Ivo Vojnović: GERANIUM

Date created: 02.02.2019.
  • More
  • Performances
  • Galleries


Festival Drama Ensemble 

Ivo Vojnović: Geranium 

Director: Marina Pejnović

Dramaturgy: Ivan Penović

Costume design: Barbara Bourek

Set design: Zdravka Ivandija

Music: Josip Maršić

Lighting design: Elvis Butković

Linguistic advisor: Maro Martinović

Stage manager: Virginija Bolfek

Photography by: Marko Ercegović 



Mare: Doris Šarić Kukuljica

Marica: Irena Tereza Prpić

Professor: Nikola Baće

Nike: Dajana Čuljak

Pavle: Jelena Miholjević

Luce: Tena Nemet Brankov

Aunt: Nataša Dangubić

Vlado: Marin Klišmarić

Tomo / Father: Filip Detelić

Zdenka / Mother: Iva Šimić

Charon: Romano Nikolić  


Geranium, one of Ivo Vojnović’s earliest works, announced the upcoming wave of Croatian literary realism at the end of the 19th century. Geranium is a work about solitude. Geranium is a story about a woman named Mare, who is said to be born old. Geranium is a story about a small house at the end of the village. It is not a story with a great love plot and Mare is not a hero who turns her world upside down with her deeds. Mare lives in a small house by the Sea. She works her garden and lives alone. Sometimes you see her, if you take a good look, passing down the street. In Geranium, as in all his great later works, Vojnović treats this solitude as a continuous, progressive state. Solitude as a space and time of identification of the protagonist’s state. He breaks down this seemingly dead state, this lack of action into a process which takes place in seemingly equal pace both for the reader and the protagonist through whom we experience this state. In this work, solitude is a matter of giving in to fate, an expression of being confined by the place of our birth. Mare consorts with solitude so others would not have to get to know it. In this play, this Vojnović’s view of solitude is supplemented, but also counterposed, by Antun Šoljan’s Island. Island offered as a place of escape. A place where we can be alone. Where we can rest. Where we can enter solitude, the end of which, unlike the one in Geranium, we can discern, but do not want it. The phantasmagoria of Šoljan’s island is not longer than a summer vacation. The island motif serves as a place for existential consideration, for seclusion which reveals to what extent we allow ourselves to give in to the illusion of the present, the illusion of time which might be waiting for us. Time does not wait. If we do not fill it with living, it will be filled with that void of solitude which we cannot always control. Time goes by and lets go of the ones who leave. Time goes by and shows on the faces of those who wait.



Subtitled in English 



- - -  

Supported by: