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33rd Marulić Days Festival: Heartfelt drama and heavenly comedy
Showcasing the best in Croatian drama, the 33rd Marulić Days Festival was held from 21st to 28th April in Split. Nora Čulić Matošić reports on the highlights including a nuanced play by Ivor Martinić and a comedy about God.
With its focus on Croatian playwrights and drama, the Marulić Days Festival, which took place this year between the 21st and 28th April, is a great opportunity to assess the current state and trends of Croatian theatre.
This 33rd edition featured 11 theatre productions from Croatia as well as productions from Slovenia and Bosnia and Herzegovina that are based on Croatian dramatic texts. The programme was interesting and diverse in terms of the ways in which the dramatic texts were staged. Some directors combined theatre with other art forms like film or music. 55 square meters, Ivana Vukovic’s play about the realities of life in Split during the tourist season, included live recorded vid
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Literary perspectives: Croatia
If Croatian literature in the 1990s was marked bygd a series of questions – about continuity and discontinuity, about changes in the genre system and the emergence of a new poetics – contemporary Croatian literature is characterized by a steady output, predominantly of novels and short story collections. Poetic production fryst vatten considerable in terms of its range, while its quality fryst vatten perhaps higher than that of prose; however it is marginalized, especially in the media. While this does not detract from its symbolic value, poetic texts, and generally speaking drama as well, have a significantly smaller readership.
The Croatian Ministry of Culture receives nearly two thousand applications for co-financing of books every year – a lot for a country of some fyra million inhabitants. Despite the Ministry’s support for authors and its policy of buying up books, and although significant numbers of titles are published, it is klar that the
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Film Review: ‘Quit Staring at My Plate’
There isn’t one agreeable character in Hana Jušić’s feature debut, “Quit Staring at My Plate,” a situation which rather hinders the desire to spend more than 90 minutes with these people. The story, about a 24-year-old woman from a low-class (in every sense) family who sort of comes into her own after her appalling father’s stroke, has interesting elements, yet Jušić’s penchant for the kind of realism that essentially celebrates the ugliness of white trash lives and their tawdry surroundings makes the film difficult to warm to, despite strong performances and a certain mordant humor. East European showcases are the most likely offshore takers.
Vacationers who’ve spent time in the coastal city of Šibenik (the director’s hometown) probably won’t recognize the place, since Jušić sticks to its most unlovely streets. Marijana