Miroslav Krleža

In Agony

Year V of stage acting UZ ADA

University of Zagreb, Academy for dramatic art (HR)


17.06.2021, Thursday / 19:00 / Old Hall /

Premiere marec 2021, Oder ADU ADU stage
Running time 2 hours. One interval.
With post-performance discussion. 

Professor doc. art. Dora Ruždjak Podolski
Assistant Adrian Pezdirc
Assistant director Patrik Sečen, Year II at DSTDR ADA
Mentors red. prof. art. Ozren Prohić, izr. prof. art. Tomislav Pavković
Speech advisors red. prof. art. Ivana Legati, Lana Meniga (German)
Costume designers Melani Međeši, Emma Stephanie Gaunt, Karla Kos, Karmen Polović, Year II at DSC TTF 
Light designer Anđela Kusić, Year I at DSLD ADA
Mentor izr. prof. art. Deni Šesnić
Producers David Uranjek, Year I at DSP ADA, Karla Abramović, Year II at DSP ADA (Mentor doc. art. Ana Letunić); Giorgia Pezzolato, Year II at DSC TTF (Mentor doc. dr. art. Ivana Bakal)
Photographer Dora Čaldarović 
Poster designer Matija Jandrić, Year II at DSVC
Thanks to Gavella, ZKM, Anastasija Jankovska 

Baron Lenbach Dominik Dolenc
Laura Lenbachova Lana Meniga
Dr. Ivan von Krizovec Kristijan Petelin
Countess Madeleine Petrovna Laura Bošnjak
Deaf-dumb Beggar Patrik Sečen, k. g.

The play by the best-known Croatian modernist playwright was first published in Croatian Review in 1928. It was published three years later as a self-standing edition in Belgrade and a year later in Zagreb as a part of the three-part cycle The Glembays. Until 1962, it was a two-act play, then the author changed the ending of the second act and added a third. All newer versions include three separate acts, and the play remains Krleža’s most often produced and best-reviewed work. The students took the original version, the one without the third act, as their starting point. Krleža’s characters in the text are pushed to the edge of their material existence, emotional worlds and psychological completeness. Their confrontations are deep, at times bestial. They reveal themselves and disclose the broken remnants of the erstwhile world of the titans. Their conflicts are permanent; they dance on the border between civilised manners and uncontrolled emotions. The atmosphere of a bourgeois salon changes, with a single move, into an arena where the fight of the ego is about life and death triggered by past trauma, violence, alcoholism and love. 

In Agony
In Agony
In Agony
In Agony