through one’s life, or perhaps to invite them to keep close to one’s directional sign posts which help one keep away from today’s, so to speak, human zoo.” (Elizabeta Hrstić, Politika Plus)